8 posts tagged “intellection”

33 1/3. Again. Thought I was done with these, didn't you?

Recently I hit something of a dry patch with the 33 1/3 books. I read several in a row that, to varying degrees, did not work for me. After thoroughly enjoying volume 20 on The Ramones, I meandered through books on People's Instinctive Travels..., Doolittle, and Unknown Pleasures, finding fault with each, though they all had something to offer (1). This dissatisfying selection culminated with one book in the series that I would not recommend other people read: Pernice's novella based on The Smiths Meat is Murder.

Exercising the full extent of the freedoms allowed the authors in this series, Pernice writes not a non-fiction book about the album itself, but a story -- likely much of it autobiographical, in setting and mood if possibly not as much in historical fact -- of a Boston teen falling in love and coming of age to a soundtrack of the Mozzer and Co. The narrative begins with a completely unnecessary latter-day sequence which gives way to the flashback that comprises the rest of the book. The rest of the book, the actual story being told, does little for me. As a member of what is likely the last generation of pre-internet kids that had to discover new music through friends and trading tapes, I can sympathize with that condition of Pernice's characters, but otherwise the personalities and situations generally just fall flat. Joe Meno's Hairstyles of the Damned is more effective on every level, including when it comes to music. Overall, I found Meat is Murder very disappointing, not least because I feel the Smiths entry in the series has been squandered. I can only hope they'll change their one-book-per-band rule and we'll get another shot at this band in the future.

After all of these let-downs, I was beginning to fret. Could I find another volume in the series to reignite my passion? My answer arrived via UPS the day I finished Meat is Murder. As I've mentioned before, I've eagerly awaited Carl Wilson's exploration of taste and art as examined through the lens of Celine Dion's Let's Talk About Love. After reading the first two chapters during the promotional period, my expectations ran very high. I'm pleased to say that Wilson delivered on every front, vaulting neatly over even my highest of bars. Wilson is a skilled writer. His volume in this series shines a harsh light on many of the less polished entries, and future authors would do well to compare the quality of their prose to Wilson's.

The book itself is well-researched, nicely balanced, and very well organized, flowing from topic to topic in a way that makes sense and draws the reader further along the author's journey into aesthetics. The more academic aspects, discussions of the cultural traditions that produced Celine or historical analyses of the origins and meaning of taste, are tempered with Wilson's own experiences of seeing Celine in concert, meeting a variety of her fans, and, eventually, learning how to listen to her music. Never dry or stuffy, Wilson also manages to not become too conversational. Whereas some books in the series read like blog postings, this reads like what it is: a finely crafter work of non-fiction. I'm gushing, but I'm blown away by this book. I can't recommend it highly enough.

--

footnote

1) NB: Only one of the dozen or so entries I've read has been a waste of time; at the risk of repeating myself for the thousandth time, this series is really a must-read for people who love music.

current music: Bohren & der Club of Gore "Black Earth"

 

Listening to Yours Truly, Angry Mob, the second effort by Kaiser Chiefs, I'm yet again struck by my enjoyment for an album that I had previously written off. When I purchased ...Angry Mob back in the early part of 2007, I was underwhelmed at best, but hearing it again, having cleansed all memory of it in the ensuing months, it's a solid, mature album, in some ways much better than their debut. Where Employment has more catchy, cheeky hits, ...Angry Mob, possibly anticipating in that title the inevitable backlash, cuts the sass in favor of stronger songwriting. And while I lament the absence of some of the catchier and edgier aspects of the debut, the newer album will likely have more staying power, now that I've given it a fair shake.

As with Blackalicious's The Craft, I'm finding that I now disagree wholeheartedly with my first impressions of an album. Just a few weeks ago I decided to give the latest 31 Knots opus, The Days and Nights of Everything Anywhere and was pleasantly surprised to find that I actually like it. While it's still nowhere near the level of perfection of their previous record, Talk Like Blood, it has plenty to offer that for whatever reason fell on deaf ears with my initial listens. I must be unconsciously building expectations for new albums based on my previous experiences with the bands, falling into the all-too-common trap of not approaching each album as its own work, on its own terms. Musicians, for the most part, grow and change, their music along with them, AC/DC being the exception that proves the rule. While that doesn't mean I should give a pass to any musician that tries something different (DJ Shadow - Jesus H., man, seriously), I do need to take a moment and keep my knee from jerking so quickly when I hear something new from an established artist. So far, giving myself some months of palette cleansing and revisiting the music has worked out fairly well for me, a lesson I should keep in mind in the future.

While I spent the majority of the year listening to dub, goth, and post-punk from the late 70s and early 80s, I still acquired some thirty-odd albums released in 2007, most often via paid download (1). Narrowing these down to my top 10 albums (2) of the year was no easy task. Among the also-rans, local d-beat heroes Coliseum just missed the list with their raging Relapse debut No Salvation, as did Bloc Party with their sophomore effort, A Weekend in the City. 31 Knots made a strong late-year bid when I gave The Days and Nights of Everything Anywhere another listen, blowing away my original misgivings about the album. Angels of Light nearly made it on based solely on the strength of the opening track of their very enjoyable We Are Him. Panda Bear's Person Pitch was actually on the list up until the last minute; the problems with that album finally broke through the things that I love, and I'm starting to realize just how flawed it is. Shellac and Modest Mouse both put efforts that were just too hit-and-miss, the highs being some of the best music I've heard this year (3), and the lows dragging the albums down. Many others entered into consideration, and on any given day they could probably take the place of one or two of the albums that made my list. Twenty-o-seven was a great year for music, even if I did sleep on much of it until late in the year.

I thought about ranking these, but I don't think that I could. The rankings could too easily change to have any real meaning. So, in no particular order, here are my top ten records of 2007.

Battles Mirrored

An early front-runner for album of the year, Mirrored still rides in high esteem. While I had found Battles' earlier EPs enjoyable, they never did much for me that the seemingly endless instrumental math-rock legions couldn't also deliver. Imagine my surprise, then, when I was introduced to Mirrored and had my mind quite thoroughly blown. With the addition of Tyondai Braxton and what can only be described as child-like glee and creativity, Battles made an album that will forever outshine their contemporaries. When the grueling work week ends, I imagine this is the sound of Willy Wonka's Oompa Loompa laborers cutting loose with wild abandon. It's the celebratory feast of the Ewoks or the peyote freak-out of the Jawas of Tatooine, the triumphant joy of all peoples small and mischievous. (4) It's pure joy in rock-and-roll form.

108 A New Beat from a Dead Heart

108's Holyname is probably my all-time favorite hardcore album, and it's usually in my overall top 10 albums. I've never gotten to see 108 play live, and I didn't really get into them until after their break-up in 1996. Their entire body of work was already there for me with little hope of anything else coming out. Ten years later they reunited for a few shows and found that the fire was still there. Two years after that, they've given us the appropriately titled A New Beat from a Dead Heart. Most reunions give listeners diminished returns, the magic of the band having been lost somewhere in the hiatus, but every once in a while it works. The moment I heard the bare chanting opening the album, I suspected that 108 were back in proper form. Confirmation came moments later with a grinding, beautifully distorted bass, pounding drums, and the feedback fade-in building into 50 seconds of mid-tempo sludgy destruction. Not only is the dirge of later-era 108 intact, but the next thirty minutes, filled with the wildly impassioned, edging-dangerously-close-to-chaos paeans to Krshna (5) I originally fell in love with, prove that 108 have lost none of their ardor. While occasionally crossing just a little too far into noise, they always bring it back to head banging hardcore perfection. No one crafts metallic hardcore like 108, and A New Beat... ranks right up there with their previous masterpiece Threefold Misery, even if it doesn't quite reach the height of Holyname.

Arcade Fire Neon Bible

This one surprised me. Until I saw the Arcade Fire on Austin City Limits a short while back, I really had little regard for them. The first album was pretty good, but I just didn't care to check in on Neon Bible. The samples I heard did nothing to pique my interest, and I had pretty much written the band off. The strength of that performance, however, made me take a second listen. After reacquainting myself with the debut album, I went ahead and downloaded Neon Bible from eMusic. The one-two (two-three?) punch of “Keep the Car Running” and “Neon Bible” just laid me out. It's apropos that Arcade Fire played with Springsteen this year as Neon Bible strikes me as the modern response to Born to Run and Darkness on the Edge of Town, not so much in sound (6) but in the dichotomy of brooding depression and the desperate hedonism-as-escape. Whereas the Boss's characters are looking to break out of decaying dead-end towns, Arcade Fire seems to be reacting more to a dead-end society. To where do we look for escape? There ain't much hope for survival if the neon bible is true.

Low Drums and Guns

“All the soldiers, they're all gonna die. All the little babies, they're all gonna die. All the poets and all the liars and all you pretty people, you're all gonna die.” Alan Sparhawk's dry, slightly strained voice comes out of the left (7) speaker, breaking through the ebb and flow of swirling feedback and noise, and in just a few short sentences sets the scene for the album to come. This album is stark resignation. Whether we're helplessly watching the world fall to pieces or just a relationship, the feeling of inevitable ruin is in escapable, made all the more piercing by the beautiful male/female harmonies and mostly spartan compositions. At first a distraction, the production putting most of the vocals in one channel and most of the drums in the opposite makes perfect sense after the fifth or sixth listen. The album wouldn't sound right with more traditional panning. In what could be considered blasphemy among the Low faithful, Drums and Guns is my favorite of their albums, eclipsing even Things We Lost in the Fire.

Baroness The Red Album

Growing up here in Louisville, the gateway to the South, I've had the benefit of being able to both see the South from the inside and out, of being able to examine the problems of the South both from experience and through the Yankee lens. It goes without saying that the South has had a very troubled past (8), but strife often creates the fertile ground in which rich, diverse cultures can grow and flourish. The home of American music, every native form of music aside from hip-hop was born in the South, and sometimes bands play music that is undeniably Southern, even if what makes them so is hard to define or describe. Baroness is one such band. When I hear their hazy, stretched-out metal, a heady blend of Sabbath doom and Allman Brothers harmonized guitars, I can almost feel the humidity in the air or hear the cicadas buzzing in the night. Baroness are, hands down, one of the best metal bands making music today, and The Red Album is a shining achievement, a dynamic, sophisticated album that deserves to be heard end to end.

[no picture] Bridge and Tunnel s/t 7"

In the mid-nineties, The Get Up Kids released the Woodson EP that, to me, was the distilled essence of what was at that time considered “emo” (9), and it fucking rocked. A form of punk born from the disparate parents of Dischord records and heartland rock, the mid-90s emo that I enjoyed very quickly turned into the saccharine, overly precious garbage that polluted CD racks for the rest of the decade. I don't know what happened, but this form of rock music virtually disappeared, buried beneath an avalanche of GAP clothing and a headache-inducing legion of simpering, wimpy poonhounds. Bridge and Tunnel have answered my unspoken prayers and delivered an excellent four song slab of rock that evokes the earliest days of TGUK more than anything I've heard in years. It's punk strained through a power pop sieve, replete with driving, extra-tight rhythms, big guitars, and bigger harmonies, all with the added bonus of intelligent lyrics that aren't just self-obsessed plays for attention or sympathy. I can't wait until Bridge and Tunnel record their LP, which, as luck would have it, is being recorded here in town. Maybe I should buy these folks breakfast one day in thanks for this fantastic 7”.

The Besnard Lakes The Besnard Lakes are the Dark Horse

I regularly listen to the podcast of Sound Opinions, a music-based talk show on Chicago public radio. Seemingly all year I've listened to one of the hosts extol the virtues of the Besnard Lakes. For some reason, the clips they played on the show did nothing for me, and the samples on eMusic left no impression on me. Then I heard the track "Devastation", and it singlehandedly proved true every bit of the hype lauded on this group. Based on that one song, I went ahead and downloaded the entire album and gave it serious consideration. Much to my chagrin for sleeping on this for so long, I was highly rewarded for finally giving this a shot. The opening track sets the stage nicely, sounding something like Pet Sounds as channeled by Elbow. Reverb-drenched orchestral pop sounds layered with vocal harmonies follow the more modern extended crescendo-as-song English format. The highlight of the album is still “Devastation”, the loudest and most dramatic of the tracks, owing as much to the Pixies as any of the other influences I've cited. Even if the rest of the album doesn't necessarily live up to the promise of that track, it's still a phenomenal work.

White Rabbits Fort Nightly

With their debut album, the White Rabbits have produced the album that I wish Spoon or the French Kicks would have produced this year. Where the latest releases from both of those bands have done little to ensnare me, I've become infected by Fort Nightly's irresistible hooks. There's not much I have to say about this album. It's catchy as hell, a nice solid record that stretches no bounds, delivering only straightforward indie rock that you can dance to. I'm not sure if this will stand the test of time, but for now it's at the top of the heap normally occupied by more experienced and/or more hyped bands.

 

 

Tinariwen Aman Iman: Water is Life

Still a relatively new album to me, Aman Iman: Water is Life is also a new experience for me. Appropriately described as Saharan desert blues, this album is through and through a “world music” album, which for many western listeners, myself often included, usually means a mildly enjoyable musical novelty. While I would like to believe that it's my own growing maturity of taste that makes this album transcend those bounds, I have to give credit to Tinariwen. They've crafted an album that does not compromise a shred of authenticity and yet still captures the ear of the western listener. Rangy electric guitar weaves together with acoustics, bass, and various percussion and hand claps to create a hypnotizing tapestry against which the strong, guttural Touareg vocal melodies paint a picture of the desert that could be no more clear if I could understand the words. At once a great rock album and a worldly experience, Aman Iman fulfills the promise of “Riders on the Storm” in a way The Doors could only have dreamed.

Yeasayer All Hour Cymbals

Quite possibly my favorite record of the year, All Hour Cymbals embodies all of what I liked about music this year. Yeasayer's apocalyptic laments as likely become wild exultations of quasi-spiritual fervor as break down into unbridled fireside chants. Proto-rock vocal harmonies and pan-ethnic instrumentation blend perfectly with a dark sort of modern post-punk, creating a sound that evokes so much of the familiar and yet manages to sound so fresh. The dark night to Mirrored's blazing afternoon, All Hour Cymbals proves there is still new ground to be broken in pop music if bands will just open themselves up to new (or old) sounds. Even the inevitable flood of imitators will be unable to dull the keen edge of this album.

 

footnotes

1. I frequent eMusic for most of my download needs, though iTunes comes through in a pinch. I feel like I'm overpaying on iTunes, considering the lack of liner notes, but I've given in. Visits to the local music store are becoming increasingly rare. Their selection has suffered a great deal over the past year, and, frankly, it's just easier to find what I want when I want it on-line. The problems with this system are myriad, and I'm particularly concerned about where my money is going. It's certainly not staying in Louisville, a price I'm somewhat willing to pay, if guiltily, until the local stores figure out how to deliver a better customer experience. How a brick-and-mortar store is supposed to compete on price and convenience with the Internet, however, is beyond my ken.

2. Okay, so one of these is a four-song seven inch. Hardly an album, but the enjoyment I've gotten from those four songs rivals half of my top ten list, not to mention the 20 records it beat out to make the list.

3. A partial list of my favorite songs of the year: Modest Mouse “We've Got Everything”, Shellac “Be Prepared”, Battles “Atlas”, Arcade Fire “Neon Bible”, Foxy Shazam “Red Cape Diver” (okay, that's technically a 2008 song), Panda Bear “Comfy in Nautica”, Studio “West Side”, Angels of Light “Black River Song”, Stephen Marley “Traffic Jam”... I could go on.

4. I normally hate descriptions that rely more on esoteric metaphor than attempts to actually describe the music, but I know of no other way to approach this album.

5. edited

6. Not that there's not a similarity in sound. The Spector-esque cacophony of sounds is present, but the sax is replaced with accordion and mandolin, the post R&B boogie of Springsteen's more upbeat tracks replaced with a post-post-punk headlong drive.

7. Actually, it could be the right. I might have my speakers backwards. Or I might not.

8. No more so than the rest of America, really. Our problems have just been more visible. America still has very real problems with both race and class, and it's still very easy to point to prevalence of both in the South. That doesn't mean the problems do not exist everywhere.

9. Has any other musical label been applied to so many different types of music in the last 20 years? Emo in the original sense, as embodied by Rites of Spring and Embrace, was just an introspective form of punk that stripped away a lot of the all-go-no-slow trappings of the hardcore scene from whence it sprang. In the mid-90s, The Get Up Kids and about 10,000 other bands changed the meaning of the word. At first, as evidenced by the Woodson EP or the crank! label's Don't Forget to Breathe compilation, this wasn't a bad form of music, but I think it was only like, I dunno, six months before it devolved into the insipid bubblegum collective diary entry that most people of my generation (punk generation = probably a five year age span) think of when we hear the word emo. And don't even bring up the current crop of losers lumped together under this poisonous label.

10. There is no tenth footnote.

33 1/3. Again. Yeah, I know. I'll have something else to write about soon.

 

One of the most interesting things about the 33 1/3 series is the complete freedom, or at least the appearance of such, the authors are given on how to approach the album in question. Some of the volumes, like Bill Janovitz's exhaustive examination of Exile on Main St., focus quite a bit on the songs themselves or the recording techniques. Others, like Franklin Bruno's dictionary-style look at Armed Forces, focus more on the mis-en-scene, giving us a picture of the world in which the album was created and its subsequent effect on that world. Some are arguments in defense of the album, some explorations of the album's place within or embodiment of a particular culture, and some, like the book I most recently discussed, are simply personal reflections. This makes the series diverse, and frankly, more interesting.

The downside to this, though, is that often the books are unfocused. The volumes that work best are the ones that have a specific purpose. J. Niimi delves into Southern Gothic culture and looks at REM's Murmur in that context, and it works. It works even in the problematic final third of the book, mostly because it is consistent in theme. Niimi looks at REM's history, their song structures, recording techniques for the album, and lyrical reflection, but he does all of that through the Souther Gothic lense. The result is a cohesive, satisfying read. Unfortunately, many of the books fall victim to a lack of purpose. In place of a historical document or a critical examination or an in-depth personal response, we get a sort of shapeless mix of information, and that with no theme to tie it all together. These entries in the series simply don't work as well as the others, even when the writing itself is well crafted.

Such is the case with Chris Ott's book on Joy Division's debut album, Unknown Pleasures. The book seeks to dispel some of the mythology surrounding the legendary band's early days, and in that purpose it succeeds. We're treated to a concise and informative history of the band up to and including the recording and release of Unknown Pleasures. Mixed into that is some exploration of Hannet's production of the album and of how he helped transform the band's sound. This part is most intriguing, but it's a fairly small segment of the whole. I would have liked more on this topic. Where this book fails, though, is that it settles into the inevitable retelling of Ian Curtis's downward spiral and eventual death. This topic is pretty much unavoidable when discussing Joy Division, but the world really doesn't need another recapitulation of this story. With this divergence, the book ceases to be about Unknown Pleasures and becomes just another Joy Division book. While it's well-written and informative, Unknown Pleasures just doesn't deliver enough of a focus on the album itself.

That's it for the 33 1/3 books at least until after Christmas. I am hoping beyong hope that Wilson's book on Celine Dion will be under the tree, but if not, it will be my first post-holiday purchase.

 

current music: Miles Davis "Sketches of Spain" || current mood: belly hurts

33 1/3. Let me just get this out of the way quickly, because I'll rehash it every time I respond to one of these books. I love this series, even if many of the books are flawed. I really cannot get enough. I gush every time they come up in conversation. Sometimes they are brilliant, and sometimes they're a mess, but any lover of music should at least check them out.

 

I don't know if my Google-fu skills are lacking tonight or what, but I can't seem to find much information on Shawn Taylor, the author of the 33 1/3 book on A Tribe Called Quest's debut, People's Instinctive Travels and the Paths of Rhythm. I've found a blog to which he contributes, but little else. I had hoped to learn a little bit more about him, because where this book fails at examining the album in any satisfying way, it succeeds in generating a small amount of interest about the autho himself. How did he transform from the hyperliterate, straightedge punk trouble maker growing up in New York into the author and social worker currently living in Oakland? That would certainly make for a more interesting read than this tepid, unfocused book that reads like a rough draft.

Taylor starts well enough, giving us some of his background, setting the stage for when he first heard Tribe, and then giving us some general history on Native Tongues. It's not particularly engaging, the writing style being more akin to an informal blog than a normal book, but it gets us headed in the right direction for the next part of the book. Taylor approaches the bulk of the book with the premise that he'll compare how the music affected him in his youth to how it affects him now. To do this, he employs a method he devised when he was a teen, which he calls the three trials.

The three trials is actually a nice concept and is a more defined approach to examining music than anything I've come up with so far. In the first trial, Taylor listens to the album as a whole and discusses it from that broad perspective. In the second, he listens again, exploring each song on its own. Finally, the third trial, a little more out of left field, involves listening to the album in public and seeing how it affects his moods and reactions. The concept is good enough, but the execution here leaves much to be desired.

The first and biggest problem is that Taylor reprints his journal entries from when he conducted the trials on this album when he was seventeen. Like one would imagine, it reads like a seventeen-year-old's journal, it's meandering punctuated by moments of grandiosity. The book would have been much better served by the author using this source material to give us a picture of his reactions at the time, rather than just letting us read it directly. It's curious that the editor didn't see a problem with this. Taylor follows the three teenage trials with three trials from the current day. This would probably be the most interesting part of the book, but the author makes the poor choice to discuss remixes of this album nearly as much as he discusses the songs themselve. The examination of how his feelings on this music have evolved over the years is unsatisfactory, and by the end of this part of the book, I really felt like I had simply read an early draft.

There's certainly potential here, but it is not realized. The unfinished feeling is reinforced by the short, 20 question interview with engineer Bob Power that wraps the book up. Power is a fine interviewee, especially considering the producer and artists refused to speak with the author for the book, but the interview is completely out of place. The book had already established that the point was to discuss Taylor's relationship with this music, which is fine; not every 33 1/3 book needs to be super-technical or historically informative. Though I did learn some things, the bottom line is that it does not deliver on an information level, and it certainly does not deliver on a cathartic level. Luckily, it was a short, quick read.

Next up: Joy Division "Unknown Pleasures"

 

Current music: Danzig "II" // Current mood: back in the day when I was a teenager...

Listening today to the Humanist Network News podcast, I heard an interview with James Howard Kunstler, author of The Geography of Nowhere. Kunstler is an outspoken critic of both urban sprawl and of modern and post-modern architecture within our cities. I've not read the book, though I might, but from the interview, it seems like I could agree with many of Kunstler's base ideas. I agree that sprawl is out of control, that the creeping disease of suburban areas is choking the life out of our environment. In cities like Louisville, we've created a world that requires daily, continuous automobile use. I live in the urban district of our post-merger suburbopolis, but I work across town, and by early January so will my wife. We could probably afford to live nearer to our jobs, but that would put us further from the areas of town we actually enjoy spending time in; it would put us in an area that feeds directly off of one of the Metro's healthiest conduits of sprawl. That's not yet a sacrifice I'm willing to make.

Our city is set up in the modern, post-War, American style, an urban center surrounded by ever-growing suburban districts, areas first populated by people wanting to get away from the bustle of the city only to then demand the conveniences they lost. Corporate entities gladly meet that demand with their cloned strip malls and eateries, devoid of all character, lacking local ties and local financial benefit, and a sickly simulacrum of urban life spreads to these formerly idyllic neighborhoods. A new generation decides to try to split the difference between rural and city life, settling the suburban hinterlands, and the cycle begins anew. The net result is not pleasant. It stretches our population out, destroys our metabolism, makes us slow and bloated and full of waste, pollution, and lost time. Meanwhile, our inner city, despite some feeble attempts at revitalization, atrophies. Most the streets empty after five o'clock. The businesses close. No one seeking nightly entertainment outside of the theater or club scene need bother with downtown. And no one in the suburbs need to even consider coming into the urban districts. While downtown has withered, there still exists urban areas (notably [at least for those of us completely uneducated about areas west of downtown] the Highlands, Clifton, and Crescent Hill neighborhoods) that provide what downtown lacks. And while there still exist neighborhoods vibrant and alive, there are many more suburban areas tending the base needs, ensuring that the people living in the outer regions need not bother coming closer in town.

This is problematic for me. The ideal urban area mixes living space with business and entertainment. Neighborhood businesses existed and succeeded because the neighborhood was full of actual people, people who could walk in and grab a coffee and bagel on the way to work, walk in and grab some fresh bread for dinner. The city was set up so that people could walk where the needed to go, and if something was too far to walk, hopping on a bus would take you straight there, or close enough, in a reasonable amount of time. This, by default, created community. (The degradation of community is another discussion altogether, but urban sprawl is one of the major causes of the failure of the neighborhood.) The city's metabolic efficiency increases, our daily routines using less energy, creating less waste. Now, we have to drive to everything. Drive to work. Drive to the market. Drive to the bar, the movies, the theater. Hopping on a bus involves an intricate battle plan of routes and transfers and hoping beyond hope that the buses are actually running anywhere close to on time. Kunstler would contend, and I would agree, that we would be healthier and happier in these more traditional urban environments.

I do not agree, however, with Kunstler's statements that the last thing we need are these nature band-aids sprinkled throughout our cities. While it's only common sense that these islands of landscaping do little to combat the negative effects of sprawl, that they do little to bring to urban dwellers the aspects of rural life we desire, there's still nothing inherently wrong with them. If there's going to be some plastic-and-neon monstrosity at the end of the block, it certainly doesn't hurt to put some trees and bushes around it. Maybe this is something that he didn't express correctly during the interview, but he just seemed to cynical more than anything else on this particular topic.

What really struck me throughout the interview, though, was not the merit or lack thereof of Kunstler's many thoughts on what we need in terms of cities and rural areas and the definition between the two, but the sheer absurdity of some of his statements. He goes so far as to blame misanthropic behavior, drug use, and immaturity in our youth on sprawl. Paraphrasing (closely), he claims that in the city, young people can go hang out at the coffee shop or other businesses where they're welcome and under at least some adult supervision. In the suburbs, however, kids are relegated to the burm of land next to the latest Wal-Mart, "smoking animal tranquilizers and abusing kittens". Yeah. He really said that. Where does one even begin with a statement like that? Do you start with the most obvious problems, like that drugs exist everywhere? That cruel behavior exists everywhere, city or suburb? Or do you go with the deeper problems, like cities not really being as kid-friendly as he seems to think? No coffee shop or other business wants a bunch of loud teens hanging around if they're not buying anything. What Kunstler seems to be observing is that it takes money to be occupied, but instead of recognizing that, he forces this square peg into the round hole of his crusade against sprawl. This was the most egregious statement in the interview, no doubt about it, but this sort passive fear mongering was sprinkled throughout. It wasn't enough to point out the legitimate problems with sprawl. Kunstler also had to attribute it all of the ills of western society, preserving the city (or in his case, really, the small town) as the Springsteen-esque ideal of an America that probably never truly existed, at least not in the utopian way he portrays it.

The book could be interesting, or it could be a big waste of time. After finishing the mountain of literature I'm sure to get for Christmas, I'll have to find out.

 

 

Current music: Bill Evans "Moonbeams" // Current mood: not ready for bed.

In the study of history, there has long been disagreement over whether the men made the times of the times made the men. That is, were the big events in history pushed forward by great men or were they the result of the events that came before and the societal conditions of the day? Like any decent historian I tend to fall somewhere in between. One can easily show how the events after World War I created the conditions that made a second world war unavoidable, but without Hitler's charisma and peculiar ideals, would there have been the Holocaust? It's a fascinating debate and one for which I'm ill-equipped.

As with history, these same theories bubble up from time to time to explain cultural shifts, particularly with music. Did Nevermind cause the sea-change in popular music that followed it, or did it just ride the oncoming wave to the top? I've argued with friends in the past that Nirvana were just a product of their times, that if it wasn't Cobain, it would have been someone else. That's really another argument for another time, but I give way somewhat to the Great Man Theory in thinking that without the Pixies there would have been no Nevermind, or at the very least it would not have been the album we know today. Aside from Cobain's own statements, one but has to listen to Bleach and then listen to Nevermind to see the Pixies influence. Where the previous album was for the most part a morass of braindead slowed-metal riffing, Nevermind managed to bridge the gap between the earlier proto-grunge sound and pop music. Cobain borrowed heavily from The Pixies already-perfected amalgam of pop and noise, but whereas Doolittle's critical acclaim turned into very little real-world success at the time, Nevermind swept the American people off of their collective feet. Why was it successful where The Pixies failed? Was it that they had the right looks, the right marketing? Like Elvis before them, did they take an established formula and repackaged it in a sellable format? Was it that Cobain's emotionally-stunted angst connected more with listeners than Thompson's surrealism and ever-apparent sense of superiority? There are probably a thousand reasons, and the truth is likely a mixture of all of them.

But forget for a moment Doolittle's place in music history. We know how influential it and the band were, but how does the album itself hold up outside of the historical context? All of the strengths of the album are summarized in the first song. With Debaser, The Pixies have a strong contender for one of the best opening tracks of all time. This three minute blast has everything I've come to love about Doolittle, while managing to avoid the pitfalls that plague much of the album. First, The Pixies' signature loud-quiet-loud formula is intact, but not so overt as on many of their songs. After Smells Like Teen Spirit brought the sound to every household in America every three minutes for two years, there's nothing really special about it now, but the Pixies perfected it first.

With its blend of tuneful poppiness and screeching noise, Debaser perfectly captures the other dichotomy that makes The Pixies so brilliant. When riding that fence, the album is singular in its power, but when the band slides more toward one side, pop or noise, the songs suffer a great deal. While Debaser and Wave of Mutilation are excellent examples of why The Pixies deserve the praise they receive, the poppy confection Here Comes Your Man and the almost-annoying Crackity Jones both betray the band's limits. With Deal's bass bouncing along, her voice adding the melodic counterpoint to Thompson's strained ejaculations, Lovering's solid drumming and Santiago's midrange guitar abuse, the Pixies created a balance of sounds that is almost impossible to successfully recreate.

Thompson's lyrics are probably my biggest sticking point. At their best, like on Debaser, Thompson crafts a surrealist puzzle that at first sounds meaningless, as Thompson would have us believe, but that opens up to reveal a deeper meaning. Unfortunately, Thompson often slipped completely into surrealism and despite attempts to tack on a meaning after the fact, the truth remains that he was just picking words that sounded good together or fit the rhyme scheme, like on I Bleed. This doesn't work for me. I don't think every song has to be some profound statement, but I do want some thought put into the lyrics. The sense of humor, often lacking in the bands that came after the Pixies, helps to save some of these mindless songs. Thompson, however, falls prey to occasional fits of snobbery, particularly on Tame. It's not so much that he knows these women he's singing about, these women whom he calls tame, making it a virulent insult, but that he sees them from afar and thinks he knows them. He'd never give them a chance, because he already has them all figured out. That sort of narcissism is a turn-off. There are times on this record that I want to grab him by the lapels and tell him to just get over himself.

Still, despite the faults, Doolittle is a fantastic record. It's held up extremely well, and I'm certainly glad I finally decided to give it a chance.

 As most of my friends are probably tired of hearing, I'm a big fan of the 33 1/3 series of books about albums. Hype has been building on Carl Wilson's upcoming book on Celine Dion's Let's Talk About Love, the album that gave us the theme to Titanic. While most of the series focuses on what the authors consider to be classic albums, Wilson is taking a different approach, using an album that critics loathe but that has sold millions of copies to examine the idea of taste itself. It's a brilliant concept for a book, the immersing himself in music he hates in order to try to understand its appeal. What makes good taste? By what criteria do we measure the worth of music and art? In the second chapter(1), Wilson posits that maybe he's heading down a "relativistic rabbit hole". If Dion's music can be redeemed in his critical eye, does that then mean that there is no good or bad music, no good or bad art? Does Thomas Kinkade deserve the same artistic respect as, say, Monet?

I personally believe that there is such a thing as good or bad taste. Syd has argued with me somewhat on this topic, and he asks a good question: How do I define what is good and what is not? I can't honestly say I have an answer for that. It's just intuitive. It's not just a matter what I like or dislike. There are bands I don't necessarily enjoy but that I still respect because they are very good at what they do, or for being innovators, or pushing boundaries, or just because they are authentic. Those aren't the only criteria for defining good music , just examples. Bad music lacks, among other things, character, charisma, soul, edge, passion. The presence of any of those things does not automatically save music from being bad, but it might be reason enough to give it a deeper listen, just to be sure.

I think enjoyment of music can be independent of whether or not the music is good. Often what you like and what is good are one-and-the-same, and often they are not. I can honestly say that there are some artists I enjoy (2) that would not qualify as being in good taste. Others might call these guilty pleasures, but I find no reason for guilt. I like what I like and haters can go fuck themselves. Anyone who likes any music should feel the same way, though I would hope that they at least recognize the distinction between their likes and what is good. It's a blurry line sometimes, but I feel the line does exist. 

Does that mean that examinations of what is good or bad are, in the end, irrelevant? No. In fact, it means quite the opposite. It's important to look at the difference between what we like and what is good to preserve the difference between the two, to keep our culture from becoming completely disposable. That singing bass sure was a big hit... for a few minutes, and now the tacky pieces of shit are filling up landfills and flea markets all around the country. If we start to confuse taste with simple enjoyment, instead of preserving the good, we'll toss it aside when something new and shiny comes along. We'll start producing an entirely disposable culture. Quality and enjoyment are separate, though they can and often do apply to the same works. Not everything that is popular is automatically bad, just as not everything obscure automatically gains worth. Does that make it more difficult to determine good art from bad? Yeah, but nobody ever said it was an easy distinction to make.

footnotes
(1) The publishers are doing some advertising. If you send an email to letstalkaboutceline@yahoo.com, they'll send you a PDF of the first two chapters. I printed those out and read them this afternoon, and I cannot wait until the book is published. 

(2) Justin Timberlake, for example. Sure, he is very talented. He can sing and dance and his songs are catchy and fun, but in twenty years will anyone give a second thought to who brought sexy back? Like the Tony Basils before him, he's writing disposable music that's fun until its expiration date, but that ultimately has nothing of substance to offer.