Weekend Music Roundup

Music always creeps into my work. There's no avoiding it. It's inevitable. My writing is heavily influenced by the English Romanticism and I've always been obsessed with the rhythm of the words. It's not always about what you say, but how you say it. I try to say everything lyrically. In many ways, I try to create writing that will give the reader a similar feeling as to what music gives me. None of that has anything to do with this list, except that it explains my drive to continue to discover and listen to new things. On with the new then...

Dogs - We are the Dogs EP: I've reviewed most of this band's back catalog on here before, so why not their newest release. This London based indie pub punk band has been making some great music for the past several years. This new EP shows the band maturing musically. Still very socially conscious in a smart way, but with a more radio-friendly sound. Not that they weren't always catchy in their own unique way. They really feel like a new version the Manic Street Preachers (but not quite up to that level...yet).

Arcade Fire - The Suburbs: I listened to this more out of a sense of obligation than interest. Though I loved the band's debut The Funeral and still consider it one of the best albums of the last decade, I really didn't care for Neon Bible. To me, Neon Bible sounds like an Eddie and Cruisers album (an indie combination of the Boss meets Actung Baby). No wonder it was a huge success, it was exactly the boring kind of album that people love. Needless to say, I wasn't expecting much with this one. However, I was wrong because this is a very good album. The depth of story and portrait of suburban life's desperation and boredom (a theme I've written plenty on) is spot on. Musically, it reflects back to the swirling beauty of The Funeral. All in all, very impressive.

Gayngs - Relayted: An altogether unique album that is a delight to listen to. It's so hard to pin this one down, there's so many influences going into it. The overall effect though is a same sort of neo-psychedelic soul record that Portugal. The Man creates every now and then. There's so much space in the songs. They are so free and open that it makes for a great summer kind of record.

Richard Ashcroft - United Nations of Sound: The new album by Verve frontman Mad Richard is a definite step-up from his two previous solo efforts, which though decent, got mired in an adult contempo feel while trying to be more Marvin Gaye than they actually were. This album is a nice compromise. There is the clear soul influence, but also some of the frantic energy of the Verve. The opener "Are You Ready" could be a Verve song. Other stand outs for me are "She Brings the Music," "America," and "How Deep is Your Man." Certainly some uneven songs, but still a good album by one of my music heroes.

The Rural Alberta Advantage - Hometowns: This 2008 album was released on Saddle Creek (the Nebraska indie folk label responsible for many great releases last decade). What I love about this album is that though it's clearly Midwestern indie folk, they fuse that with up tempo acoustic playing. It reminds me of the earliest Bright Eyes eps and albums. It's angry, sad, and beautiful at the same time.

Cocoon - From Panda Mountain / I Hate Birds EPs: Prior to the French folk pop's stellar 2007 debut All My Friends Died in a Plane Crash, they released these two eps, featuring a lot of songs that would eventually end up on the album. However, the versions here on subtly different, but enough so that they make it worthwhile to seek these out. Think Belle & Sebastian's first album, but not as hopeful.

Antsy Pants - Antsy Pants: Released in 2006, this is a home project featuring Kimya Dawson (of The Moldy Peaches) and an 11 year old boy named Leo (of Bear Creek). It's very simple folk, almost like indie campfire children's songs if such a genre existed. But it's done really well and turns out to be a much more impressive album than one might think on the surface. "Henry Kelly," "Tree Hugger," "Amazing Kids Doing Amazing Shit," and "Sleep" are my personal favorites.

Grizzly Bear - Yellow House: I don't know what it is about this band that causes so many people see greatness. The music is pretty, but essentially boring. It simply feels soulless to me. It's okay. I wouldn't turn it off, but on the other hand, there's nothing about it that pulls me in either. It's about as interesting as the cover.

The Jayhawks - Blue Earth: The 1989 release by the alt-country band improves on the recently re-released self-issued debut, but falls short of their the next two classic albums. Still though, it's quite a good album. We start to hear them move away from the Gram Parson's sound toward the Neil Young sound of the next two albums. A must have, but only after you've already worn out Hollywood Town Hall and Tomorrow the Green Grass.

Melvins - Lysol: The pioneers of sludge metal and one of the true unsung bands that have had more influence on music over the past few years than many realize. This 1992 album is one 30+ minute song that puts Black Sabbath through the drone filter. Not as easily accessible as some of their releases but still a great example of the genre.

Time to Come Clean

My office got turned upside down the other day due to some home upgrades requiring work I won't even pretend to know how to do. To be honest, the office was a disguised mess anyway. Sure, it looked organized, but that's only because I'm like a ninja of burying traces of disorder. But with everything jumbled into the center of the room, it seemed like a good time to do a real deal sweep.

What did I find?

Scraps of paper.

This is my life - tiny little pieces of imagination in piles. Scraps scribbled with phrases that make no sense to anyone but myself. Fragments from dreams (which often mean nothing to me once they've past expiration and I can no longer even remember the dream.) One word ideas. Character traits. A line of conversation. In rare moments, and entire book concept.

I jot these things down on post-its, notepads, inside those classy mole skin journals or large format sketch books, and yes, even the back of receipts from Target provided there is nothing tax deductible included on the purchase. Then I place them in my office, telling myself that I'll get that later. Check your clocks because "later" struck this week.

What I discovered is that I have 30 books that I need to write. These are in various stages of being thought out. This is great considering I'm finishing up three separate projects that have consumed most of my time over the past year or more. Most of the bits usually end up getting cannibalized by whatever project comes next. I'm not a big fan of saving things for later. If an idea can fit, use it. Ideas are free and there will always be more.

I guess there can be something positive to come out of cleaning.

Will You Let Me Back In?

Distance can be a good thing when it comes to writing. It is for me. I get so deep into a novel when I'm writing it that it becomes like a puzzle that can only fit together one way.

There is always a little bit of time between turning in a draft and when the revision ideas come from an editor. I used to dread this time, worried that I would never be able to get back into the story. I don't worry about that so much anymore. I've proven to myself over and over that it's not a problem. So now I welcome the time to gain some new perspective. However, I can't expect my main character to always simply allow me right back in their head.

"You think you can just leave me here? I've been in these pages for months with no one to talk to and I don't know if I should be angry or grateful that you've come back," I imagine them saying to me. Then the dreaded question, "Are you going to leave me again if I do?"

"Yes. In a way," I tell them. (It's never a good idea to lie to your characters even in your borderline institutional conversations.)

So there's always this process of trying to regain their confidence and story. I never dive right in like the drunk crashing a party. Instead, I spend some time thinking about the changes I could make. Then I make a lists. Lots of lists. Things that could go. Things that could be added. Then I spend time trying to figure out where these transplants fit into the whole story. I find this approach brings me back into the fold easier. Then working on the actual revised draft feels more like a good get together with an old friend rather than an awkward run in at the pharmacy with someone you'd hoped to avoid for the rest of your life.

Kid Art

One of my favorite things about writing children's books is the artwork I sometimes receive from the children who've read the books. A recent post on author Julie Halpern's Blog of Wonder reminded me it was about time to share some more. These pieces all came from first graders at P.S. 107 in New York and date from 2002 (so they're high schoolers now!). My picture book The Shark Who Was Afraid of Everything was read to them and then they all did this activity sheet asking them to illustrate a time when they felt brave.

These four are some of my favorites and currently hang in my office. The one above is my absolute most favorite. It reads: "I was brave when I was in my house by myself and I saw things on the wall that was not real." The terror this displays is in such sharp contrast to the delightful picture. I love it. Part of me is jealous, wishing I had written that sentence.

This one is great too. The perfect childhood fear. I also love that she has placed herself in the picture with the shark from the book. I also love the two underwater suns, the plants at the bottom of the page and whatever the red dots are supposed to be.

Poor Kareem must have never met my cat Doggie or he never would've gotten over his fear. I have no idea what is happening to the cat in picture. He appears to be in a hammock and Kareem is apparently shouting at it while a happy girl dances in the air. Top quality stuff.

This one is just too adorable for words. I love the scared duplicate Ashley in the box with what I assume to be a ghost. The contrasting expressions between the two representations of herself is striking. Being brave certainly suits her dress.

These are the kinds of things that a writer looks at when work is being particularly frustrating.

The Great Rabbit Wars Pt. 29

Excerpt from the Journal of Undercover Agent Bianca Eldon 003 (access previous documents)

---(undated: sometime after the Second Human Offensive)---

My race of rabbit children is coming along rather nicely. It seems none of the Rabbits have noticed the way the children follow me around. General Nippon has his paws tied up fighting the invading Human Nations. I warned him they may turn out to more pesky than he imagined. They were words those arrogant ears would never listen to. His forces are spread thin by consequence. He's been forced to leave a ragtag bunch of new-breed Rodent Soldiers around to run the Central Warrens. Lucky for me, they've retained mostly the brains nature had intended for them as genetic enhancements are only partially passed down. These bigwigs find the human children ridiculous and pay no attention to my training. And poor Fival has gone stark mad. Most of the time I can get him to brainwash the kids with whatever I tell him and he has no idea what I'm saying.

The result is as I planned -- the rabbit children are loyal only to me.

The girls have taken fondly to the society I've invented. It was simple enough to borrow from the best memories of elementary school; the singing, playing, crafts, chanting, and nature walks. I shaped their routine around those activities. They adore their life because it has been made safely adorable. But they will be ready when the time comes. They will defend their world of make-believe viciously.

The boys have been a little more unruly. I have them training in the old Human cities. The Rabbit Soldiers were led to believe, by me, that I've been using them to labor but they are training as soldiers. I've given them strict instructions and they are following my Revised Boy Scout Manual. The most important element comes from Fival, in that they are made to believe they have Good on their side. I hesitate to wait too long as a hierarchy is already developing among them.

I will have to move quickly. My brother should have stuck around to see what the High Human Council was too blind to. When I lead the rabbit children from rodent oppression like the Pied Piper...it's going to be a brave new world for sure.

(Tune in next Story Time Tuesday for the next installment)

You Want Me to Change What Now?

One of the hardest aspects of the publishing process for a writer is getting that first round of feedback from an editor. This is especially true the first time you have to go through it. Here you are, you've pored your heart into this story and pulled your hair out running it through over and over until you've decided it was absolutely and completely perfect. Now in steps an editor to tell you such and such a character doesn't work, this or that plot element is implausible, and by the way it all really falls flat in the end.

If you're not used to this, the natural reaction is to dig in and take the "you just didn't get it" stance as you resist any and all changes. Here's the thing about that - you're most likely wrong. Unless you're editor is completely incompetent (which you must assume they aren't since he or she bought your manuscript and must have known what they were doing at that moment), he or she is trained to spot these flaws and help you work them out. This is what they do and you need to trust them.

I can safely say that every change I've made to a book stemming from the comment of an editor has made the book better. Don't get me wrong, there are moments to refuse. Some things are going to be important to you and your vision. The process is a compromise and you're allowed your say, but make sure you have a reason for it. Remember that an editor in on your side.

I have to admit that I had a hard time early on in my career accepting this. I wasn't difficult or anything, but I always resisted in my own mind and it took a good deal of effort to realize that most of the time, I was wrong. Now I'm very open and welcome to the comments. I just had a wonderful conversation with my editor on my new novel and the comments I received were all insightful. Like anything, approaching this process with a positive attitude will always result in a better outcome.

Weekend Music Roundup

As the calendar sets on another week gone by, it's that time once again to share some thoughts on a few records that I've acquired recently. As of late, I've been all over the place with what I'm spinning. Usually there is one genre that is really grabbing me at one time or another, but not this week. I suppose that's partially due to the fact that I've been all over the place when it comes to work. I'm working on four different projects, all very different levels and in very different stages. So I guess my soundtrack is simply mirroring my mind. Here's a little peek inside:

Babyshambles - Diamond Liner Sessions: Another amazing bootleg sessions album by Pete and Co. This one dates back to the first album era, feature tracks that would later appear on Down in Albion and as B-Sides for that album. But these versions are very different than the ones that would later be released. Much slower, softer, and darker. Pete sounds incredible on here. A must for any fan of the band.

Dead Meadow - Three Kings: Though I have all of the band's previous releases, I didn't rush out to buy this when it came out a few months ago. This is due to my general lack of enthusiasm for live albums. However, there are a few new tracks on here which makes it more intriguing. Then I heard it and realized that there was no need to wait. This band is one of those bands who has built their reputation on live shows and they sound amazing. Straight up, just great psychedelic hard rock.

Procol Harum - Procol Harum: The psychedelic British band's 1967 debut is a solid album that really feels like one of those gateway albums that would eventually lead to the folk-prog albums that came out of England in the early '70s. It's not perfect by any means and there are certainly many better examples of the genre, but still "Whiter Shade of Pale" is fantastic. Not essential, but definitely worthwhile if you're into that era and this sound.

Giant Skyflower Band - Blood of the Sunworm: Another lo-fi California freak folk album from the the past decade. Naturally, I love it. There's a lot of people out there that believe this genre to be boring, but I couldn't disagree more. I think for me, these albums play out like so many stories in my head. They really inspire me creatively.

milburn - well well well: This album came out in 2006 and sounds very much like a lot of the other indie rock that came out of the UK at that time. It's full of catchy hooks, grinding guitar and snarling verses mixed with softer moments. It's not the best of the bunch, but falls somewhere in the upper middle. If you've exhausted all of the Arctic Monkeys, Pigeon Detectives and Fratellis' catalogs and are looking for more, this is probably the album to get.

The Black Keys - Chulahoma: This 2006 EP consists of five covers of blues legend Junior Kimbrough. In some ways, these covers really cement the duo as most likely the best blues band around. They truly bring something incredible to the songs, giving them a dangerous edge. A must for any fans of the Keys or just fans of dirty blues.

The Who - My Generation: Let me start by saying that I'm not a fan of The Who and never have been. In my opinion they are easily the most overrated band of the era. However, I do respond much better to the earlier Mod days. This is their first LP and it's pretty solid. Heavier than The Beatles or The Stones at the time, The Who are pretty frantic on this album. It's impossible not to respond to the energy on here.

Dot Allison - We Are Science: Dot Allison's debut solo album, 1999's Afterglow, is a beautiful dreamy electronic album that I loved when it came out. This is her 2002 follow-up. Though it tries to keep the same spirit of the first, it becomes way too techno-y for my tastes on many of the songs. There are still a handful of Scala like moments that make it worth a listen or two, but overall it was kind of a disappointment.

Blue Mountain - Homegrown: I picked this up without knowing anything about it. I was simply attracted to the cover and hoped it sounded something like it appeared it should. It does. This is a 1997 alt-country home recorded gem. There's also quite a bit of bluegrass influence which distinguishes it from its contemporaries. All in all, a pretty awesome find.

Fleetwood Mac - Fleetwood Mac: The debut from the original line-up featuring Peter Green. This is a classic British Blues album in the Bluesbreakers tradition. Peter is amazing and this collection of songs is downbeat and beautiful. However, it's not this line-up's finest collection. At this moment, I would certainly recommend the album titled The Original Fleetwood Mac as a finer example of their great blues work.