Showing posts with label 2008. Show all posts
Showing posts with label 2008. Show all posts

Friday, July 19, 2024

a music review: “Unessential Oils” by Warren Spicer, the guy from Plants and Animals

Montreal rolled in the 2000s, producing bands like Arcade Fire, Wolf Parade, and Warren Spicer's band Plants and Animals.
 
"Unessential Oils," Spicer's first solo effort, represents a vibe more than a vision. Spicer said, "The process was the therapy of working through. The result is more a document than construction. It's what happened, not what I made happen."

It absolutely sounds like an album of therapeutic chilling. You put it on and soak.

See Spicer shaving in the tub? The album includes the downbeat song, "Suds." He sings, "And every day I'm trying to get back to that / I'm like a monk in deep meditation / Oh, I’m safe inside—oh, inside my suds, left alone with a cold beer in a hot bathtub / Send me back to sleep, and when I get on my feet, I'll be a new man."

Spicer and his collaborators coax tracks. The quiet performances emphasize delicate, shimmering percussion.

The vocal textures the sedated music with hints of strain. Spicer sings about release and holds on to his intensity.

My favorite song is the opener, "Distrust the Magician." This sounds brutally chill.

Chords ripple under slippery drums and cymbals that sound like sun through crystal windchimes. "I'm above you now," Spicer sings, sounding painfully removed. And I love how the drums syncopate in the outro. So good.


Album single "Chameleon" features a Latin jazz rhythm and numbed chords that lift the refrain's vocal melody: "Oh babe, I love you a lot / Oh babe, I need you now / And we could have a lot of fun just putting trouble on the run / I know we've got a lot to do, and you and me are trouble at the best of times / But living is a lot of fun—hiding like chameleon."

And you can relate to the words in "Solutions to My Gloom," where Spicer meditates on the sense of doom felt even in everyday, low-pressure situations. "In fact, I like it here in the waiting room / A sensе of impending doom / scroll and creep through the punctured skin / Solutions to my gloom." This, sung to the song's breathy, layered arrangement.
 
"Don't Go to Bed When You're Mad" wakes from sedation and expands time. The instrumentation gently pulls at Spicer's wavering, detached vocal. The music is a helium-filled balloon, and his voice is the little string you hold on to. A guitar picks out meandering trails of freed melodic thoughts.
 
"Unessential Oils" is an exhale—or an attempt at one. Take a deep breath.
 

Secret City Records released "Unessential Oils" on May 31, 2024.
 
 

Friday, May 03, 2024

an album review and interview with a punk-metal band

The Norwegian band creates a positive-negative charge

In electrostatics, unlike charges attract each other. But on “Negative Music,” you get the sense Haust is repulsed by everything.

The Norwegian band’s new album is a negative charge forced against every direction.

The band debuted in 2008 with “Ride the Relapse.” After a couple albums and a several-year hiatus, the original lineup returns to release “Negative Music.”

The new album pounds mid-tempo, concrete-crushing sounds. The production is solid, and the vocal performance is all in. The music knocks down your eardrums with rhythmic change-ups and syncopation.

Haust vocalist and lyricist Vebjørn Guttormsgaard Møllberg talked to me about negativity, inspiration, and reckoning with dominant economic and social forces.
 

D: I really enjoyed listening to “Negative Music.” This was my first time hearing the band. The album title and press release center on negativity. What is the attraction of negativity?

VGM: For me, this is what attracted me to punk and black metal in the first place. This music is about saying No to harmony both in a musical and social sense. You don’t listen to a band like Darkthrone or Rudimentary Peni to meditate and become Zen. Still, while I am saying this, I realize that maybe some people, including myself, become a more balanced human being by releasing and acting out negativity through music.
 
D: How much of the negativity is social and how much is personal?

VGM: I wish I could say that it’s all social, but it’s definitely not. A lot of the lyrics are about personal issues that also of course are connected to social issues. I hope our audience can see through the I-hate-myself-and-I-want-to-die part and see that at least 80 percent of their depression is caused by capitalism and our neoliberalist, technology-positive, and war-mongering society
 
D: I’ve heard Haust’s debut was inspired in part by the “destructive car-culture” of Notodden. What is the car culture in Notodden? And what was bad about it?

VGM: Three of us grew up in the small town Notodden, two hours from Oslo. It is an old industrial town that was built around factories. In the 80s, most of the factories were shut down, and there has been a growing unemployment rate since then. Around the same time, a lot of people started driving up and down the street of the city center and, slowly, some kind of car-driving milieu developed around this activity. They all have huge sound systems in their cars and play techno and country music so loud that the cars are shaking, making a lot of noise.

I don’t know about how it is today, but when we were teenagers, they were dating girls as young as us (14-17), and we really hated them, and they hated us.

So I wouldn’t say that our debut was inspired by them as much as inspired by our hate against them. We were skater freaks with long hair, and they always shouted “cut your hair and get a job” out of their windows—ironic, since probably a lot of them were unemployed.

Decades later, when I am visiting my hometown, these guys still throw stuff at me out of their windows when I am walking in the city center street.

 
D: The songs on “Negative Music” sound consistently loud and heavy. Do you have to resist including an acoustic or some other style of song?

VGM: This is the music we want to play. If we would play other styles of music, we would start another band.
 
D: “Where Evil Dwells” and “The Vanishing” sound like interludes. What is the intention of these songs and their placement in the album?

VGM: You are right, they are interludes, and the intention is to have some breathing space in between the songs and still maintain the dark, creepy mood.
 
D: How does Norway play into your music? And what kinds of things do you think people around the world should know about Norway?

VGM: We have a love/hate relationship towards our country. We love the nature, and to some extent the values of the social democratic society, but we hate the spoiled holier-than-thou attitude that a lot of Norwegians have. Our small society has gained too much capital in a really short time (since we found oil in the 70s), and there are a lot of newly rich people with really bad attitudes towards the rest of the world.

There is a lot of good music from our country that has inspired us, and some of the best are Emperor, Darkthrone, A-ha, Noxagt, Arne Nordheim, Maja Ratkje, Kafka Prosess, and Biosphere.

Also make sure to check out the new hardcore band Accelerator and the death metal band Nithe that both will be supporting us on our release show in Oslo.


Vebjørn Guttormsgaard Møllberg generously promotes other bands.
 
Meanwhile, his own band opens “Negative Music” with the screeching guitars, damning drums, and abrasive vocal of “Left to Die.” The sound is a howling catharsis caving in with thick distortion and anguished lyrics that reject you—"No room here, no room, no room! There is no room for losers ‘round here! No room, no room!"

The equally unwelcoming and committed vocal on “Dead Ringer” howls “I’m slipping into darkness, I’m slipping into nightmares; I hear a sound, and I wake up—my blood runs cold!” There is an affect in the pronunciations, rolling Rs like something vaguely Hungarian and wrung straight from the lungs. The song even has a burning little guitar lead at 2:20.

Maybe you can become a more balanced human being by releasing “Negative Music.”

Thursday, February 08, 2024

something about "When You Are Engulfed in Flames" by David Sedaris

The more David Sedaris I read, the more I find myself wincing at his judgy and selfish moments—even though his versions of these moments totally appeal to me. Everyone is judgmental and selfish sometimes, and Sedaris’s own descriptions of these times are so entertaining.

When You Are Engulfed in Flames, published in 2008, marks my third consecutive David Sedaris book. This collection of essays, like the others I have read, do not have an obvious theme. But smoking comes up a bit, and the book’s last section is an extended piece about Sedaris’s experience with quitting.

Here are some of my favorite passages from When You Are Engulfed in Flames. First, a moment dealing with a battle-axe of a neighbor named Helen:

While in France, I’d bought Helen some presents, nothing big or expensive, just little things a person could use and then throw away. I placed the bag of gifts n her kitchen table and she halfheartedly pawed through it, holding the objects upside down and sideways, the way a monkey might. A miniature roll of paper towels, disposable napkins with H’s printed on them, kitchen sponges tailored to fit the shape of the hand: “I don’t have any use for this crap,” she said. “Take it away. I don’t want it.”

And here is a passage from an essay about going to the doctor for his kidney stone. Sedaris undressed and found his way to a waiting room—but without having first put on the robe available to him:

It’s funny the things that run through your mind when you’re sitting in your underpants in front of a pair of strangers. Suicide comes up, but, just as you embrace it as a viable option, you remember that you don’t have the proper tools: no belt to wrap around your neck, no pen to drive through your nose or ear and up into your brain. I thought briefly of swallowing my watch, but there was no guarantee I’d choke on it. It’s embarrassing, but, given the way I normally eat, it would probably go down fairly easily, strap and all. A clock might be a challenge, but a Timex the size of a fifty-cent piece, no problem.

Then the conclusion of an essay about his affection for spiders (and disaffection with pet dogs and cats):

I suppose there’s a place in everyone’s heart that’s reserved for another species. My own is covered in cobwebs rather than dog or cat hair, and, because of this, people assume it doesn’t exist. It does, though, and I felt it ache when Katrina hit. The TV was on, the grandmother signaled from her rooftop, and I found myself wondering, with something akin to panic, if there were any spiders in her house.

I love this description of the anxiety he feels before his partner Hugh takes him out for a meal:

“A restaurant? But what will we talk about?”

“I don’t know,” he’ll say. “What does it matter?” 

 

Alone together, I enjoy our companionable silence, but it creeps me out to sit in public, propped in our chairs like a pair of mummies. At a nearby table there’s always a couple in their late seventies, blinking at their menus from behind thick glasses.

“Soup’s a good thing,” the wife will say, and the man will nod or grunt or fool with the stem of his wineglass. Eventually he’ll look my way, and I’ll catch in his eyes a look of grim recognition. “We are your future,” he seems to say. “Get used to it.”

I’m so afraid that Hugh and I won’t have anything to talk about that now, before leaving home, I’ll comb the papers and jot down a half dozen topics that might keep a conversation going at least through the entrées.

Here is a fun rundown of smokers and their brands:

It was in a little store a block from our hotel that I bought my first pack of cigarettes. The ones I'd smoked earlier had been Ronnie's—Pall Malls, I think—and though they tasted no better or worse than I thought they would, I felt that in the name of individuality I should find my own brand, something separate. Something me. Carltons, Kents, Alpines: it was like choosing a religion, for weren't Vantage people fundamentally different from those who'd taken to Larks or Newports? What I didn't realize was that you could convert, that you were allowed to. The Kent person could, with very little effort, become a Vantage person, though it was harder to go from menthol to regular, or from regular-sized to ultralong. All rules had their exceptions, but the way I came to see things, they generally went like this: Kools and Newports were for black people and lower-class whites. Camels were tor procrastinators, those who wrote bad poetry, and those who put off writing bad poetry. Merits were for sex addicts, Salems were for alcoholics, and Mores were for people who considered themselves to be outrageous but really weren't. One should never loan money to a Marlboro menthol smoker, though you could usually count on a regular Marlboro person to pay you back. The eventual subclasses of milds, lights, and ultralights would not only throw a wrench into the works, but make it nearly impossible for anyone to keep your brand straight, but that all came later, along with warning labels and American Spirits.

And, finally, Sedaris remembers the first time someone asked him for a cigarette:

Take this guy who approached me after I left the store, this guy with a long black braid. It wasn’t the gentle, ropy kind you’d have if you played the flute but something more akin to a bullwhip: a prison braid, I told myself. A month earlier, I might have simply cowered, but now I put a cigarette in my mouth—the way you might if you were about to be executed. This man was going to rob me, then lash me with his braid and set me on fire—but no. “Give me one of those,” he said, and he pointed to the pack I was holding. I handed him a Viceroy, and when he thanked me I smiled and thanked him back.

It was, I later thought, as if I’d been carrying a bouquet and he’d asked me for a single daisy. He loved flowers, I loved flowers, and wasn’t it beautiful that our mutual appreciation could transcend our various differences, and somehow bring us together? I must have thought, too, that had the situation been reversed he would have been happy to give me a cigarette, though my theory was never tested. I may have been a Boy Scout for only two years, but the motto stuck with me forever: “Be Prepared.” This does not mean “Be Prepared to Ask People for Shit”; it means “Think Ahead and Plan Accordingly, Especially in Regard to Your Vices.”


Saturday, December 29, 2018

about "This Town: Two Parties and a Funeral (Plus, Plenty of Valet Parking!) in America's Gilded Capital" by Mark Leibovich

 
Mark Leibovich wallows in the networking and social maneuverings in This Townwhich is, of course, Washington, DC. He kids DC's political players about the unseemly side of their work but never condemns them. Leibovich paints an absurd picture and sort of shrugs it off. His easygoing prose makes a shrug seem like the natural reaction. This Town delivers the goods for political junkiesespecially if you tracked national politics from 2007 to 2013. Hearing how embedded Washington correspondents are is discomfiting. But if disillusion has already set in, the disappointment in This Town lands softly.


Saturday, March 10, 2018

a hasty and uninvestigated thought on "The Hunger Games"


In the the movie, "The Hunger Games" (the first in the series), the worst violence does not happen during the games. The movie is half over before the games even begin. The worst violence occurs with the social destruction caused by commercial exploitationthe tearing apart of families and friends and the compromising of values for money.

Friday, August 12, 2016

about Michael Phelps


The image of the most decorated Olympian of all time has shifted.

Michael Phelps arrived on the world stage after winning six gold medals at the 2004 Summer Olympics in Athens, Greece. The spotlight on him intensified as he won a record eight gold medals in Beijing in 2008.

The image of Phelps formed at these games was filtered through the all-American-making lens of Olympic US media coverage. But the caricature folded into the coverage inadvertently mirrored
the contentious view of America--that of a voracious consumer (commentators marveled at Phelps' caloric intake--they almost celebrated it) and a spectacle of industrial scale and dumb dominance, owing much of its success (measured in number of medals accrued) more to physicality than character.

But this time around, in the 2016 Summer Olympics in Rio de Janeiro, Phelps has helped to build a new identity. Now he is someone who appears to be dominant when challenged
, and in the absence of challengers, is continually engaged in a struggle within.


Notes:
  • Obviously people in the public spotlight will get covered and depicted in a variety of ways in different venues. But I have been finding rhetoric in media coverage and the formation of conventional views extremely interesting lately.
  • The "contentious" perception of America described above is sometimes voiced by people in politically left-leaning circles. The attributes listed are only interpretive.
  • "I'm about to make history ..."