musings from boston

screams, whispers and songs from planet earth

Tanglewood Magic with Emmylou Harris and Ry Cooder

Disclaimer: In the interest of transparency, I will reveal that I’m writing this remembrance a half year after the event, which was on July 1, 2018. However, it was such a wonderful experience, I feel I must mark it in some meaningful way, even as tardy as I am.

This is one of those amazing events that you occasionally stumble upon, entirely by accident. I had heard that Ry Cooder was touring, and knowing the my friend Victor is a big fan, I had done a little research to see where he’d be playing. I think there was a local show, but then I saw, to my astonishment, that he would be performing with the legendary Emmylou Harris – at Tanglewood, no less!

I’ve never seen either of them, so this was too good to pass up. I had been to Tanglewood Music Center, summer home to the Boston Symphony Orchestra. It was with my parents, when I was very young, and it was most certainly for classical music, which Mom and Dad favored.

This time, Victor and I took the drive out to Lenox, Massachusetts, for a well-deserved road trip. Just getting away from my demons and the mile-long To Do list was well worth the time and expense. Lenox is a charming town in the Berkshires. The entire area, once you exit the Mass Pike, is laid back and relaxing.

And the show? Magnificent. Emmylou opened (imagine that goddess as an opening act!), and her glorious music was matched only by her warm, funny and humble spirit. Her band was great, with fiddle, banjo, guitar and drums accompaniment, but her powerful vocals were front and center, as they should be. Yes, she still sounds great. You can see the setlist, and suffice it to say, several tears were shed throughout the course of her set. And when Townes‘ goosebump-inducing “Pancho and Lefty” came around, I was done for.

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After a brief intermission, Ry Cooder and his band took the stage. Augmenting his tight band was North Carolina R&B trio the Hamiltones, whose breathtaking tenor vocals and close harmonies brought the classy proceedings to an even higher level. There were rockers, there were ballads, there was a lot of delicious sax and of course, Cooder’s trademark slide guitar. Yowsa. Special ‘shout out’ to Robert Francis, an awesome musician in his own right, whom I was stunned and delighted to see grooving along on bass guitar.

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Tanglewood, yes, is a bit of a hike, but as an acoustically marvelous amphitheater, it’s one of the best places to see your favorite musicians. If you have the ways and means, do it!

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Erin Pellnat reminds us to pick up those pennies

Erin Pellnat

Erin Pellnat

There’s something delightfully nostalgic and soothing about Erin Pellnat’s vocals on her new song, “Pennies” that can calm even the most troubled mind that has been caught up in the rough tides of these disturbing times. I don’t know if it’s the gentle accordion and soft percussive shuffle or her 1950s Patsy Cline vibe, but this song takes me back to simpler days. As she and her band sweep us away into a more carefree life (or at least the wistful illusion of such a life), she reminds us that, despite the craziness encircling us, we can still find joy in our lives.

I know, I know that sometimes it seems
this nightmare is swallowing our dreams
But there is never ever a doubt
we’re gonna turn this nightmare inside out.

And I still bend down to pick up pennies
reasons to smile, you don’t need many
and I still skip stones,
still balance on the guardrail on that long walk home.

Pellnat is a singer-songwriter based in Brooklyn, New York. In addition to her solo work, she sings in the band Caretaker. “Pennies” was written by Christopher Pellnat, a fellow singer-songwriter and guitarist in The Warp/The Weft. He has a recent song of his own, titled “Ode to Olivia Rhodes,” inspired by a fictional character whom he “met” in the virtual reality game, Lone Echo. Erin sings backing vocals.

You can listen to “Pennies” on Spotify. “Ode to Olivia Rhodes” can be found on bandcamp.

Don’t forget to pick up those pennies — we need all the luck we can get!

Erin Pellnat: twitter | instagram | bandcamp | soundcloud | youtube

Caretaker: web | facebook

Christopher Pellnat: soundcloud | bandcamp

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My Parents’ Books

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They’re on my bookshelf now, these books that my parents once read. The ones that belonged to my father are an imposing presence, with titles like “The Quest for Consciousness,” “The Quantum Universe,” “On Intelligence” and “Who’s Afraid of Schrödinger’s Cat?” There are books about Einstein and about the digital age by Walter Isaacson, and elegant tomes on cybernetics, the brain and nervous system, free will and the history of optical character recognition. Their pages — hell, even their covers — taunt and challenge me. It’s as though each one is pompously inquiring, “Are you clever enough to understand even the first page of me?” I don’t know. Am I?

Dad was a smart guy. That’s putting it mildly. At the Bronx High School of Science in 1946, he was a member of the physics squad, which sounds like boot camp for the mind (and it probably was). He graduated from City College as an electrical engineer and went to work for the Burroughs Corporation, and then G.C. Dewey Corp., researching the earliest computers. In the ’60s, he did contract work for the defense department. He migrated to working in medical technology, became a key researcher and then moved to Connecticut with Mom and I in tow to start his own company, developing ultrasound and light scanning devices to detect breast and prostate cancers. He then worked on improving medical equipment for other companies.

I realized the true significance and reach of his work when I was at the Lahey Outpatient clinic in Danvers, having a mammography done. I saw the machine and casually mentioned that my dad was involved in its development. I told the lead technician his name, and she said she knew of him. She asked me to thank him for his work on equipment that had become the diagnostic standard for the early detection of breast cancer. He helped save lives. I knew what he did, but somehow never realized how important it was, or how well-known he was to those in the field. My father had none of the airs that so many in the medical profession boldly parade around with.

So, the books. I initially went through them in their Connecticut home, deciding which to take and which to sell. Nothing sold, as it happened. That privileged suburban West Hartford crowd didn’t know what to make of them, I’m sure. A colleague of Dad’s ended up claiming many of them. I had a method. If I opened to a random page, and all I saw were equations, I would give it a hard pass. If instead my eyes set upon a paragraph of prose, even if it was cryptic, I would add it to my “take” carton. Though, as it happened, I did take one of the “equation books,” just as a souvenir.

I will read them all someday.

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Mom’s books are far more approachable. She wasn’t a big reader, but there are memoirs of Vernon Jordan and Albert Schweitzer, two books about the Desiderata (Mom was a huge fan and gave out framed prints to everyone she met). On a related note, the poems of Max Ehrmann sit next to them on the shelf. There’s “The Power to Heal,” about healing modalities around the world, and “The Essential Norman Rockwell,” her favorite artist. “The Golden Children of Hawaii” was probably a gift from her brother Ray, who lived there for many years.

“The American National Red Cross First Aid Manual,” 1966 edition, brings to mind her nursing days. There’s our old Flushing, Queens address and telephone number on an inside page, along with the request, please contact if found.”

I was so caught up in various psychodramas throughout my life. I am far more contemplative now. In addition, I feel rather melancholy, missing them both terribly, so these books, which bring them so readily to mind, are a great comfort. They are like old, familiar friends, gathered around in a disparate yet tight-knit group, cradling cups of herbal tea and reminiscing.

Vintage, venerable, comfortably worn lives well-lived.

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Choose Wisely

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In the dream, I was at some sort of gathering. At one point, the hostess brought me to a low, large table, on which many beautiful and interesting items displayed. I was told to pick out an item from each of three or four sections that I especially resonated with.

I went to work on doing this. There were large, elaborate sculptures and smaller precious pieces that appeared to be quite valuable. It was all quite overwhelming, and I felt like I was taking a very long time to choose.

Some time had passed, and it was later on, after this exercise, which felt like I was being given gifts of my own choosing — what I wanted or wished to be.

I looked at what I had chosen, and at first was very disappointed. Before me was a set of plain leather pocketbooks in various color shades of suede or leather. Practical, perhaps, but not terribly exciting. My initial thought was that I had chosen poorly – that out of all these exotic, beautiful things, I had selected a boring set of bags.

Did I only see myself as capable of just basic things in life, and nothing extraordinary? Had I lost my high ideals and visions?

The hostess told me that it showed how I wanted to be seen by others, but she saw my disappointment. So she said she would bring back just a small selection of items and I could make another choice.

She explained how they selected many, many items as part of a class assignment, so they could do this exercise for various different people. Now it began to feel like a special gift, a sort of divination.

She set before me several sets of postcards or little pictures. I looked through them. One or two sets depicted Native Americans; perhaps some were engaged in tasks. I set aside these two sets of cards which somehow merged into one larger set.

It was after I did this that I realized what this exercise had been about. It had to do with my recent inquiry and struggle to find who I really was.

My spirit guides were helping me in my search for self and my quest for purpose.

During these excruciating months, while I have been reviewing every single possession, both at my house and my parents’, unbeknownst to me (I thought I was just being over-materialistic), I had been unsure of my true nature and unclear in my direction. What in my life held the most meaning for me? What was most important now, going forward?

It was less about reinventing who I was to be after the death of my parents, to whom I had been extremely devoted, and more a re-discovery of my true nature. I had felt lost, adrift, and now I was in the process of being found, with the help of some friends in the spiritual realm.

Waking up, I wasn’t disappointed in my lack of vision, but instead, was extremely grateful.

I had been led through a very long, dark corridor, back to myself.

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Jason Ebbs Pays Homage to some Familiar Villains

Original photo by Ingrid Angulo

Original photo by Ingrid Angulo

Ah, the exuberance of youth! At the tender age of 20, Bostonian Jason Ebbs is already writing and singing rambunctious rock and cheery pop songs about feeling isolated and relationships gone wrong. On his debut EP, Familiar Villains, there’s a grungy garage tune with a bit of experimentation (“Stone in the Road”), dreamy indie-pop (“First Trip to the Ocean” and “Atlantic Pathfinder”) and charmingly folksy storytelling (“Average Joe”). But a standout track, in all its goofiness, is “Please Have a Seat (on a Cactus).” For a ‘she done me wrong’ song, it’s a pretty funny one.

You don’t have any moon rocks to hold yourself down
I’m hanging up on Mars but you’re stuck on the ground
I’m in the mountains of Saturn looking down at your face
While you’re crying in the desert cause you left me in space
I know it’s all an act
Cause you treat all our fights like it’s practice
So please, have a seat on a cactus

Ebbs is a Northeastern University student and independent artist who has been making music for more than 10 years (9 or 10 years old? not too shabby). He’s inspired by the classic rock and psychedelic music of the ’60s and ’70s, which he blends with modern styles and sensibilities. He started releasing music in November of last year and the EP came out in mid-May.

Familiar Villains (is this a pointed reference to old girlfriends? I wonder…) can be streamed on Spotify or listened to and purchased (name your own price) on bandcamp.

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Places Erupt Lampoon Online Trolling in “Bloggers”

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Well now, this is timely. Canadian orchestral pop sextet Places Erupt have beautifully orchestrated their own eruption on their upcoming 45 EP. It’s scathing commentary on the times we find ourselves living in, with the accompaniment of deliciously evil gypsy violins. The first single, “Bloggers,” is an acerbic treatise about online trolling, the political divisions in our country and the ability to use the internet as a cloak of anonymity that allows one to freely breed hate and poison ordinary discourse, with no personal responsibility. And it is spot on.

“Bloggers” was filmed by Pedja Milosavljevic of Balkanada, a Toronto-based independent production house. I’m tempted to say that this video is hilarious (and it is), but it’s also incredibly sad.

In the video, our defiant protagonist, firmly in the purple and orange camp, is surrounded by co-workers and strangers on the street who are yellow and blue button wearers. Meek and well-mannered, he undergoes a frightening transformation once he sits down at his computer. He’s a man “who shies away from expressing his extreme political beliefs face to face with people, just to go home and rant at nauseam online — unhinged and uninhibited.” Know anyone like that? The over-the-top exaggeration is what makes it so amusing, but it really isn’t an exaggeration at all, is it? The video purposely doesn’t name a specific issue, but rather “a polarity of political opinions that exist between him and everyone else.”

On their new EP, Places Erupt have chosen to focus on current events and topical issues on their new release. As they explain,

Our forthcoming 45 EP both lashes out and laughs at the terrifying times in which we are currently living in. Its lyrical content covers everything from Tinder to tourists to trolling, returning time and again to the villain at the centre of our current collective nightmare — the 45th president of the United States of America.

The band will be celebrating the release of “Bloggers” on June 9 at Junction City Music Hall in Toronto, and they’ll also be performing on June 15 at the Church of St. John the Evangelist (Cinquefoil Series) in Hamilton, Ontario.

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In “Defenseless,” Blackpaw Ponders The Importance of Connecting in a Disconnected World

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At some point in the future (perhaps in the very near future), we’ll remove all the risk and all the unknowns of meeting new people by choosing to socialize only in a virtual world. One might argue that with Facebook and Twitter and an infinite number of other social network platforms, we’re there already. But as far as I know, we can’t yet have a complete virtual experience that in any way rivals the full sensory adventure of really being there and interacting with others.

In their debut video for their song “Defenseless,” Blackpaw, the alter-ego and artistic project of Los Angeles songwriter and musician Adrian Rodriguez, considers this possibility. In doing so, he offers some poignant social observations about L.A.’s dating scene and our need to connect with someone on a deeper level. The song, as its title suggests, is about opening yourself up for whatever comes and taking a chance. What possibilities lie beyond your fear?

BLACKPAW – DEFENSELESS from BLACKPAW on Vimeo.

After watching this hypnotic and slightly sad video, with its surprise, goosebump-inducing ending, I found myself Googling “Connect” to reassure myself that this wasn’t actually a thing. Google Connect, anyone? But no, if you look carefully at the packaging in the video, you’ll see that the manufacturer is Blackpaw. Whew!

The film is cleverly crafted by Blackpaw and Mitchell deQuilettes. It’s an engaging story with subtitles, giving it a French New Wave film vibe, while the song is like a narrator’s commentary. It features the spellbinding couple Mani Yarosh and Quincy Banks as two people who are searching for connection and intimacy in the wilds of Los Angeles nightlife, from the safety and comfort of their own apartments. Is it worth taking a risk for a chance at love? We’re left with that lingering question.

The video was originally premiered by Live FAST Magazine. “Defenseless” is available on iTunes, Spotify and Google Play.

This summer, there will be two more singles ahead of Blackpaw’s much anticipated debut EP. They have a few shows scheduled — June 15 at Moroccan Lounge in Los Angeles with Harley Cortez (for his release party), June 16 at the Supergloom Fest in Long Beach and June 29 at Zebulon in L.A. with The Big Pink and Marc Baker.

In an interview with Noisey, Rodriguez explained the inspiration behind the song:

‘Defenseless’ is the inner monologue to the idea of letting yourself feel something no matter what the outcome, good or bad. It’s about having your preconceived notions and having your guard up. Once you let it all go and get lost in it, you’re truly able to experience the moments that become memories. I think it’s important to cherish as well as let go. No matter how good it feels, or how much it hurts. These energies build us.

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Miele Explores the Human Condition and Offers Sweet, Flowing, Therapeutic Sustenance

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Music, for me, has always been therapeutic, a way to cut through unpleasant, undefinable emotions to get at the underlying truth of a situation and be more in touch with myself. Boston’s Miele likely understands this on a deeper level than most, since the band is entirely made up of mental health and special education professionals. Their music focuses heavily on mental health themes, such as in “Anxious Ghost,” a single from their upcoming Kickstarter-funded debut full-length album, Transience (out June 22). The song was first premiered at Sound of Boston.

“Anxious Ghost” begins at a frenetic pace and varies between edgy nervous energy and slow yet tightly-wound moodiness. It is the perfect musical expression of an anxiety attack, and feels like both a raging battle and an exploration of the darker mysteries of human existence. The ghost is one’s anxiety that haunts the spirit and lingers inside.

Miele formed in 2014, when therapist, keyboardist and lead vocalist Melissa Lee Nilles met fellow therapist and guitarist Joseph Spilsbury in graduate school. Miele, Italian for honey, is an appropriate name for the band, both as an apt description for Nilles’ velvety, supple vocals — and because the band is known for drinking the yummy substance from the stage. Their fans even bring them treats.

Musically, the band is beholden to no singular style, but instead they honor wherever the personality of the song takes them. At times, it’s hard-driving rock with propulsive drums and electric guitar; at other times, the music is slow and dark, melodic and mysterious, with gently picked guitar and piano trickling like a meandering stream. Nilles’ vocals travel effortlessly through their many moods — frantic and biting, forceful and determined, melancholy and dreamy, exotic and magical. It is one wild ride through the ebbs and flows of human experience.

The complexity, depth and fast-changing moods of the songs on this ambitious first album makes perfect sense for people who work closely with human emotions. Besides which, any band that has a song titled “Klonopin Automatons” (a standout track in a sea of discoveries) instantly has my heart. They describes the inspiration behind their album thusly:

As a unifying artistic vision for the album, Transience aims to explore the passing of ephemeral experiences such as anxiety, dreams, love affairs, travel, connection, existence, and the creative process.

The band has played Boston-area venues such as the Middle East Downstairs, ONCE Lounge and The Plough and Stars, and they’ve received airplay on WMFO, WAAF, WEMF and elsewhere. They’ve also gotten some attention from WBUR, The Boston Globe and Cambridge Day, in their efforts to save Cambridge rehearsal space EMF from closure.

Miele celebrates the release of their debut album on June 22 at The Burren, along with other female-fronted bands Man Trouble and Boketto The Wolf.

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The Dollhouse

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In the 1950s, it was a home of the future. There were shiny linoleum floors and wall-to-wall carpeting, with gleaming appliances and a neat lawn. The child’s dollhouse, much the same, designed to make a little girl’s dreams come true. She imagined it as her own private place — just the same as the home she grew up in.

In her land of make-believe, the rooms were handsomely appointed, neat and tidy. The master bedroom had as a regal, golden bed and elegant headboard, with a baby sleeping in a wooden cradle. A gleaming tile bathroom was right next door. There was a child’s festive bedroom, with a circus elephant, various plush toys and clowns waiting patiently for children to play with. The home, though it was modern and pristine, seemed sad and empty.

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The living room, too, awaited inhabitants. A comfy red armchair, upholstered in a rich Asian fabric, kept company with a sparkly blue-black chair and round, low black marble coffee table. A white silk divan stretched out luxuriously, all under the watchful eye of a stately white marble grandfather clock, which presided over the glamorous décor with a sense of haughty importance.

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This was a room imagined for gracious dinner parties, and a cocktail trolley stood waiting to entice guests with refreshments. Upon more careful inspection, there was one single child, who sat alone on a red leather sofa.
But where were the parents? In the kitchen, there was no one, and the table, sink and counter were oddly free of plates and dishes.

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The little girl who was busy playing with her imaginary family wondered this also. Would the children be left unattended in such a well-appointed home? Surely not?

Her young, innocent gaze pulled back from the individual rooms to take in the entire structure. And it was then that she saw her. The woman of the house was harried and staring off into space. She sat slumped in a chair against the outside wall of the small patio on the second floor, with a look of distress on her movie starlet’s face. Her hair was untidy, and she wore a dirty dress that had a blue and white blouse and white skirt. Her bright red shoes were the only indication that she was once a great beauty who lit up dance floors and loved to spend the evening sashaying to big band music. This was when her life was more carefree and the world, a simpler place, was filled with limitless possibilities.

I can tell you that her husband was busy at work, researching and designing medical equipment that would one day save many lives. He loved his wife and their children, of course, but he was so involved in his work, it was so all-consuming, that it might have, at times, seemed like he suddenly awoke and found himself in a family unit not of his own choosing.

It is now that fantasy and reality merge, as the young girl, playing with the dollhouse, wonders about her own parents and her upbringing. Pictures of the dollhouse, being sold in an estate sale, stir something undefinable deep inside her. She allows herself to feel the grief of her recent loss, pushed out of the way to make room for endless probate papers, settling of bills, clearing of family possessions and all the other hard work that accompanies grief.

She asks herself these questions:

  1. Why was mom so sad? (it was likely related to the physical abuse she suffered as a young child)
  2. What could she have done differently to make mom happier?
  3. What questions could she have asked to show dad that she was interested in his work?
  4. Was she really uninterested in his medical research, or did it just seem too far over her head for her to comprehend? (she probably felt intimidated by his superior intelligence)
  5. Why did dad feel at a loss in relating to his young daughter until much later in life?
  6. What was it exactly that made dad so mistrustful of people? (very likely the knowledge that he was a “mistake,” an unwanted child)
  7. Did she do enough to support them?
  8. What can she do, now that they’re gone, to properly honor their memory?
  9. What would they have wanted the most? (for her to be happy, as they often said, but how does one achieve that?)

She is left gazing at the dollhouse, surrounding by sadness and unanswered questions. But a small voice inside implores her to continue, to push on, to work through it — and to write it all down.

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A Lovely Bit of Psychedelia from Over-Thinker Mute Choir

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As a fellow over-thinker, I know this problem all too well. We become so overly sensitized to other people’s ideas and opinions, to that clamoring of outside voices, that we can no longer hear the quiet but essential inner voice. Decisions are mulled over for far too long, we begin to second-guess ourselves, we hold others’ opinions in far greater esteem than our own, and before we know it, we’re lost and without a clear sense of direction.

Set against a backdrop of ’80s synth-pop that wobbles around and then happily veers off into a dreamy psychedelic excursion with string quartet interlude, “Election Season” is an exploration of ignoring all the outside voices and listening to your heart to show the way.

Election season is a song that came as a sort of emotional response to a time in my life where I had a lot of different voices around me telling me the versions of myself that I should be, and that really messed with my head for a while. It left me in a place in my music and in my life where I felt very indecisive, like I didn’t have an objective view of who I was or what I wanted. The song came as a sort of response to that feeling. The music was a result of me rejecting that notion and not really thinking too much of what the song was supposed to be, but just letting it come out naturally..”

Mute Choir is the brainchild of Sam Arion, who was born in Iran and raised in suburban Toronto. He’s a man of many moods, from the alt-pop of “The Pedestrian” to the thoughtful introspection of “Behind the Bars” to the dancy indie rock of “Minefield” to the expansive “Election Season.” This promises to be a wide-ranging and eclectic first album.

“Election Season” is the second single from Mute Choir’s debut album Behind the Bars, which will be released on June 8. Until then, stream “Election Season”, immerse yourself in its depths and listen to yourself. You have a lot to say.

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