Elemental

Ryan Montbleau unveils first of four new EPs

On the first track of his latest record, Ryan Montbleau celebrates imperfection. “If things don’t have to be perfect, it’s a lot easier for them to be right,” Montbleau sings, quoting his therapist.

There’s a lot of self-care on the new EP Wood, the first in a series to be followed by Fire, Water and Air. Montbleau tends to look on the bright side of things, like his upcoming gig at Portsmouth’s Music Hall on March 19. True, social distancing rules will reduce crowd size, but performing in the storied Historic Theatre instead of the smaller Loft space is a big plus.

“I’ve always wanted to play there; all it took was them limiting capacity to 20 percent,” Montbleau said with a laugh in a recent phone interview.

Similarly, the Massachusetts-born singer-songwriter managed to turn his pandemic year into a growth experience.

“It kind of sped up the process of life,’ he said. “It’s weird, but in some ways I’ve almost never been happier.”

Montbleau purchased his first house, in Burlington, Vermont. He took piano lessons, did weekly Facebook Live sets and the odd solo gig, and appeared on a local music talk show.

“I’ve been very lucky through all this; it’s kind of allowed me to stay in one place for once and start to build a home life,” he said.

Spotify and other streaming services provided a cushion as well.

“I’ve been building this thing for 20 years, and I don’t have to tour my face off like I used to,” he said.

One bit of good fortune: He completed the basic tracks for the new music in summer 2019, playing with a rotating cast that included jazz jam legend Martin Medeski. Montbleau worked with producer Adam Landry (Deer Tick, Rayland Baxter) at Guilford Studio in southern Vermont.

“I had just amazing people coming in and out,” he said. “Turning it into a record [is] what’s taken the last year and a half … a lot of tweaking, taking things out and putting them in.”

He divided the collection’s 15 tracks into four themes. Wood is rustic and down to earth, while Fire rocks hard. Water is calm, reflective, with songs inspired by time Montbleau spent doing medicine work in Peru.

“I would sit in the jungle in a tent for 10 days and work with different plants,” he said, calling the experience “pretty life-altering. … It points you in a different direction. … I feel like some of those songs were gifts; that’s why they ended up on Water.”

The final chapter, Air, offers a sense of closure and peace. It ends with “The Dust” and Montbleau singing, “just know that you are not alone, and that’s all you get to know now.”

Wood, Fire, Water and Air’s songs reflect a long and sometimes difficult period for Montbleau.

“My old band split up around 2013 and I lost my management at the time; I had a long relationship end and I’d been on the road for 10 years,” he said. “I had a lot of growing to do. Since then, I’ve been searching for who I am, how to heal and how to be better.”

Wood was scheduled to be released on March 12; the others are expected to arrive over the next three to four months.

The just-released EP includes the charming “Ankles,” an autobiographical song that touches upon his first tour, where he suffered a burst appendix and a busted van. Montbleau soldiered on in spite of that nightmare, becoming a festival staple along the way.

“If I could survive this, I could survive anything,” he decided.

“On the road I found my muses, off the road I lost my mind,” he sings, concluding with, “off the road I lost my uses, on the road I found my shine.” For most touring musicians, Montbleau explained, standing still is where the trouble begins.

It’s also where his growth had to start.

“You get so used to being on stage and having people appreciate what you do… when you get home finally and you’re just sitting alone in a room, it’s really daunting,” he said. “What is my purpose? What are my uses? Back on the road, I would find my shine under the lights, and find my purpose again. So I think the years leading up to now have been me digging deep and figuring out who I am, and who I was before I started doing this.”

An Evening With Ryan Montbleau
When
: Friday, March 19, 8 p.m.
Where: The Music Hall, 28 Chestnut St., Portsmouth
Tickets: $38 at themusichall.org

Featured photo: Ryan Montbleau. Photo by Shervin Lainez.

The Music Roundup 21/03/11

Mainstay: As his band Truffle marks 35 years together, front man Dave Gerard performs solo as he waits for the regional club scene to flower again. Truffle is perhaps the longest-running band in New Hampshire, a constant presence. The secret? “We keep writing music and bring back things we haven’t done in a while,” Gerard said once. “We’re always blowing the rust off of something and changing up the set list.” Friday, March. 12, 8 p.m., Telly’s Restaurant & Pizzeria, 235 Calef Highway, Epping, 679-8225.

Interplay: Always a fun evening of music and comedy shaped by audience participation, Dueling Pianos is served up in Celtic green with a side of shamrock for a St. Patrick’s Day themed performance. The formula is simple: Two piano players play requests dropped in a tip jar — and occasionally pre-empt a song when someone’s friend outbids, say, “She’s Got A Way” into silence (or, in this case, “Danny Boy”). Friday, March 12, 8 p.m., Chunky’s Cinema & Pub, 151 Coliseum Ave, Nashua, $20 at chunkys.com.

Countrified: In the early days of the pandemic lockdown, Maddi Ryan hosted weekly Couch Sessions with drummer and guitarist Charles Greenwood, playing everything from Dolly Parton to Buffalo Springfield, along with many of her own twanged-up originals. She and Greenwood are playing out again, Friday, March 12, 8 p.m., Bonfire Restaurant & Country Bar, 950 Elm St., Manchester, facebook.com/MaddiRyanMusic.

Reunited: Even a three-fifths JamAntics reunion is cause to celebrate, as The Special Guests — guitarist Lucas Gallo, bass player Eric Reingold and singing drummer Masceo — perform in the Capital City’s own cellarful of noise. The power trio promises a musical stew of rock, blues and funk, an extension of the genre-bending, “high energy, tasty licks” jammy, jazz-inflected sound the band established its reputation with in the late Zeroes. Saturday, March 13, 8 p.m., Penuche’s Ale House, 16 Bicentennial Square, Concord, 228-9833.

Greenery: 2020’s first Covid cultural casualty was St. Patrick’s Day. The Cam McMaster Irish Trio is one of several performers trying to keep the spirit alive this year at both branches of a pub that in past times would have a line wrapped around the building to feast on corned beef and cabbage washed down with a Guinness, but these are different days. Mark Lapointe kicks things off in Manchester at 8 a.m. Wednesday, March 17, 4 p.m., Murphy’s Tap Room & Carriage House, 393 Route 101, Bedford, murphystaproom.com.

At the Sofaplex 21/03/11

The SpongeBob Movie: Sponge on the Run (PG)

Voices of Tom Kenny, Bill Fagerbakke.

SpongeBob and Patrick — and then eventually all their buddies from Bikini Bottom — go to the “lost city of Atlantic City” to confront Poseidon and rescue SpongeBob’s pet snail Gary in this new animated movie. Sponge on the Run is delightful, if a bit more violent than you might want for your youngest Nick viewers (SpongeBob’s pending execution is a significant plot point in the movie’s back-half). But the animation has a nice bit of Play-Doh-like roundedness and a generally cheery color scheme. There are some delightful cameos (particularly during a weird detour where animated characters wander into a live-action-ish setting) and general goofy humor both visually and in the dialogue that make this movie a fun bit of silliness for adults as well as for kids, say, middle-elementary and up. B Available on Paramount+.

Moxie (PG-13)

Hadley Robinson, Lauren Tsai.

Rounding out the teen cast, Alycia Pascual-Peña, Nico Hiraga, Josie Totah, Sabrina Haskett, Sydney Park, Anjelika Washington and Patrick Schwarzenegger. Adults include Ike Barinholtz, Marcia Gay Harden and Amy Poehler, who also directed the movie based on the YA novel by Jennifer Mathieu.

Vivian (Robinson), daughter to single mom Lisa (Poehler), keeps her head down in high school and dreams of graduating and escaping, with best friend Claudia (Tsai), to the safety of a college science lab. But then outspoken new girl Lucy (Pascual-Peña) has Vivian reconsidering her passive reaction to the jerky and predatory behavior of school bully/star football player Mitchell (Schwarzenegger) and her school’s general discriminatory approach to girls versus permissiveness toward the school’s boys. Full of her mom’s good-ole-days memories of riot grrrl bands and patriarchy-fighting protests, Vivian pastes together a zine called Moxie, dropping 50 copies in the girls bathrooms. The zine spurs the girls to stand up for themselves and each other, but Vivian’s newfound zeal also causes a rift with her friend Claudia.

I mean, we can quibble about whether schools today are this laissez faire about very menacing bullies or if it’s really all that cool that high school girls need to resort to vaguely-Handmaid’s Tale-ish secret signals of support for each other but — Moxie is adorable. I don’t know how it reads to actual teens; from my vantage point this movie feels like mom wish-fiction about what you want your teen daughter’s life to be like. The girls here are rallied by a zine, love 1990s girl rock and social media is just a thing that exists at the margins. You (by which I mean me) want your daughter to feel empowered, not really have to deal with social media all that much, find support from fellow empowered girls, have honest conversations about different life experiences with friends and meet a boy who is genuinely respectful and supportive. And you (by which I mean me) want her to like awesome music that you will also turn up and embarrassingly mom-dance to, like the soundtrack to this movie (which doesn’t appear to be available yet as a purchase-able album but song lists exist all over the internet; time to make a mixtape!). Does this movie provide the same hit of Gen-X nostalgia as the Listen to Sassy podcast and the Real World season one reunion? Why yes it does! Now who’s up for starting a zine? B Available on Netflix.

Raya and the Last Dragon (PG)

Raya and the Last Dragon (PG)

Awkwafina voices a dragon and Kelly Marie Tran voices a warrior in Raya and the Last Dragon, a beautifully animated Disney movie in theaters and available via Disney+.

Similar to Mulan, this movie is available for an extra fee to Disney+ subscribers: $29.99 to see the movie before it becomes available to all subscribers on May 4. The fee allows you to watch it as many times as you like, something my kids took full advantage of this weekend.

The movie is set in the fictional land Kumandra, which feels like it is to Southeast Asia what Frozen’s Arendelle is to northern Europe. As Raya (voice of Tran) explains, Kumandra was once a land of harmony and dragons. But smoke creatures called the Druun sucked away much of the life from the land and turned people and dragons to stone. Sisu (voice of Awkwafina), the final dragon, used the last of her powers to create a gem that was able to banish the Druun and un-stone the people — but not the dragons.

The people responded to this brush with annihilation by fighting with each other over the gem and breaking into five kingdoms — Fang, Talon, Spine, Tail and Heart. Heart guarded the dragon gem, which caused mistrust in the other four kingdoms, who were constantly at odds with each other.

Thus is the state of things for centuries until Heart’s Chief Benja (voice of Daniel Dae Kim) tries to get all the kingdoms to come together. He has trained his daughter, Raya, to be a warrior who protects the dragon gem but also has tried to convince her that a rebuilding of trust between the five groups is necessary for the long-term survival of all people.

Naturally, Raya’s first attempts at trust — she thinks she’s found a friend in fellow dragon-fan Namaari (voice of Gemma Chan), the daughter of Fang leader Virana (voice of Sandra Oh) — do not go great. The dragon gem is cracked (with each group grabbing a piece) and the Druun are set loose upon the land again (and return to their turning-people-into-stone ways). Raya ends up on her own, out in the wilderness. (Raya and Namaari are maybe tweens or young teens during this flashback and six years older during the movie’s present day.)

After years of questing, Raya finds Sisu, who reawakens and admits that while she may be the “last” dragon she wasn’t really the “best” dragon, skills-wise. Raya and Sisu decide to undertake another quest: to find the pieces of the dragon gem, each of which contains a magical power from Sisu’s more powerful siblings, and bring them together to give Sisu the power to defeat the Druun (and bring back the people and dragons turned to stone and just generally save the world). Along the way, Raya gathers a crew: kid chef Boun (voice of Izaac Wang), baby pickpocket Noi (voice of Thalia Tran) and her hench-monkeys, and Spine warrior Tong (voice of Benedict Wong). Trailing this group are Namaari and her army. Fang is very determined to pursue a dragon-gem-as-deterrent-weapon policy and seeks to control more of the gem pieces.

Raya and the Last Dragon is absolutely beautiful to look at with some lovely world-establishing in its creatures (the colorful dragons, Raya’s armadillo-y pet), in its landscapes (which vary by kingdom), and in its mythology. Disney animation continues to wow with how it executes little details, such as how it renders water (which here behaves in all sorts of magical ways around dragons and their power). There is also something very Marvel-esque in the way it presents some of the action and the establishing shots, and in how the team came together (I got some serious Guardians of the Galaxy vibes at times).

The score is also very beautiful with melodies that really add some extra oomph to more emotional moments. This movie just missed this 2020’s Oscar contention cutoff (extended until Feb. 28 for the April awards) but I fully expect both this movie and its score to be in serious awards consideration next year.

I saw this movie several times throughout the weekend and while my initial reaction was to wonder if all the questing and history of Kumandra crowded the characters and their emotional arcs, I found that I appreciated this movie’s story-telling and rich world-building more with each viewing. These are solid characters; Raya, Sisu (who is sometimes a dragon and sometimes an Awkwafina-esque human) and Namaari all get interesting arcs that help examine the movie’s themes of trust and how a society at odds can find a way to work for the greater good and the difficulties of doing so. (Add this movie to the list of movies bringing me back to The Good Place and its “what we owe to each other” ruminations.) Even the supporting players (the con-artist baby and her monkeys, the Drax-like Tong, the cautious Virana) get enough space to add something to the emotional fabric of the story. It’s sophisticated stuff — delivered with visuals that look great no matter the size of the screen you’re seeing them on and in a kid-friendly way with the right amount of funny baby and animal antics. A

Featured photo: Raya and the Last Dragon (PG)

Books Notes 03/11/21

BOOK NOTES
It seems strange for a book to come out first in paperback, but that’s the format for the new Stephen King thriller Later (Hard Case Crime, 272 pages), released last week.

A limited-edition, collectible hardcover is promised for the future, but for now paperback is your only option because like two previous King novels (The Colorado Kid and Joyland) Later was written for Hard Case Crime, a throwback to pocket-sized novels published in the middle of the 20th century.

The venture, the publishers say, “is dedicated to reviving the vigor and excitement, the suspense and thrills — the sheer entertainment — of the golden age of paperback crime novels.” King’s new book, like the others, is also distinguished by an original painting made for the cover.

The novel may have a 1950ish look, but the narrative is more late ’90s. That’s because the story involves an 8-year-old boy who can see and converse with the dead, a la the 1999 film The Sixth Sense, which King acknowledges in the book, saying the ability is “not like in that movie with Bruce Willis.”

Other authors in the series — which, we must presume, are primarily targeted at men because of the scantily clothed women on most of the cover art — include Joyce Carol Oates, film director Brian DePalma (writing with Susan Lehman), the late Ray Bradbury and the late Donald Westlake. See more at hardcasecrime.com.

For those who prefer their thrillers to be nonfiction, check out The Code Breaker by Walter Isaacson, out this week (Simon & Schuster, 560 pages). It’s about how Nobel Prize winner Jennifer Doudna came to crack the code of genetics with what is known as CRISPR technology.

Like his subject, Isaacson, now a history professor at Tulane University, is the sort of person who exists to make the rest of us slackers feel badly about our life choices. Previously chairman of CNN and editor of Time magazine, he’s written seven other acclaimed books, including biographies of Leonardo da Vinci, Steve Jobs, Albert Einstein, Henry Kissinger and Benjamin Franklin.

Books

Author events

ELLIOT ACKERMAN & ADMIRAL JAMES STAVRIDIS Authors present 2034. Virtual livestream hosted by The Music Hall in Portsmouth. Tues., March 16, 7 p.m. Tickets cost $5. Call 436-2400 or visit themusichall.org.

THERESA CAPUTO the star of TLC’s Long Island Medium will present “Theresa Caputo: The Experience Live” at the Capitol Center for the Arts (44 S. Main St. Concord, ccanh.com) on Wed., April 7, 7:30 p.m. Tickets start at $39.75 (with option for a VIP Photo Op for an additional $49.95).

MICHAEL TOUGIAS Author of The Waters Between Us presents. Virtual, via Zoom. Part of Concord’s Walker Lecture Series. Wed., April 7, 7:30 p.m. Free. Call 333-0035 or visit walkerlecture.org.

Book Clubs

BOOKERY Online. Monthly. Third Thursday, 6 p.m. Bookstore based in Manchester. Visit bookerymht.com/online-book-club or call 836-6600.

GIBSON’S BOOKSTORE Online, via Zoom. Monthly. First Monday, 5:30 p.m. Bookstore based in Concord. Visit gibsonsbookstore.com/gibsons-book-club-2020-2021 or call 224-0562.

TO SHARE BREWING CO. 720 Union St., Manchester. Monthly. Second Thursday, 6 p.m. RSVP required. Visit tosharebrewing.com or call 836-6947.

GOFFSTOWN PUBLIC LIBRARY 2 High St., Goffstown. Monthly. Third Wednesday, 1:30 p.m. Call 497-2102, email elizabethw@goffstownlibrary.com or visit goffstownlibrary.com

BELKNAP MILL Online. Monthly. Last Wednesday, 6 p.m. Based in Laconia. Email bookclub@belknapmill.org.

NASHUA PUBLIC LIBRARY Online. Monthly. Second Friday, 3 p.m. Call 589-4611, email information@nashualibrary.org or visit nashualibrary.org.

Language

FRENCH LANGUAGE AND LITERATURE CLASSES

Offered remotely by the Franco-American Centre. Six-week session with classes held Thursdays from 6:30 to 8:30 p.m. $225. Visit facnh.com/education or call 623-1093.

Poetry

TEENS POETS LAUREATE OF NEW HAMPSHIRE READING The Teen Poets Laureate of New Hampshire will be reading, screen sharing and discussing some of their work. An open mic will be open to any teen poets and teens who are interested in applying for next year’s Teen Poet Laureate New Hampshire program. Part of the Poetry Society of New Hampshire’s Reading Series. Virtual, via Zoom. Tues., March 30, 7 p.m. Visit poetrysocietynh.wordpress.com.

DOWN CELLAR POETRY SALON Poetry event series presented by the Poetry Society of New Hampshire. Monthly. First Sunday. Visit poetrysocietynh.wordpress.com.

Featured photo: Stephen King thriller Later

Album Reviews 21/03/11

Decouplr, Digital Bonfire (self-released)

Debut LP from this boy-girl electronic music duo, who, I’m advised, have been duking it out on the “DIY scene” in Philadelphia for a decade or so (I could be a real jerk with regard to translating that particular claim to fame, but let’s just proceed). Singer Bailey Walker’s soprano is chill and breathy, sort of a cross between Goldfrapp and Billie Eilish, not something you haven’t heard before, but mildly interesting in the settings in which it basks, a series of low-intensity, subterranean trip-hop beats that pulse, twinkle and cross rhythms here and there. There’s nothing here that has the sheer depth of Portishead, let’s say that, but by the same token the songs hold their own and do aim for the same sort of broke-down subway ambiance as Dummy, an album that’s — my stars, around 27 years old now. Much as I’d love to recommend it, then, the record seems a little, I dunno, underdone. B+

King Yosef and Youth Code, A Skeleton Key in the Doors of Depression (self-released)

Given that I’m all up into horror-techno in general and KMFDM in particular (with caveats), I was pleasantly surprised by this collaborative EP from a trio of underground industrial/hip-hop artists. Portland, Oregon-based Yosef (real name Tayves Yosef Pelletier) has produced songs for Billboard Hot 100-charting rap artists like the late XXXTentacion and Ski Mask the Slump God, while Youth Code is a boy-girl pair-up from Los Angeles. The latter act’s singer Sara Taylor is the broken-glass-gargling singer in front here, sounding every bit the Lucia Cifarelli worshipper, and maybe even better, and the grinding, crazily angered beats are up there with Terrorfakt, if you have any idea who that is. The Skinny Puppy/Front Line Assembly cabal is big into them too; having Pelletier along to provide a little underground-rap sensibility makes this a tough one to top, I don’t care who you are. When you absolutely, positively have to get everyone on Elm Street running for the safety of the shops. A+

Retro Playlist

Wow, exactly (almost) 10 years ago, we had a couple of real doozies to talk about on this page, and the Playlist stuff was full of big-album news too. There was F.A.M.E., the then-new LP from Rihanna’s ex, Chris Brown. Ha ha, remember that one, with the song “Yeah 3X,” where Brown tried super-hard to dance like Michael Jackson? Unfortunately for me, it wasn’t that bad, and there wasn’t even a lot of Auto-Tune on there, so I really didn’t have anything bad to say about it, except for, of course, “ha ha, look, it’s Chris Brown!”

Anyway, of the two albums I talked about in this space the week of March 14, 2011, Angles, the album from The Strokes, was the biggest disappointment. Granted, the band ran into a ton of problems during the making of Angles, not the least of which was singer Julian Casablancas’ total absence from the planning of it, but nevertheless some critics claimed to think the album was good, a “return to form” (what, they’d actually left the form at some point?). The press’s praise, I noticed, was of the sort parents gush in the direction of their kids on Christmas morning, when the little dears finally break down and put on the pink bunny pajamas Grandma sent them. But I was free. I wasn’t trying to sell my opinion to Rolling Stone or Nylon editors, so I was able to snark at will: “Five years it took these guys to barf out what amounts to Second Impressions of Earth? Five years?” And etc., viewer discretion advised.

Now, the other album that week, Pet Shop BoysThe Most Incredible Thing, was another matter entirely. “There’s likely no band other than PSB,” I blowharded back then, “more culturally credentialed and intellectually licensed to combine techno and classical toward the creation of a modern ballet, as this is — the stage production is a modernization of the Hans Christian Andersen story, which grew from his disgust with the pointless conflict of his own time, the Franco-Prussian War.” Yes, it was a technopop/classical “soundtrack” album of sorts, from, yes, the same guys whose first hit single, “West End Girls,” substantially lowered the bar for pop music in 1984. My, what a terrific band those guys grew up to be, really.

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• The next general CD release date is this Friday, March 12, and now for a message about the rumors of my selling out to the corporate matrix! For months I’ve been amusing myself with a mutual dragging contest over email, with a mysterious cabal of underground-music guys, all of whom have a nicely warped sense of humor but who don’t seem to understand that you can’t ask for publicity in this fine upstanding newspaper while also remaining completely anonymous and — here’s the key — not having an actual, official album/mixtape/EP/single available for sale (or whatever, free download, I don’t care, anything that loosely resembles a finished product). In other words, to tweak the old, stale Game Of Thrones meme, “One does not simply send Uncle Ewic an email demanding coverage for a music release that is not a release and then spazz about the fact that he doesn’t take you seriously.” We’ll start with Zach and Emily, an “artist-promoting” couple who, under the corporate name of Cupcake Kamikaze, promote bands that are, you know, different. When last I heard from them, they were pushing a “band of meatheads” from Maine, The Imbosills, which had just released The Imbosills Sing Your Favorite Marvel Theme Songs on YouTube only. This fine collection kicks off with some joke song about Marvel superhero Scarlet Witch, and I had to shut it off about 30 seconds in, because it sounded like two 4channers singing in joke voices over a boombox recording of a guitar riff and nothing else. They also sent along a demo of “all-disco versions” of King Crimson songs that weren’t horrible, which isn’t to say they were good. So there you have it, guys, whoever you are; you have officially gotten some press in the Hippo. If this is all a troll, I technically won, because you spent a lot more time making these nonsense-songs than I did writing about them. I. Win.

• There’s really not a lot else to chat about this week, but we can discuss Louisiana sludge-metal band Eyehategod’s first LP in seven years, A History Of Nomadic Behavior, just so I’ll have a reason to go listen to them, which I’ve avoided doing for years. Ah, yes, here we are, the first single, “High Risk Trigger.” The band is like Crowbar with Trent Reznor singing. OK, moving along.

• Wow, more fringe-metal, might as well: it’s Rob Zombie, with new LP The Lunar Injection Kool Aid Eclipse Conspiracy! I haven’t cared about this dude since his “Drag-U-La” days, but maybe this is good, I’ll go listen to his new song, “The Triumph of King Freak.” Whoa, this is cool, an Arabian-metal trip, sort of like Ministry’s “Khyber Pass” (the tune at the end of Hurt Locker). It is OK!

• We’ll wrap up this week with alt-blues/folk singer Valerie June’s The Moon And Stars: Prescriptions For Dreamers, in specific its single, “Call Me A Fool [feat. Carla Thomas].” It’s a nice little soccer mom song, sort of like “Blue Bayou,” a decent vehicle for June’s Kate Havnevik-ish sour-pickle voice. Norah Jones fans would like this I think.

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