Ball of Wax 61 Songs: KPH & the Canary Collective – “Tell My Dreams”

I swear I didn’t intend to front-load this particular volume of Ball of Wax with songs about loss, it just kind of worked out that way. KPH’s lovely, languorous “Tell My Dreams” is clearly an ode to a lost love, but it’s so subtly written that it’s unclear just what type of loss has occurred. For me, that particular disconnect between dream-life and waking life is reminiscent of what can happen when a friend or loved one dies, but I’m sure it happens when relationships have ended as well. In your dream everything is just as it was: your person there, your love intact. But then, when the dream is over, as KPH sings: “waking up’s like the radio plug’s / Been ripped out suddenly / The music’s stopped, I’m here alone / You’ve dropped your dance with me.” It can be a good thing to see people in dreams you won’t ever see again in real life, but sometimes you just wish, as she also sings, that your soul would get the memo.

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Ball of Wax 61 Songs: “Bitter and the Herb (for Marco)”

Our dear friend Brittain Ashford returns with a gorgeous ode, all piano and clarinet and Brittain’s smoky alto. You could imagine this song being picked out in a dark bar at the end of the night, barely noticed except by the broodingest, keenest-eared patrons – which is appropriate, as it was written in tribute to a bartender who is no longer with us. Perhaps the deftest moment in this elegantly crafted song comes when she sings “sometimes you want to go where everybody knows your name” – in a song about a bartender – and it doesn’t make you crack a smile, or wink and nod, at least not right away. It flows into the next lines, about friends who will give it to you straight, about whether there are lessons to be learned, and it just works. And then, sure, you go, “ha, Cheers,” and imagine the subject of this song doing the same from the great beyond (and oh, how I wish I believed in that beyond sometimes). It’s a beautiful reminder that sometimes funny things can be fraught with grief, and that it’s okay to be funny when you’re grieving.

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Ball of Wax 61 Songs: galenbaby – “Cats”

This pandemic is doing strange things to all of us. Our dear old friend Galen Disston, recording as galenbaby, appears to be coping by cuddling up with some synthesizers and channeling the inner lives of his cats via his own stunning voice. “Cats” is simple and eerily gorgeous: a couple synth parts loop and phase, while Galen repeats his feline refrain with a variety of melodies and emphases: “Did you hear me waiting at the front door? I was waiting for you.” One brief moment of multi-layered harmony opens up that “waiting for” moment in the middle of the song, but mostly it’s just one Galen, quietly and beautifully meandering, wondering, did we hear him waiting?

Note to Galen: If I hear you waiting at my front door, I will let you in. (Assuming you’re wearing a mask, of course.)

Editor’s note: This song was so nice, we reviewed it twice! Here’s Steven Scribner’s take:

Music with a cattitude! There are examples in other genres of course (Rossini’s operatic “Cat Quartet” is a particularly hilarious example) but here we have an indie-rock track that suggests felinity and seems to get into the cat’s mind as well. How so? Well, the weirdly-reverbed synth slinks and struts (“slithers” is entirely the wrong animal) like a mouser stalking your eardrums. The vocals (spare, with only occasional overdubbing) don’t meow, exactly, but there’s that quality of incessant yowling (subdued in this case) because, as always, you’re ignoring the tabby waiting not-so-patiently by the door. Of course, there’s not much lyrical content here: the cat’s waiting by the door, and you’re not letting him in (or out), so the cat’s waiting by the door, and you’re not letting him in (or out), so the cat’s waiting by the door and you’re still not letting him in (or out) and on it goes. But the cat’s probably not thinking about going in or out anyway, but merely about not being let through the door, so that’s all that needs to be said. Altogether this is a fun little tune. Two dewclaws up.

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Ball of Wax 61 Songs: Maluhia – Long Drive Out to the West Side

After a couple of emotionally intense tunes, on track three we have been blessed with a moment of instrumental relaxation and repose, courtesy of the Hawaii-based artist Maluhia. “Long Drive Out to the West Side” blends elements of electronic and Hawaiian music to create something new, and much-needed in these times. Bubbling beeps and boops combine with slide guitar and a relaxed, syncopated beat to help ease us down the road. I assume this piece is inspired by a drive to the west side of one of Hawaii’s many islands, but this track would be the perfect soundtrack to any drive, to the west (or east) side of anything. All I ask is a full album to go with it, so as to properly flesh out a longer drive. I’ll keep this on repeat in the car until then.

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Ball of Wax 61 Songs: Ken Cormier – “Look in a Mirror”

I won’t belabor the point, but there’s no way around the fact that the we are living in a time of unbelievable grief. In addition to the extra layers of grief we’re all dealing with now (200,000 pandemic deaths, the loss of a Supreme Court champion for civil rights, looming fascism), we still have all the more usual forms of loss and grief to deal with: deaths of family, friends, beloved animal companions – all of it is still happening, and it all still hurts. I don’t know if I would have picked up on it if Ken hadn’t told me – I’m not super perceptive when it comes to interpreting lyrics – but “Look in a Mirror” is a song about such a loss, and as such it is both utterly timeless and perfect for these times.

The song, Ken’s placid voice easing us through it, manages to be both calming and unsettling at the same time, the 5/8 rhythm keeping us on our toes all throughout, looking around the corner. The chorus lulls us into a peaceful feeling as it starts: “We went down to the cove on our own, skipping stones. Felt like we were at home.” And then, just as we’re easing into that warm feeling, it comes: “Except that I was alone.” This moment of relaxed camaraderie becomes a moment of poignant loss and loneliness. Anyone who’s lost someone close to them knows this feeling, and Ken Cormier puts it into song subtly and artfully.

(Ken Cormier is an associate professor of English and Director of Creative Writing at Quinnipiac University in Hamden, CT. )

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Ball of Wax 61 Songs: Chris Klepac – “Corner”

Surprise! Ball of Wax 61 is out! We decided to release first and post track reviews later, since everything is topsy-turvy in these times anyway. (Stay tuned for a release show announcement, too!)

Chris Klepac – previously heard in these parts as half of Stereo Sons – has left Seattle but returned to the Ball of Wax fold, with this perfect album-opener, “Corner.” Chris, along with Stereo Sons collaborator Mike O’Doherty and bass genius/longtime Ball of Wax Friend Carlos Tulloss, starts us off with a head-bobbing drum/bass/keys groove, punctuated with languid guitar melodies. Most of the songs on Ball of Wax 61 were created during these strange times we find ourselves in, and reflect that in some way. I don’t know if that’s the case with this one, but the lyrics do resonate. Lines like “Still a damn sight better than just waiting ’round here to die / all that wishing and hoping,” and “made it through the morning / could have been much worse” certainly speak to me particularly clearly right now. But at any time, this is just a damn fine piece of music, beautifully written, arranged, performed, and produced.

And I have to take a moment here to call out bass treasure Carlos Tulloss. The way the steady, finger-plucked eighth-note groove of the verse opens up into the half-time chorus part, Carlos’s fingers effortlessly – but not showily – flying up and down the fingerboard, counterpointing low drones with high chords and melodies, just gives me a warm, happy feeling. Carlos Tulloss for President of Basslandia!

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Album Review: Darryl Blood – Air Drop

Darryl Blood - Air DropDarryl Blood – Air Drop
(2020, self-released/Bluesanct)

Darryl Blood’s compositional versatility should come as no surprise to those familiar with his material. From his work with Boston act Turkish Delight (touted as a favorite of modern noise godfather Thurston Moore) through collaborations with artists of various stylistic backgrounds (full disclosure: I have been one) and on to his solo oeuvre, Mr. Blood has proven his skill in genres as disparate as acoustic pop and horror film soundtrack. His score for 2018 horror film Deathday (also known as The Campus) gives the listener a run-through of his talents across a range of instrumentation, arrangement, and mood.

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Ball of Wax 60 Songs: Marc Manning and The Laughing Group

Marc Manning: “mirrors facing mirrors”
Manning overlays a pensive, brooding acoustic guitar ballad with an unsettling synthesizer that buzzes like an insect out of the corner of an eye.

The Laughing Group: “Lifeboats”
This song is aptly titled, as it evokes a modern sea shanty packed neatly into this compact pop gem with a soaring chorus, lush backing vocals, and the pristine sheen of Appalachian reverb.

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Ball of Wax 60 Songs: Too Tired to Say Anything and Perish the Island

Too Tired to Say Anything: “Sleep Suffering”
Cinematic ambient electronica with an undercurrent of bubbling paranoia below the calm.

Perish the Island: “It Is My Ambition”
The sound of a busy power plant and high speed interstate traffic gives way to the icy chill of bells, clangoring metal, and taut drumming.

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Ball of Wax 60 Songs: Laudatory Consortium and Gregg Daniel Miller

Laudatory Consortium: “Awareness Spectrum Narcotic”
In an alternate universe, where sonar was invented by a sentient car horn, an underwater drum corps heralds the murky sunrise and summons the workers to their labors.

Gregg Daniel Miller: “Toward a new day”
I dreamed I wrote a Netflix drama about a raccoon who became a lawyer specializing in settling disputes among the creatures of the forest; this was the closing credits theme.

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