Tag: 211118

Re-banding

Jamantics get down again

Being in Jamantics is like riding a bicycle; however long its five members are apart, the moment they plug in and play, their reliable groove reappears. As rehearsals began for a Nov. 19 reunion show at Bank of NH Stage in Concord, the synergy “was immediate,” guitarist Lucas Gallo said. “Beyond Jamantics, we all have experience musically with each other. … Now the whole band’s back together and it’s sounding great, in my opinion.”

“It’s like putting on a well-oiled glove,” fellow guitar player Freeland Hubbard added.

The group officially existed only from 2009 to 2011 but didn’t break up; it disbanded. Drummer Masceo headed west, and the rest — Gallo, Hubbard, bass player Eric Reingold and fiddler Jordan Tirrell-Wysocki — carried on with other projects.

Reingold worked with several bands, including NEMA winners Cold Engines, while Tirrell-Wysocki appeared on recording sessions and played solo, as did Hubbard and Gallo, who also helped promote local shows. Masceo worked for Napa, California-based Enchanted Hills Camp and served as Jamantics’ archivist.

In October 2015, Jamantics “re-banded” for a show at Concord’s Capitol Center.

When Masceo moved back to Concord in 2019, a 10th anniversary reunion show happened at the newly opened Bank of NH Stage. A planned event the following year was scrapped due to pandemic concerns, but they’re back on Nov. 19 at the same venue for what’s hoped to be a yearly JamAnnual GetDown.

In advance of the show, a new single dropped; “Immortal” began in Masceo’s home studio.

“I was bored like everybody else during the pandemic, and what happened was a ball rolling situation,” he said. “Freeland, Reingold and I had been playing together as a trio; [then] I just kind of sprung it on everybody when it was done…. I wanted everybody to be happy; when there’s five people in a band, that can be a little stressful. I guess it was taking it one person at a time.”

Called InstaJam, the trio had a live debut planned in April 2020 that didn’t happen, but later in the year they began playing around the area as The Special Guests. Masceo remembers walking on stage for the first time after months of lockdown as emotional and unexpected.

“It certainly was a reflection of nostalgia about all the times we’d felt that way… in the pocket of the crowd’s energy, feeling good about the music we’re playing,” he said.

Reingold was philosophical about the experience.

“It’s very rare that we basically as a species all experience the same thing as one people,” he said. “We all experienced lockdown, and I think it goes without saying that nobody was unhappy to get back to the world. Not only musicians, but just everybody in general. It was a breath of fresh air … enhanced by the fact that we’re the ones that get to play for the people coming out.”

When Jamantics formed, their two-part mission was making music and fostering the local music scene. Even as they hit milestones like opening for Little Feat at Casino Ballroom in Hampton, they worked to bring regional bands to Concord for shows at Penuche’s, the Barley House and other venues. Ten years on, they’re pleased with the city’s commitment to local arts, particularly the Capitol Center and its satellite 600-seat room that Reingold calls “the perfect venue.”

Beginning with transforming the Spotlight Room lobby space early in the decade, the nonprofit has long boosted area acts, Reingold observed.

“You’d be talking to the same people who just got off the phone with Willie Nelson’s booking agent, and they’re still making time in their schedule,” he said, adding the new space “fills a gap that I think has existed in Concord for quite some time. So we’re pretty excited to be able to be part of it.”

Jamantics Reunion w/ Teeba

When: Friday, Nov. 19, 8 p.m.
Where: Bank of NH Stage, 16 S. Main St., Concord
Tickets: $15 and up at ccanh.com

Featured photo: Jamantics. Courtesy photo

The Music Roundup 21/11/18

Local music news & events

• Give gratitude: Offering a bit of an early start to the holiday, the Thanksgiving Shindy features five acts, including a surprise band reuniting specifically for the event. The no-cover show — its name means a noisy disturbance or quarrel — has female foursome Girlspit, hip-hop group Zooo Crew, raucous rockers Felix Holt and Concord mainstays Rippin E Brakes celebrating the local music scene. Thursday, Nov. 18, 8 p.m., Penuche’s Ale House, 16 Bicentennial Square, Concord, facebook.com/penuches.concord.

• Mighty combo: Over more than 50 years with several lineups, Roomful of Blues continues to provide a superlative big band experience drawing from jazz and jump blues roots. The current group includes guitarist Chris Vachon, lead vocalist Phil Pemberton, bass player John Turner and drummer Chris Anzalone on rhythm, Rusty Scott on keys and a horn section of trumpeter Carl Gerhard with sax players Alek Razdan and Rich Lataille. Friday, Nov. 19, 8 p.m., Tupelo Music Hall, 10 A St., Derry, $30 at tupelohall.com.

• Slide ruler: The accolades keep rolling in for Erin Harpe & the Delta Swingers. The Somerville band, fronted by rootsy guitarist Harpe and Jim Countryman, won a second NEMA for their album Meet Me In The Middle and got a 2021 Boston Music Awards nomination. The group was born almost accidentally, when their world music band Lovewhip traveled to Austin for SXSW and got a better reception for playing the blues. Saturday, Nov. 20, 8 p.m., Stone Church, 5 Granite St., Newmarket, $12 at stonechurchrocks.com.

• Eighties sound: Touring in support of their first new album in almost three decades, Psychedelic Furs are best known for hits like “Love My Way” and providing the title song for Pretty In Pink. Released last year, Made of Rain contains the signature drone pop sound that made them one of the favorite acts to come out of the British post-punk wave that launched The Cure, Tears For Fears and Human League. Sunday, Nov. 21, 8 p.m., Capitol Center for the Arts, 44 S. Main St., Concord, $29 to $49 at ccanh.com.

• Family tradition: Singer, guitarist and Manchester native Liam Spain keeps busy doing solo sets like one upcoming at a hometown brewery, playing with rock band Scalawag and doing traditional music in fraternal duo The Spain Brothers; he and brother Mickey have made a few albums and toured a bunch, sharing stages with Tom Paxton, Noel Paul Stookey, Roger McGuinn, Bill Staines and others. Sunday, Nov. 21, 8 p.m., To Share Brewing, 720 Union St., Manchester, more at tosharebrewinge.com.

Clifford the Big Red Dog (PG)

Clifford the Big Red Dog (PG)

A girl having a rough time adjusting to a new school adopts a dog in Clifford the Big Red Dog, a live-action movie based on the books.

Clifford is a photorealistic CGI Labrador-ish puppy movie-magicked red. When 11-year-old Emily (Darby Camp) first meets him, he is a just nameless small weirdly red dog — so small that he sneaks into her backpack unnoticed. Her mother, Maggie (Sienna Guillory), is out of town for a few days for work and Emily’s somewhat aimless Uncle Casey (Jack Whitehall), who would like it to be known that he has only lost her twice while babysitting her, is watching her. He demands they take the dog back to the strange animal rescue where they first saw him but she turns her sad girl eyes on him and he says they can keep the dog for the night but look for the mysterious Mr. Bridwell (John Cleese), the rescue’s manager, in the morning.

But in the morning, Emily wakes to find that the tiny puppy she’s named Clifford is now very large — still a puppy but more the size of a medium elephant. Emily, who has recently started at a new private school where the kids are snotty and she is lonely, is desperate to keep the puppy. Casey is desperate to keep Maggie from learning that he’s let her daughter adopt a minivan-sized animal. So they set off to try to find someone — Mr. Bridwell, a veterinarian, the wealthy father of Emily’s friend Owen (Izaac Wang), who appears to own an animal sanctuary — who can help Clifford. And, help them before the family’s landlord (David Alan Grier), with a very strict no-pets policy, finds out that Clifford is living in their very small New York City apartment.

But Clifford quickly becomes a bit of a viral star, getting the attention of Tieran (Tony Hale), an evil tech guy from a company seeking to make bigger organisms with the goal of growing more food more quickly. So far, all they’ve managed to engineer are giant chicken eggs, a two-headed goat and a very mean sheep. But Tieran thinks that if his company captures Clifford, they might unlock the secrets to giant cows.

A neighborhood full of characters quirky enough that you feel like you’re supposed to get to know them rallies to support Emily, who learns how to stand up for herself against bullies and how to make friends. It’s all done very softly, with lessons easily learned and most people basically friendly. Even the moments of Clifford in peril are very mildly perilous — all of which made the movie perfectly palatable to my young elementary school kids. But also relatively mild were the animal hijinks — and as big-dog silliness gave away to more emotional stuff, the movie lost them somewhat. My more middle-grade-aged kid seemed more engaged in the story-telling, more entertained by the “pleasant family sitcom”-level of humor.

While Clifford is somewhat visually distracting in the uncanny-valley sense, the movie was overall inoffensive. And, sure, “inoffensive and fine, I guess, rave critics!” is not something you’re likely to see in movie trailers. But that is where this movie landed, and I don’t think that is necessarily a knock on it. Sometimes a movie just being watchable by kids of varying ages and something their parents can stomach having on without paying too much attention is exactly the kind of entertainment the whole family needs. B- Rated PG for impolite humor, thematic elements and mild action, according to the MPA on filmratings.com. Directed by Walt Becker with a screenplay by Jay Scherick & David Ronn and Blaise Hemingway (based on the books by Norman Bridwell), Clifford the Big Red Dog is an hour and 37 minutes long and distributed by Paramount Pictures via Paramount+ and in theaters.

Passing (PG-13)

Two childhood friends reconnect as married women in 1920s New York City in Passing, based on a novel by Nella Larsen with an adapted screenplay by Rebecca Hall, who also directed the movie.

When we first see Irene (Tessa Thompson), she’s out shopping on a hot summer day — being sort of quiet and deliberate in the way she walks, surveys a room and talks to people. What we realize she’s doing before every interaction is figuring out what the other person — fellow well-heeled shoppers, store clerks, hotel doormen — sees when they look at her. Irene is, as she later explains, “passing,” for the convenience of not being recognized as African-American in these predominantly white spaces in the 1920s.

Clare (Ruth Negga), also hanging out at the hotel, does give Irene a second look — and keeps looking until she comes over to reintroduce herself. Irene is rather shocked to realize that this blonde woman with a white husband — John (Alexander Skarsgard) — is her girlhood friend from the neighborhood. She is even more shocked to learn that John, whom she meets and quickly gathers is quite the racist, has no idea that Clare (or Irene) is Black.

Irene’s encounter with Clare seems to sort of shake her. She leaves with little intention of talking to Clare again; Irene’s husband, Brian (Andre Holland), even makes fun of Clare’s shallow-sounding apology letter (Irene was clearly appalled by John’s casual racism) that she sends later on. But then months later Clare shows up at Irene’s house and the women rekindle their friendship.

The movie leaves a lot ambiguous about what is happening between Clare and Irene. Both are well-off women, but living in different worlds with different levels of freedom in different circumstances because of how they present themselves to their worlds. Both seem to have tensions in their marriage — Clare’s more obvious than Irene’s but Irene also seems to have a wall between herself and her husband. We never really learn what their relationship was like in their youth and it’s never completely clear what each woman is looking for from the other now. At one point Irene tells a white writer friend, Hugh (Bill Camp), that everybody is passing in some way — one of many times when we wonder if the devoted wife and mother Irene seems to be working so hard to present herself as is her cover, of sorts, for other internal conflicts and frustrations. When she seems to push Clare and Brian to spend more time together, is she defeatedly accepting an attraction between them that she senses or is she doing it as a way to avoid thinking about her own attraction to Clare? There’s a lot that happens in the silences here, in the way Thompson and Negga look at each other, in the way the movie lights a scene, that leaves you to fill in the blanks of what you feel it all means. This even carries through to the way the movie ends. At times, I felt some frustration with this — exactly what does this movie want me to think I’m seeing? But Passing has stuck with me and, if anything, the ambiguity has left me thinking more about what’s going on with the people than strictly about the movie’s plot points.

Perhaps because it leaves so many things gray — both figuratively and literally, as this movie shot in black and white seems to most often play, beautifully, with grays — the movie is also able to touch on a lot of issues without it seeming like “Issues Related to Race: The Movie.” We see moments of Irene’s marriage, her interactions with her housekeeper, her parenting, her social life that all get to different elements of socioeconomic status and gender roles and hint at the tensions between the things she may want in her life and the things she feels she’s expected to do.

Passing is a quiet movie that leaves a bigger impression than it initially seems. Strong performances by Thompson and Negga and interesting choices in the way the movie was shot made this movie feel like a surprise masterpiece — something that had me invested and enthralled before I realized how much I liked what it was doing. A Rated PG-13 for thematic material and some racial slurs and smoking, according to the MPA on filmratings.com. Directed by Rebecca Hall with a screenplay by Rebecca Hall (from the novel by Nella Larsen), Passing is an hour and 38 minutes long and available via Netflix.

Red Notice (PG-13)

Get cops, thieves and quips in Red Notice, a broad mostly fun adventure comedy starring Dwayne Johnson, Gal Gadot and Ryan Reynolds.

A nice fast food fried chicken sandwich with pickles, a side of fries and maybe a shake or some lemonade: Is it, you know, good? No. But is it good? Yes! Yes, so delicious even though you know it has very little nutritional value and is possibly contributing to long-term health problems. Likewise, is Red Notice contributing to the decline of theatrical distribution by providing, directly to your home, widely appealing or at least widely tolerable entertainment potentially in that four-quadrant sweet spot with big-name stars? Er, possibly. But is this movie good like a hot and crispy meal that comes in a paper bag and doesn’t require any work on your part? Yes, yes it is. Greasy, a little much, but satisfying.

After some extensive exposition explaining the fabled (and fictitious) three bejeweled eggs of Cleopatra, a fancy wedding present from Marc Antony back in antiquity, we meet FBI profiler John Hartley (Johnson) on the trail of Nolan Booth (Reynolds, playing the Ryan Reynolds Character TM that has become his whole shtick), an internationally known luxury-items thief. When Hartley’s paths cross with Booth’s, Booth has just stolen one of those eggs from a museum in Rome. We learn that all of art-thiefdom is likely looking for these eggs, one of which has never been found in modern times, because a wealthy Egyptian is looking to give them to his daughter as a wedding gift and he’s willing to pay hundreds of millions of dollars to whomever can bring them to him.

After some fighting and some quipping, Hartley nearly has Booth but then Booth is able to slip away — only for Hartley to follow Booth to his fancy home in Bali and take back the egg. Too easy, thinks Interpol agent Urvashi Das (Ritu Arya), who turns around and arrests Hartley. It seems that his identity, including proof that he works at the FBI, has been erased, possibly the work of The Bishop — a rumored but never identified thief even more successful than Booth. (I’m going to spoil it right now and tell you The Bishop is Gal Gadot, which is only a spoiler if you haven’t seen any movie-related images and have never seen a movie before.) Both Hartley and Booth wind up in a Russian prison and decide that the only way out is to work together to help Hartley catch The Bishop. If he turns her in, Hartley hopes he can restore his good name and Booth hopes that there may be just enough wiggle-away room to score the three Cleopatra eggs himself.

This movie checks all the boxes for this kind of treasure-hunt-with-hot-people affair: We get a variety of international locales, cat-and-mouse scenes between thieves and cops and sometimes between thieves and thieves, and an unlikely partnership in Booth and Hartley leaving room for lots of physical comedy as well as rat-a-tat quips. This movie even has a secret art cache that blends ancient artifacts and stolen-by-Nazis loot. Does this movie underline what it’s doing by having Ryan Reynolds whistle the Indiana Jones theme music? Yes it does. But did I laugh when he and the Rock hunt for the egg and he advises to “look for a box that says ‘McGuffin’”? Yes, yes I did.

Red Notice does not exceed exceptions; it does not do any extra credit with the performances or dialogue or cleverness of the action or plot. But it delivers on the kind of National Treasure-y level (with just enough swear words that I probably wouldn’t show it to a kid younger than 13 or so) that I think it’s aiming for. Red Notice is easy watching and just fun enough to justify the low-bar effort involved in finding it on Netflix. B-

Rated PG-13 for violence and action, some sexual references and strong language, according to the MPA on filmratings.com. Written and directed by Rawson Marshall Thurber, Red Notice is an hour-and-58- minute-long break from serious thought and is available on Netflix.

FILM

Venues

AMC Londonderry
16 Orchard View Dr., Londonderry
amctheatres.com

Bank of NH Stage in Concord
16 S. Main St., Concord
225-1111, banknhstage.com

Capitol Center for the Arts
44 S. Main St., Concord
225-1111, ccanh.com

Cinemark Rockingham Park 12
15 Mall Road, Salem

Chunky’s Cinema Pub
707 Huse Road, Manchester; 151 Coliseum Ave., Nashua; 150 Bridge St., Pelham, chunkys.com

Dana Center
Saint Anselm College
100 Saint Anselm Dr., Manchester, anselm.edu

Fathom Events
Fathomevents.com

The Flying Monkey
39 Main St., Plymouth
536-2551, flyingmonkeynh.com

LaBelle Winery
345 Route 101, Amherst
672-9898, labellewinery.com

The Music Hall
28 Chestnut St., Portsmouth
436-2400, themusichall.org

O’neil Cinemas
24 Calef Hwy., Epping
679-3529, oneilcinemas.com

Red River Theatres
11 S. Main St., Concord
224-4600, redrivertheatres.org

Regal Fox Run Stadium 15
45 Gosling Road, Newington
regmovies.com

Rex Theatre
23 Amherst St., Manchester
668-5588, palacetheatre.org

The Strand
20 Third St., Dover
343-1899, thestranddover.com

Wilton Town Hall Theatre
40 Main St., Wilton
wiltontownhalltheatre.com, 654-3456

Shows

• The Big Parade (1925), a silent film with live musical accompaniment by Jeff Rapsis, on Wednesday, Nov. 10, at 6:30 p.m. at the Flying Monkey. Tickets start at $10.

• The Four Horsemen of the Apocalypse (1921), a silent film with live musical accompaniment by Jeff Rapsis, on Thursday, Nov. 11, at 7 p.m. at the Colonial Theatre in Keene (thecolonial.org). Tickets $15 (free for veterans).

• Spencer (R, 2021) screening at Red River Theatres in Concord Friday, Nov. 12, through Sunday, Nov. 14, at 1, 4 & 7 p.m.

• The French Dispatch (R, 2021) screening at Red River Theatres Friday, Nov. 12, through Sunday, Nov. 14, at 1:30, 4:30 & 7:30 p.m.

• Gojira (1954) the Japanese-language kaiju film introducing Godzilla, will screen with subtitles at Wilton Town Hall Theatre on Friday, Nov. 12, and Saturday, Nov. 13, at 7:30 p.m.

• Judgement at Nuremberg (1961) will screen at Wilton Town Hall Theatre on Friday, Nov. 12, and Saturday, Nov. 13, at 7:30 p.m.

• The Littlest Rebel (1935) starring Shirley Temple and Bill “Bojangles” Robinson, will screen at Wilton Town Hall Theatre on Saturday, Nov. 13, at 2 p.m.

• Hot Water (1924) starring Harold Lloyd, a silent film with live musical accompaniment by Jeff Rapsis, on Sunday, Nov. 14, at 2 p.m. at Wilton Town Hall Theatre. Admission free; $10 donation suggested.

• Sunflowers (2021) screening at Red River Theatres in Concord on Wednesday, Nov. 17, at 6 p.m.

• Warren Miller’s Winter Starts Now at The Music Hall, Thursday, Nov. 18, at 7:30 p.m.; Friday, Nov. 19, at 6 and 9 p.m.; Saturday, Nov. 20, at 4 & 7 p.m. Tickets start at $28.

Featured photo: Clifford the Big Red Dog. Courtesy photo.

Pastoral Song, by James Rebanks

Pastoral Song, by James Rebanks (Custom House, 294 pages)

Occasionally a book does so well across the Atlantic that publishers in the U.S. pick it up, hoping that American readers will warm to the author as well despite the peculiarities of some English words. This worked out splendidly for J.K. Rowling.

There are similar hopes for Pastoral Song, which the U.K.’s Sunday Times pronounced “nature book of the year” when it was first published as English Pastoral. Subtitled “A Farmer’s Journey,” the book is a meditation on the plight of small farmers who struggle to keep family farms going even as the despised “factory farm” gobbles a larger share of our food dollars each year.

James Rebanks, the author, is a thinking-man’s farmer, although he makes it clear that no true farmer has time to sit and think. He inherited his land from his father but got his love of farming from his grandfather, who was the bigger influence in his life. Of his father he writes, “I would try to help him and would inevitably do something wrong and be shouted at.”

The grandfather was gentler in his approach, not only to his grandson but to farming.

“He would simply gaze at his cows or sheep for what seemed like ages, leaning over a gate. As a result he knew them all as individuals. He could spot when they behaved differently because something was wrong, when they were coming into season or were about to give birth. He thought only fools rushed around,” Rebanks wrote.

This is all well and good for the practice of farming, but unfortunately for the reader, Rebanks brings his grandfather’s style to this book. In sum, it is Rebanks leaning over a gate, for what seems like ages, musing leisurely about the challenges of farming. It’s watching the grass grow, with very little happening in long stretches, but for the occasional offing of varmints. (And I wish I had not learned how Rebanks’ father rid his fields of rabbits, but it’s too late for that now.)

To be fair, Rebanks memorably conveys the harshness of a lifestyle that has been romanticized. “My parents were half-broke. I could see it in the second-hand tractors, rusting barn roofs, and old machinery that was always breaking down and never got replaced. But I could taste it too, in the endless boiled stew and mince that was served up.”

The family earned a tenuous living that would be foreign to workers with biweekly direct deposit. Their pay varied with the weather, and with rising interest rates and diving market prices, and the occasional murder of crows that could swoop in and destroy a field of barley. And farming requires an extraordinary amount of emotional toughness, what with all the horrible ways in which farm animals can die, even outside of slaughter. (When’s the last time you watched a rat try to drag away a chicken?)

“The logic chain is simple: we have to farm to eat, and we have to kill (or displace life, which amounts to the same thing) to farm. Being human is a rough business,” Rebanks writes. But, he says, there is a difference “between the toughness all farming required and the industrial ‘total war’ on nature that had been unleashed in my lifetime.”

The past 40 years, Rebanks says, has upended thousands of years of farming practices that came before it, and when his father died, leaving him the land, he was faced with the same dilemma confronting his father and grandfather — how to earn enough from the land “to pay our bills, service our debts, and make some money for us to live on” — in circumstances vastly different from theirs.

Then, after all this musing in his motherland, Rebanks up and comes to America to visit friends. And traveling through Iowa and Kentucky, eying the Confederate flags and Trump signs, he figures out who to blame: those grungy Americans!

This may have played well in the U.K., but it was a startling turn of events in an otherwise mournful elegy for the farmer, to have him pick up a bat and start swinging it wildly in the Iowa cornfields. He said Kentucky felt like a “landscape littered with ghosts and relics” and called Iowa “dark, flat and bleak.”

“Everything old was rotting. Barns leaned away from the wind, roofs half torn off.” The cause of this dystopian Midwest: “America had chosen industrial farming and abandoned its small family farms,” as if there was a lever we pulled in our last election. In fact, we vote for factory farms every time we visit a supermarket, he says. “The people in those shops seemed not to know, or care much, about how unsustainable their food production is. The share of the average American citizen’s income spent on food has declined from about 22% in 1950 to about 6.4% today … The money that people think they are spending on food from farms almost all goes to those who process the food, and to the wholesalers and retailers.”

Fair enough. But read the room. An English farmer coming over here to lecture Americans about their grocery shopping, diss our fruited plains? It feels a little rude.

And Rebanks concedes that “the overwhelming majority” of farms are not factory farms. “About 80 percent of people on earth are still fed by these small farmers,” he writes. That said, the work of a small farm is a “tough old game and doesn’t fit with any economic principle of minimizing work and maximizing productivity.” So what to do? Besides supporting your local farmers, “thinking longer term and with more humility,” Rebanks suggests planting trees. He plans to plant a tree every day for the rest of his life.

It’s clear to see why English Pastoral was a hit in the U.K., with its call for more sustainably produced food there “in order to avoid importing more from sterile, ruined landscapes like those of the American Midwest, or from land being cleared of pristine ecosystems in places like Indonesia and the Amazon.”

It’s less clear why this occasionally plodding, occasionally melodic memoir would do well here. As our grandmothers would say, don’t bite the hands that feed you. C

Book Events

Author events

• HILARY CROWLEY Author presents The Power of Energy Medicine. Virtual event hosted by Gibson’s Bookstore in Concord. Thurs., Nov. 18, 7 p.m. Via Zoom. Registration required. Visit gibsonsbookstore.com or call 224-0562.

• WENDY GORTON Author presents 50 Hikes with Kids: New England. Virtual event hosted by Toadstool Bookshops of Peterborough, Nashua and Keene. Sun., Nov. 21, 4 p.m. Via Zoom. Visit toadbooks.com.

• TANJA HESTER Author presents Wallet Activism: How to Use Every Dollar You Spend, Earn, and Save as a Force for Change. Virtual event hosted by Gibson’s Bookstore in Concord. Mon., Nov. 22, 7 p.m. Via Zoom. Registration required. Visit gibsonsbookstore.com or call 224-0562.

• BRENE BROWN Author presents Atlas of the Heart. Virtual event hosted by Gibson’s Bookstore in Concord. Thurs., Dec. 2, 8 p.m. Via Zoom. Tickets cost $30. Ticket sales end Dec. 2, at noon. Visit gibsonsbookstore.com or call 224-0562.

• JACK DALTON Kid conservationist presents his book, Kawan the Orangutan: Lost in the Rainforest. Toadstool Bookshop, 375 Amherst St., Nashua. Sat., Dec. 4, noon. Visit toadbooks.com.

• DAMIEN KANE RIDGEN Author presents Bell’s Codex and My Magnum Opus. Toadstool Bookshop, 375 Amherst St., Nashua. Sun., Dec. 5, noon. Visit toadbooks.com.

• JEN SINCERO Author presents Badass Habits. Virtual event hosted by The Music Hall in Portsmouth as part of its “Innovation and Leadership” series. Tues., Dec. 7, 7:30 p.m. Includes author presentation, coaching session and audience Q&A. Tickets cost $22. Visit themusichall.org or call 436-2400.

• KATHRYN HULICKAuthor presents Welcome to the Future. Sat., Dec. 11, 2 p.m. Toadstool Bookshop, 12 Depot Square, Peterborough. Visit toadbooks.com.

Poetry

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

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.

Album Reviews 21/11/18

Blonder, Knoxville House (Cool world Records)

At this writing, this debut record from Long Island native Constantine Anastasakis isn’t due out until February 2022, so there’s obviously an initiative to get the buzz going as quickly as possible before reviewers realize how much it sucks and tell people like you about it. I mean, Pitchfork Media will probably love it, as it conjures images of Pavement reborn as a half-synth-powered cyborg, and basically every song has a woozy, discombobulated feel to it, everything wandering in and out of pitch like a vinyl album that was left on top of a radiator for a few hours. Think of it this way: Brian Eno and Manchester Orchestra reinterpreted by the dumbest college student you’ve ever known, mixed into a hybrid no one would have ever asked for, except the melodies aren’t all that bad. Better than Dale Earnhardt Jr. Jr. accomplished, which is simultaneously the closest stuff to this, and yes, the faintest possible praise I can muster at the moment. D

Salt Ashes, Killing My Mind (Radikal Records)

The stage name of Brighton, U.K., singer Veiga Sanchez, Salt Ashes is diva pop with a good amount of retro house, tunes that are form-fitted for velvet rope clubs but could also work as soundtrack for a beachside Tilt-A-Whirl. “Love, Love,” the touchstone single, is pure Mariah Carey meets Janet Jackson, which is about where her voice fits. Unsurprisingly, she digs ’80s floor-filler stuff, checking off Giorgio Moroder, The Knife and Fleetwood Mac as influences; she’s been a dance-music player since her 2016 self-titled debut album, which was produced by the late Daniel Fridholm (a.k.a. Cruelty). Her lyrics deal with a laundry list of things that aren’t wildly unique to today’s young women: unrequited love, sex, anxiety, relationships, mental health, sexual harassment and such. The LP kicks off with a foggy, steam-driven, goth-infused electro-dance joint, “Lucy,” which is more Kylie Minogue than anything else. “Mad Girl” is ’80s as heck, down to the busy organic synths; “I’m Not Scared To Die’ covers the obligato ballad entry with aplomb enough. B

PLAYLIST

• Nov. 19 is here, and with it some new rock ’n’ roll albums. Some will be good and some will be bad, depending on one’s individual tastes or lack thereof. I’m looking at a rather large list of new albums, and I’m sure there will be something that won’t make me power-guzzle a six-pack of Pepto Bismol, but you never know. We can be nice and casual this week, because there is a plethora of albums to choose from, starting with Phantom Island, from a band called Smile, a project from Björn Yttling (Peter Bjorn and John) and Joakim Åhlund of the Teddybears. I think this will probably be safe for me to check out, because the Teddybears are awesome, so I’ll take my chances on the latest single at this writing, “Call My Name.” This song features vocals from mononymed Swedish singer-songwriter Robyn, who isn’t a very good singer, but the tune is a low-key, piquant, very pleasant blend of ABBA and Miss Kittin, very 1970s-radio if you can get past Robyn’s not-very-great voice. There’s a snowy, upbeat feel to it, which is just what the doctor ordered if you need something smooth and cocoa-y to wrap your ears around as we descend into the frozen North Pole of yet another New England winter.

• Well, that wasn’t so bad, was it. Hmm, dum de dum, why don’t we — wait, hold everything, here we go, a new album from Elbow, called Flying Dream 1, why didn’t someone tell me about this before? Elbow is one of the few indie bands in the world that still tinkles my jingle bells; they are from Bury in Greater Manchester, England. If past is prologue here, this will probably be awesome; their previous stuff has been like a cross between We Were Promised Jetpacks and VNV Nation, and — wait, I did a fly-by, didn’t I; you haven’t the foggiest idea what that even means. Unfortunately I do, so I’ll try to translate. Picture a stuffy literature professor starting a mildly aggressive rock band but never doing anything really punky, sort of like a British version of Bruce Springsteen except the singer doesn’t suck and it’s mostly mellow-ish, and the tunes are really catchy and cool. That’s Elbow, at least up until this moment, when I’m about to find out if their single “Six Words” is any good. OK, it is, it’s a mellow, almost Coldplay-ish tune comprising a synth arpeggio but without being annoying like Coldplay. It’s awesome, mildly mawkish but ultimately upbeat and very pretty. I so totally love these guys.

• Not bad, I haven’t even thought about uncorking the Pepto Bismol during this exercise at all! I’ll tell you, gang, this may be my lucky — oh no, it can’t be. Do you hear those booming tyrannosaurus footsteps, coming for me, to ruin my day? Yes, look, it’s the hilariously overrated Sting, smashing buildings as he strides toward me, holding out some awful new album! The LP is called The Bridge, and it has a single, called “Rushing Water.” Oh jeez, oh jeez, this sounds like like every boring elevator-music song this egomaniacal Matrix-clown has ever foisted onto listeners of dentist-office-rock, basically a souped-up version of “Every Breath You Take” except with some rap-speed lyrics. Don’t worry, you’ll probably only hear this once, either on Jimmy Kimmel or The Today Show; it’s definitely not interesting enough to warrant anything more “hip” than that.

• We’ll wrap up this week’s business with 30, the new album from Adele, whose hobbies include publicly sucking up to Beyonce and being this decade’s Celine Dion. “Easy On Me” is a depressing but powerful pop ballad as always, and she does some high-pitched professional singing. As if you couldn’t guess, it is a song that will be loved by 20-somethings who don’t trust their boyfriends, and with good reason.

If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Message me on Twitter (@esaeger) or Facebook (eric.saeger.9).

Too much hops

Sometimes you need anything but IPA

There are so many incredible craft-brewed IPAs and pale ales these days that it seems they are everywhere you turn. In fact, sometimes, it feels like hops are just slapping you in the face every moment of the day. If you go out to a restaurant for dinner, you might as well just ask for the “IPA list” instead of the beer list. It’s all IPAs anyway.

That’s all well and good because IPAs are delicious and they are packed full of fresh, hoppy exciting flavors — and let’s be honest, they haven’t taken a break from driving the bus for the craft beer movement since it started, I don’t know, 15 years ago.

Sometimes, though, and I feel at least somewhat confident I don’t just speak for myself, enough is enough. Sometimes you want anything but an IPA. Give me a stout or a Pilsner or a sour or a Bud Light or even one of those Cranberry Lambics from the Sam Adams holiday mixed pack that’s probably still in your fridge from 2006.

I was rummaging through my parents’ fridge recently and spotted a Mike’s Hard Raspberry Lemonade that I absolutely know has been there for more than a decade, so don’t just discard the notion that there might be a Cranberry Lambic lurking somewhere in your home.

It can be so rejuvenating for your palate to walk away from the hops for a bit and just appreciate that there’s a lot more great beer out there than just IPAs and pale ales.

Depending on my mood, when it hits me that my mouth needs a hop break, I tend to turn to what I call basic styles: Pilsners, stouts and amber ales. I’m not typically turning away from IPAs to turn toward some crazy sour that’s brewed with elderberry, jalapenos and peanut butter.

When I say basic, I don’t mean beers that are in any way lesser. I just mean brews that are more what I think of as traditional beers. Here are three basic brews that speak to me and I think will speak to you when your taste buds want to step away from IPAs.

Love Me For A Long Time by Throwback Brewery (North Hampton)

This Bohemian Pilsner is the epitome of crisp and clean. It’s a beer. It’s light, refreshing and flavorful. Pilsners get a bad rap sometimes and, when it gets right down to it, I just don’t understand it. They’re easy to drink, they taste great and they pair with basically any food and any situation. If your vision of pilsners starts and ends with Coors and Budweiser, it’s well worth exploring the array of craft brewers pumping out Pilsners these days.

Nations ESB by Millyard Brewery (Nashua)

I love the ESB or extra special bitter style, though it’s almost funny to think of this style as bitter compared to the pronounced bitterness you find in today’s brews. I haven’t had this particular brew, though I will, but I typically equate the style with a rich amber pour and a nice malty mouthful in a very, very easy to drink package. At 4.1 percent ABV, this is a beer and a style that begs for another.

Working Man’s Porter by Henniker Brewing Co. (Henniker)

This is a hearty brew but don’t be fooled; this is exceptionally easy to drink at 5.2 percent ABV. This English-style dark ale lends big malt flavors and a little complexity. This is just a terrific all-around porter. This is a great beer to grab when you want something smoother and richer.

What’s in My Fridge

Oktoberfestbier by Spaten-Franziskaner-Bräu (München, Germany)
Actually brewed in Germany, this true Oktoberfest brew is about as authentic as it gets when it comes to the Marzen style. The classic brew features a rich amber pour, mild bitterness, a bready malt and a medium body. This is flavorful, easy to drink and makes you feel like you’re in Germany for Oktoberfest. Cheers!

Featured photo: Love Me For A Long Time Bohemian Pilsener by Throwback Brewery. Courtesy photo.

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