Sorry I’m late. Busy week. What you’re getting is a bunch of reviews of things I took in while I was doing other stuff. So, podcasts. That, and a recap of one truly bonkers concert.
Too Many Zooz: Live at the Imperial — I had heard Too Many Zooz before I knew who they were. They are an intensely viral phenomenon that took root in the subways of New York City — a trio of bari saxophone, trumpet and percussion that transcends the rules of their respective instruments to produce something they refer to as “brass house.” It is EDM, but without the “E.” It is a hell of a thing. I have found in my superficial exploration of their catalogue that they are best experienced in performance, either as a fixture at Union Station, or on a concert stage. Their studio recordings are all well and good, but they need to be heard in the live context they were founded for to get the full impact. Accordingly, this concert was one of the craziest things I’ve ever witnessed. I have never seen a Vancouver crowd go this crazy for anything, and I have never seen any of these instruments played like this. I’m working on a theory that Matt “Doe” Muirhead is the only instance in all of music where the trumpet manifests as the id of an ensemble rather than the ego. Too Many Zooz breaks down clearly as follows: Muirhead (trumpet): id; Leo Pellegrino (saxophone): ego; and the King of Sludge (percussion): superego. Muirhead plays the trumpet as if he never learned how, although he clearly has. I studied the trumpet, and I have played with aspiring trumpeters from both the classical world and what is unusefully referred to by classical people as the “commercial” world. In both cases, trumpeters are neurotically obsessed with accuracy and technique. That’s because, regardless of what idiom you intend to play it in, if you learn to play the trumpet today, you learn it from a teacher. That means that there are deeply held and widespread values about what the proper way to approach the instrument is that simply don’t exist for, say, DJs or guitarists. Muirhead’s commitment to simply playing as loudly and aggressively as he can in every register of the instrument contravenes all of these values. It is trumpet playing as impulse rather than neurosis. Perhaps relatedly, his chops held up in the high range almost straight to the end of the show, which is not at all how I expected that to play out. I wish I’d heard Muirhead when I was still a trumpeter — if I had, I might not have so many stress dreams about playing my instrument, which now resides permanently in the back of my closet. Now, from the id to the ego. Chris Squire, the bassist from Yes, once said something about going to see the Who and spending the whole show listening to John Entwistle and watching Pete Townshend. Similarly, I spent most of the Too Many Zooz concert listening to Muirhead and watching Pellegrino. Like Muirhead, he breaks the rules of what his instrument is designed to do, but that’s less surprising among saxophonists. They’re educated in extended techniques. It’s no big thing. What they don’t teach you to do is shuffle, grind, twerk, thrust, dye your hair hot pink and put on your shiniest pair of short shorts. He often plays with one hand, using the other to gesticulate like a rapper. The effect isn’t purely visual: having only one hand on the horn at a time limits the notes he can play so that the musical effect also mimics the human voice. Generally, the band’s music is aggressively simple. Both Muirhead and Pellegrino have reduced their instruments’ melodic language to the minimal materials used by, for instance, dubstep producers. In longer songs, this can begin to wear thin. But Pellegrino allows himself more flexibility than the others: he draws on his training more; he plays faster. He’s magnetic as fuck. As for the superego, it strikes me that the King of Sludge makes more decisions on behalf of the group in general than the other two combined. His playing isn’t intricate, but he literally sets the pace at which the others are working, and any changes of pace come down to him. Together, the three members of Too Many Zooz are one of the most perfect and complete musical units I’ve ever witnessed. I have no idea what they’d be like with members changed out or added, and I have no desire to find out. New York City’s subway commuters had better appreciate these three. Pick of the week.
In Our Time catch-up — Where did I recently learn things I did not previously know about Henrik Ibsen, the city of Persepolis, Montesquieu, Echolocation, the Mexican-American War and noted arts and crafts proponent William Morris? Why, on In Our Time! Where else?
The Daily: “Why Believing Putin Will Be Hard This Time,” “Trump Sides With Putin,” “How Trump Withstand So Many Controversies” & “Facebook’s Plan to Police the Truth” — What a week. I listen to the Trump related episodes as my key way of keeping up with that insanity, because I cannot often bring myself to actually sit and read about it. The Facebook-related episodes, which do tend to arise whenever Facebook finds itself in the news, are one of my favourite sources of anxiety. What’s especially crazy about this one is the tape they play from a Facebook ad that expresses recognition of the reasons people signed up for Facebook in the first place, i.e. friends, and the reasons for people’s frustration with it now, i.e. that it became the default platform for the distribution of news and information, and it is a deeply flawed platform for that purpose. Alas, the episode also makes clear that nobody, least of all Mark Zuckerberg, has any idea what to do about this.
The Sporkful: “Live: W. Kamau Bell And Hari Kondabolu Play The Newlywed Game” & “How to Read a Taco” — The live episode is as fun as its guests, and the taco episode is almost as fun as tacos.
Radiolab catch-up — Didn’t get through the Gonads series. Nope. Brilliant as the concept of a mini-series on human reproduction is, I can’t get behind this show’s storytelling anymore. I dunno, maybe this is where I jump off. I haven’t especially enjoyed it for a while. I’ll tune in when it sounds like an especially good one.
Constellations: “chris connolly – black beach” — One of the best pieces featured on this show so far. It’s a simple conversation between two men who lack the tools to communicate intimately without awkwardness, because men aren’t supposed to do that, but who manage to do it anyway because they have to. Nice.
Beautiful Stories from Anonymous People: “The Chillionaire,” “Out of the Closet” & “Prison Bound” — The first two of these are perfectly fine episodes of Beautiful/Anonymous. “The Chillionaire” in particular is a great discussion of money and its consequences, which is not a thing people talk about. But neither of these compare to the sucker punch of “Prison Bound,” which features a woman whose life went off the tracks after she developed a drug problem, and who was at the time of the recording, heading to prison in less than a week for drug trafficking. It is relentlessly intense, and the caller is remarkably clear-headed about her mistakes and the struggles ahead. Gethard is remarkable in this as well — he asks the questions you’ll have as you listen, but he is judicious in the order in which he answers them, building up to the stuff that’s likely to be hardest for the caller to talk about. Sometimes Gethard’s big-heartedness comes out in the form of platitudes (as is the case throughout much of “Out of the Closet”). But here, there are no platitudes that would suffice. It is great radio. I found myself standing still in the middle of my apartment when I was trying to get chores done several times during it.
Pop Culture Happy Hour: “Hannah Gadsby’s Netflix Special ‘Nanette’ With Kumail Nanjiani” & “Skyscraper and What’s Making Us Happy” — The Nanette episode made me appreciate that special more, and I will probably watch it again now. The Skyscraper episode made me want to see it even less than I already did, but I like it when this crew talks about stuff they thought was dumb.
You Must Remember This: “Roscoe ‘Fatty’ Arbuckle and Virginia Rappe” — Really good. I’m honestly surprised that this story hasn’t been on this show already. It’s something you learn about in film studies survey classes. (Maybe that’s why it hasn’t been on the show already.) Fatty Arbuckle is a pretty clear historical analogue for many of the abusive men in Hollywood today. In fact, now that I read that last sentence again, “analogue” isn’t the right word at all. He’s just an early manifestation of the same thing. But in Karina Longworth’s telling, there doesn’t seem to have been any real backlash to his widespread vilification, the way there is for many of the modern equivalents. Maybe that’s just a factor of the stricter insistence on propriety at the time. It sure wasn’t because people were less sexist.
Song by Song: “Cold, Cold Ground” — This is a good song. They don’t have a whole lot to say about it, but sometimes it’s just nice to be reminded that a thing is good.