22 reviews. A few tenuously related ones off the top.
Del the Funky Homosapien: Live at the Alexander — This guy is a genius. There was a moment in this show right after he did “If You Must,” a song about the necessity of personal hygiene, when Del’s DJ/manager Domino started playing a track from the second Deltron 3030 record. Del was either caught off guard or experienced a moment of sublime inspiration, because instead of doing the standard lyrics of that track, he just started freestyling about hygiene some more. But — and this is what blew my mind — he still managed to work the freestyle into the fictional narrative of the Deltron records. I was previously aware of Del’s ability to freestyle in-universe, but the idea that he can synthesize two completely unrelated pre-existing elements from his catalogue at a moment’s notice is staggering. All the same, I must confess that there is limited appeal in a show that starts at midnight on a Monday, with a very Monday-seeming crowd. I listened to Deltron 3030 on the way home and I kind of enjoyed it more than the show. Mind you, this is not uncommon for me. I saw Roger Waters do The Wall with its full theatrical production, and I’m sure it was one of the best live shows anybody has ever put on. Still wasn’t as good as listening to the record. I think I just have to accept that this is an idiosyncrasy of my engagement with music. The added value that other people get from the spontaneity and communal feel of a live show adds distance for me. When it’s just me and the record, I can get lost. At a show, the obligation to be present in the moment for the whole experience keeps me from sinking into the music like I normally do. Of course, none of this reflects poorly on Del. I’d love to see him again, in fact, if only for those transcendent freestyles.
Hamilton, bootlegged on video — Oh, I know. Don’t condescend to me. I don’t have a million dollars. Anyway. Hamilton is a marvel. The staging is brilliant, and never overbearing or too devoted to spectacle. The cast is uniformly outstanding, every one of them reaching the heights of their cast album performances live as well. Particularly outstanding were Renée Elise Goldsberry, flawlessly rapping the show’s most technically and psychologically complicated verses in “Satisfied,” and Leslie Odom Jr., who possesses the best singing voice in a cast full of them. But to continue our discussion of whether music is better experienced through one-on-one record spins or in more social settings, I watched this with a couple of mutually Hamilton-obsessed friends. And while I always relish the opportunity to trawl through a big, dense thing like Hamilton with others who have thoughts about it, there is also the possibility that the presence of others will disabuse me of deeply-held notions and precious illusions. I’ve always been on the fence about the moment in the show’s final number where Eliza sings about the orphanage she founded in her husband’s memory. With the chorus singing “the orphanage” in the background, it has always bordered on saccharine. But I’ve always put it under the category of “earned” sentimentality. I can usually just ride the tide of emotions from Hamilton’s death through the end of the show without being bothered by a bit of treacle. But this time, a rather unsentimental friend piped up at that point: “that’s kind of silly.” And she’s right. It is kind of silly. And it does detract from the finale of a show that has not misstepped like that at any prior point in its running time. And now I’m going to have to acknowledge that every time I hear it. Ah, well. Hamilton still gets a 99 average.
Lin-Manuel Miranda & Jeremy McCarter: Hamilton: The Revolution — As a book, it’s merely fine. The Hamiltome, as it is exclusively to be called, tells the story of Hamilton’s production and workshopping prior to its Broadway premiere, from the perspective of Jeremy McCarter, who was intimately involved in the process himself. It has a tendency to allow its chapters to become prose poems in praise of the various geniuses involved with the musical’s production — all of whom are eminently deserving of praise, to be clear. The issue is just that McCarter’s priorities don’t always seem to be what’s going to interest the reader, so much as a self-imposed obligation to extol every single person in the cast and crew. On the other hand, there are glorious moments. It is fascinating to read about Chris Jackson’s attempt to reconcile his character (George Washington) as a slave owner and a liberator alike, and having to give up. All the same, we shall eagerly await a less authorized critical history of Hamilton. But in the meantime, the Hamiltome is the single most essential element of the Hamilton paratext. Simply having access to excellent photographs from the production, alongside an authoritative full libretto and Miranda’s annotations (in a beautifully designed package, I should add) is worth the price of admission. I tore through this in the two days prior to watching the bootleg, listening to the cast album as I went, and it’s the most satisfying cultural experience I’ve had since the first time I listened to the Hamilton cast album. If you love the show, you should own this book.
Deltron 3030: Deltron 3030 — I stand by my original assessment that this record is a magical incantation. Everywhere you turn, Del is equating rap with computer code, and he relates technology to magic in the very first verse on the record (following from Arthur C. Clarke, one might observe). The notion that rap is magic, and can exert a force of will on the world is pervasive on Deltron 3030. It’s so obviously an incantation that it almost seems a banal observation to me now. What’s more interesting is trying to determine what specific change Del is hoping will take place. Let’s look first at what his character, Deltron Zero, is trying to do. (One of the key axioms of alchemy is “as below, so above,” so we can conjecture that there might be some relation between the aims of Del’s fictional self and his real-world self.) Deltron Zero is trying to topple huge, shady corporations. This is as tall an order in the Deltron universe as it is in modern America. And judging by the current state of things, this particular occult aim wasn’t wholly successful for Del. However, eleven years into the album’s mounting cult popularity, Occupy Wall Street happened. Let’s call it a weak and deferred magical consequence. (Perhaps if Event 2 had been a stronger sequel, we’d be watching Trump vs. Sanders right now.) Also, if bringing down the government is on the table as an objective, it took eight years and, um, the process of democratically electing a new president, but the leadership of America did in fact change to be more congruent with Del’s worldview once his album had become a classic. So, yeah. Deltron 3030 is a successful magic spell, designed to establish the Obama presidency. Now you know.
L.A. Salami: Dancing With Bad Grammar — Really on the fence about this. On one hand, Salami’s obviously super talented, considering that he only started writing songs a couple years ago. On the other, he maintains a welcome sense of irony throughout most of this, but occasionally nosedives into cringeworthy sincerity of the “nothing’s any good anymore!” persuasion. It’s sonically diverse, but without being especially adventurous in musical terms. And it’s just such a damn slog. God it’s long. My goodwill was running low by the time I got to the end of it, three days after I started. I guess we can chalk it up to a promising debut. Don’t know that I’ll return to it much, except for “Going Mad as the Street Bins,” which is awesome. So is “My Thoughts, They Too Will Tire,” actually. Really reminds me a lot of “It’s Alright, Ma (I’m Only Bleeding)” — not least because both feature many variations of their respective titles at the ends of verses, but never actually do a proper title drop. He’s clever. I have high hopes for his next album.
A Tribe Called Red: We Are The Halluci Nation — Oh man, this is good. I haven’t heard either of the first two Tribe Called Red albums, but this seemed like the time to jump onboard. There’s no need to point out how well powwow music and EDM work together. That’s been ascertained o’plenty. The thing I love about this is just how much sonic variety there is in it. Lack of same is oftentimes what alienates me from dance music. There’s some powerful rapping on here, especially from Leonard Sumner, but also from Shad. There’s Tanya Tagaq, doing her thing. Putting her in an EDM context limits her ability to show expressive range in her throat singing, but it also highlights her ability to use her voice as a rhythmic instrument. There are drum machines, but there are also whole tracks where the percussion has a beautifully acoustic feel. “Maima Koopi” has some seriously powerful drums. I could go on. Love this. A Tribe Called Red has been one of the most talked about acts in Canada for a while, but this makes it clear that they’re also one of the best. Pick of the week.
Ghost: Popestar — This EP from the delightfully playful Swedish metal band is really a stealth single. The original that starts it off, “Square Hammer,” is one of the most addictive metal tracks I’ve heard. It’s just a solid pop single played by a solid metal band. And the video is an instant classic. The rest of the EP is composed of covers, which are always going to feel less substantial. But, first off, the songs they selected for this are just a great bunch of songs. I hadn’t heard any of them, so I listened to the originals first and I had a grand old time. “Missionary Man” by Eurythmics is especially wonderful (again, the video is incredible). Ghost’s performances of these tracks honour the originals. This EP is really just “Square Hammer” and company, but it’s a fun listen. And it’s got great cover art that reminds me of Roger Dean at his best in terms of visual style, and Storm Thorgerson at his best in terms of concept. Two cathedrals play chess. Amazing.
Vulfpeck: Live at Bonnaroo — There are rough moments in this set, but it mostly only serves to demonstrate what champs these guys are. Theo Katzman is the MVP in a live setting. Shit, can that guy sing. Also, live, you realize that Jack Stratton, in spite of being the guy with the vision, is definitely the least accomplished musician in the band (a parallel to Lin-Manuel Miranda, perhaps). He’s also probably the most important, but it’s more a matter of big thinking than great playing. Can’t wait for the new album; dying to see them live.
The Memory Palace: “Haunting” — There’s a trend happening on this show, of Nate DiMeo relying more on archival tape to aid his storytelling. It’s a welcome addition. There was never anything wrong with the narration/mood music format of The Memory Palace, but it makes sense that if DiMeo is going to plunder history for stories, he should plunder it for raw material as well. The story itself is typically lovely, and notable for being discursive off the top. The main character doesn’t come around until halfway through. Really great.
The Bugle: “A Bugle update” — I confess that it’s probably an odd time to jump onboard with The Bugle, given that it has so recently imploded. But I’ve heard just enough of the old Bugle to know that Andy Zaltzman is the MVP, and the now-absent John Oliver was mostly there to laugh and groan at him. It’s not impossible that the new version of the show, with a rotating second chair of people like Wyatt Cenac and Helen Zaltzman will actually excel the original. We shall see.
Wait Wait… Don’t Tell Me!: “Chris Thile” — Wow, this is shlock. I came for Chris Thile (who doesn’t even play), and because this show has been advertised at me on who knows how many other NPR properties. It’s basically QI for dads. It is missing nearly 100% of QI’s wit, and rather than having the questions be absurdly hard ones that occasionally somebody will know, which is fun, they make them easy enough that people are unlikely to lose. Not listening again.
Welcome to Night Vale: Episodes 61 & 62 — “BRINY DEPTHS” is the perfect median Night Vale episode, in the sense that it mostly just hits the same familiar beats as every other episode, but then it provides a sublime moment near the end that makes you want to keep listening. That moment involves the whole of Night Vale being revealed as sleeper cell agents placed in the city to spy on each other. But the good bit is that after they’re activated, Cecil observes that they can no longer be secret agents. Now, they can only be themselves. Lovely. “Hatchets” expands one of the early series’ best jokes — a newspaper’s new media strategy is to kill bloggers with hatchets — farther than it needed to be expanded. It’s not bad, though. It offers a combination that I love, of horror and comedy both focussing their energy on technology. See this, and oh I guess also this.
You Must Remember This: “The Blacklist” episodes 1-4, plus Bogart rerun — This is maybe even better than the Charles Manson season. God, is it ever dense, but it does that thing that Karina Longworth is so good at, where it demonstrates how the movies weren’t just shaped by the society that birthed them, they shaped that society right back. The story of the blacklist and the Hollywood Ten is enough to make even a centrist boil over with anger, and Longworth is delighting in the telling of it. I can’t wait to get further into this, though I don’t know how she’ll beat the story of Dorothy Parker (who is, incidentally, one syllable and about half the political spectrum away from being my mother).
Theory of Everything: “You are so Pretentious” — Dan Fox is trying to reclaim the word “pretentious,” which sounds like a public service specifically for me. He has a book out about this. I think I might read that.
The Allusionist: “The Key part II: Vestiges” — A nice capper for what’s been a lovely two-parter. The first episode focussed on how languages are preserved. This one focusses on how they’re lost — and how they’re recovered. Great stuff. Also, it’s got original music that’s quite good.
The Heart: “Mortified” — Leave it to The Heart to select an excerpt from my least-favourite Radiotopia show that makes it look great. This is hysterical, and the only reason I’m not seeking out the full episode is that I’ve listened to enough Mortified to know that the other segments won’t live up to this. Still. Long live The Heart.
Code Switch: “Warning! This Episode May Trigger Debate” — The topic of trigger warnings is almost guaranteed to lead to shitty debate. This is far and away the most useful discussion of the topic I’ve heard — topping even On The Media, who did a decent job as well.
The Gist: “How Filmmakers Faked the Moon Landing Inside Real NASA” — Pesca can be abrasive, but I love him for it. The segment at the end of this where he delivers a straightforwardly Gen-X entreaty to millennials to for God’s sake choke back their principles and vote Clinton — and he’s accompanied by a hard leftist millennial who translates his rant for younger ears — is as definitive of this show as you’re going to get. The feature interview is amazing — Operation Avalanche has been recommended to me before. Now that I know it was filmed inside NASA with only the barest hint of authorization, I will certainly see it.
Imaginary Worlds: “Fantasy Maps” — The great thing about this episode doubles as the great thing about this podcast, which is that it helps us to see how nerd culture helps to define and symbolize larger issues in society. The maps published with fantasy novels are apparently becoming so thoughtful that they take into consideration the notion that maps are drawn in accordance with biases. Any map drawn within a xenophobic culture, for instance, is sure to place that culture’s geographic home as its centre. This is a thing that happens in real life, and it is now apparently being reflected in fantasy. Interesting.
Reply All: “The Grand Tapestry of Pepe” — The most entertaining listen of the week. I’m going to put it out there that it’s important for anybody interested in contemporary politics to be aware of the alt-right, even if they thrive on exposure. And this is a better (and more vague) introduction than the extremely bizarre explainer on Hillary Clinton’s website is. Within the course of a single Yes Yes No, Alexes Blumberg and Goldman and P.J. Vogt plumb the shallows of the right-wing internet’s id. And Alex Blumberg, in his bumbling way, hits on a really fundamental truth of the internet, which is that ironic hate is almost congruent with real hate. (He comes close to independently coining Poe’s Law.) This is funny and great. Pick of the week.
Pop Culture Happy Hour: “Emmy Awards, Hari Kondabolu and Alan Moore” — Worth hearing for the Alan Moore interview alone. For a magician with skulls on his mantelpiece, he is a very warm person. Also, the fact that Grease beat Lemonade at the Emmys is a travesty. Where’s Kanye when you need him?
Science Vs.: “Hypnosis” — The most notable thing about this is that Jonathan Goldstein stops by to read a CIA report, and goes out of character with no explanation. His very presence puts strain on verisimilitude.