As I listened to Califone play, I thought to myself that this band’s music seems composed entirely of grace notes. Sure, there are melodies, lyrics and all the traditional trappings of standard pop, but what makes it so enjoyable is everything else. Twittering rhythms and layered sounds are accentuated by subtle and ever-changing percussion. There are bells and rattling beads and wind chimes and stings and grungy, dirty, grinding bass guitar licks all floating below Tim Rutili’s ghostly voice. To say the music is just grace notes isn’t fair, but it characterizes how different this group’s sound is. It’s post-rock and experimental, but with a folk heart and loveable DIY aesthetic.
Monthly Archives: June 2011
This is the second of our two part post on the Summer 2011 edition of Four Eleven, a recurring cocktail party held by the authors of bybe. In this post, knowb discusses his contributions to this iteration which featured a menu of all original drinks. If you haven’t done so already, check out the first post here which introduces Four Eleven and details contributions from bybe’s other author, mccowan. Again, both authors graciously thank Mandy McGee for photographing the event and allowing us to reproduce her pictures here. Continue reading
Your two authors here at bybe collaborate on many things besides cobbling together the occasional posts you stop by to read. One of those things is a recurring cocktail party we call Four Eleven where we can flex our mixology muscles and hone our bartending skills. The parties are of course very fun, but we take them seriously and use them as an opportunity to challenge ourselves, to experiment, and to gain new experiences and much needed practice. Continue reading
Not without controversy, the Palme d’Or at Cannes this year was awarded to The Tree of Life, the fifth film in nearly forty years by American director Terrence Malick. As the title suggests, The Tree of Life attempts to relate our cosmic origins, the mundane and sometimes tragic occurrences of our lives, and aspects of our emotional and spiritual selves like love, redemption, and forgiveness. Without too much spoiler, the anniversary of a tragedy necessitates a phone call between father and son. Most of the film is spent on a journey through the son’s memories and thoughts on existential questions that are ultimately raised when one recalls an event of this enormity, as if the viewer were privy to the flashbacks and mental images behind the closed eyelids of a person deep in recollection. As such, The Tree of Life is impressionistic and not strictly temporally ordered, which may alienate filmgoers – it continues to polarize critics after Cannes.