Just be a queen

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Lady Gaga – Born This Way

I kind of hate this song. The clunky transitions, the obnoxious intro, the longer and even more obnoxious music video intro, the atonality of the chanted chorus, the preachiness, the pretentiousness – it’s all bullshit.

But there are two redeeming qualities. One is the adorable double stomp of the dancers in the music video. The second is that the jingoism, the triteness of the message, the sheer banality of it all is absolutely necessary.

For years homophobes have dominated that corner of the public discourse. There are plenty of articulate, compelling works in a variety of mediums about homosexuality and homosexuals’ particular brand of struggle (pick up Middlesex if you’ve got a free summer to flip the page 529 times or just happen to like really good fiction), but the reductive banners, the regurgitated cliches, and the mind-numbing arguments – that sphere belonged solely to the homophobic.

Until now. Lady Gaga is hitting back. Gays, too, can be entirely unoriginal and bland and gain huge amounts of public traction despite it. So suck it.

It’s the ’90s again, when singers appear in their own music videos, one costume is enough, old black guys have belting saxophone solos, everything is in earnest, boobs jiggle, and dancing to your own music is actually pretty cool. [Born this way.]

I’ll never be repatriated

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Handsome Furs – Repatriated

Stare at the girl walking in front of you off the plane, her knees pointing in at each other so severely her legs give a tiny buckle with each step. Think about how miserable she must have been at gym as a child, hiding in the locker room crying, but now here she was before you, half gorgeous (her beauty undermined by a touch of flat face and a snout of a nose), her hips swaying majestically.

Try not to stare at the old man’s light blue dyed hair and mustache when he approaches you in the airport Coffee Bean, being bullishly American and asking the barista if they sell coffee from Sumatra, where, incidentally, they just make the best coffee, didn’t you know, and it’s such a pity no one there drinks coffee so they don’t even know how good they have it. Also, where all have you been, young lad, anywhere else besides Singapore? Tell him you’ve just come from Indonesia and let him get distracted by buying his Sumatran coffee while you slip away.

Take the subway to EW11. Notice the abundance of women nodding off at 5:45am. Wonder if the equal numbers of each gender on your train indicates that Singapore’s workforce is more evenly shared than most nations or if women just have jobs that require an earlier start on average. Or, if you just got an uncommon blend.

Walk 1km to the Golden Mile Tower.

Check in at the bus station. Nod knowingly when the lady tells you to come back in two hours. Fill out the immigration form with a borrowed blue pen in the waiting room while watching a dubbed Indian soap.

Grab two pork bau – $1.20 Sing a pop. Wash down with a Coke. It’ll keep you awake till your bus starts loading.

Idly wonder where your parents are in their journey, then realize they’re in Singapore too, just in a transit hotel. They’ll be halfway across the Pacific by the time you eventually arrive, even though you’re only going two inches up the globe your dad keeps in his classroom.

Smile at the sight of an old Liverpool 15 Berger jersey on a middle aged man with two pudgy daughters.

Snap a picture for the large Indian family outside the bus, half of which are climbing on. Ponder how Indian women can expose so much midriff without it being the least bit sexual.

Smirk when, on the bridge into Malaysia, the shoulder becomes another lane. Not even Singapore is immune to the Asian shotgun approach to queues. Smirk again as, frustrated by the traffic, the driver, a skinny man with his pant legss pulled up over his knees, lights up a menthal, carefully exhaling out his window and away from the no smoking sign.

Notice the sweat trickling freely down your side as you stand for over an hour in an immigration “line” which would perhaps more accurately be described as a huddle. Curse the local schools for all ending on the same day, filling all flights and trains as well as causing the traffic.

Fall asleep listening to the Handsome Furs on headphones.

Feel the bus slow down in your sleep as it pulls over for gas in Ipoh. Note how weird it is that you can sense the loss of momentum even when unconscious.

Try to figure out if there’s a time change throwing your calculations (that a 10 hour bus ride took 13) off.

Hop in the back of the taxi and give the driver directions to your apartment. Flat out refuse when he tries to up the price once you’ve arrived, and demand full change back. Say thank you as you slam his door.

Shower and crash. [Sound Kapital + It Is Right to Draw Their Fur]

Trial and error: the search for virtue

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Emmy The Great – Dinosaur Sex

Emmy The Great’s Virtue is an elegant record, touching upon the themes of religion, immigration, feminism, place, morality, and even climate change (in the most unique and approachable fashion). It’s astoundingly engaging and is – I say with readied gag reflex – a much more mature offering than 2009’s First Love. Emmy The Great’s Virtue is the best album I’ve heard this here year.

“Crane’s are lifting cargo to the sea …” “Dinosaur Sex”, an opener of engaging title, offers a theatrical edge, with the entrance of Middle Eastern horns and jungle birds broken only by reaching guitar. The juggling of power station imagery and Earth’s end etches a funereal march for humanity upon the song, like scars upon its pretty face, “Skin is peeling off of us in sheets”. It’s the end of the world. It’s the end of the world and she knows it. Or at least she dreams it. “Dinosaur sex led to nothing.” And might we? Emma-Lee Moss dreams so, and such despair bleeds through to “A Woman, A Woman, A Century Of Sleep”, as women lock-in their subservient roles, straighten their broken backs over boiling pots, morphing to objects for positioning and pleasure. Here there are great moments of depth to her voice, as well as a cinematic layering of messy backing vocals.

There’s intimate and telling disconnect on “Paper Forest (In The Afterglow Of Rapture)” as Moss elongates “I’m blessed” as if to force conviction. And the spiritual or religious attachments fail to be shunned following a first utterance, as “Creation” reads like a spoken instruction manual to the Genesis formula. There’s a perpetual line of creators within creators, and, whether intended or not, the song’s structure allows for Moss’ storytelling and her band’s instrumentation to feature in tandem. It’s a neat trick and breathes real strength into the core of the record.

“Exit Night / Julia’s Theme” brims over with the sort of painful and definite cycle of generations ending that the English grasp so well, capturing the death of a country and its people; death of an age, as certain as sunrise, and characters caught in-between, heads over shoulders with nostalgia and forward with fear. “An exit night is coming through – an exit night is coming for you.”

Such longing is cause for a stupendous interlude to the record’s penultimate track, “North”, a song whose narrator is in search for a sense of place and inclusion, speaking of land and borders and the uncelebrated arrival of the world’s immigrants: “I can’t help where I was born … if I take what I have to the North, is there room on your piece of heaven or would you turn me away again?” For the time we’re in, it’s a necessary and demanding commentary. It’s beyond the self, providing a clear gap between Emma and her peers. (Note the Dylan-styled delivery on “heaven”.)

Emmy The Great – Trellick Tower

Virtue’s closer, “Trellick Tower”, sets Moss on a course most personal and startlingly true: disclosing a lost fiancé and the vanquishing of their shared love as a result of his religious conversion, “He heard the voice I couldn’t hear … and now I’m praying for this pain to clear [yet] he’s waiting on ascension.” With admirable restraint, Moss shelves any desire to dampen the legitimacy of his decision or the subsequent pain endured, instead bathing in the flavourlessness of a home once of two but now just one.

As with every first listen, it’s a disconcerting matter to conclude anyone as either poetic or just wordy, but here it’s poetry that proves the triumphant battler. It wins in the musicality of her chosen words over any obvious classical poetic device. Variation of theme, if anything, is the triumphant winner. It works for me. Sure, this is just music and pales if not fondled by our own curiosities for the minds of storytellers, but this record has shapely depth and is stylised by terse observations over the most euphonic of instrumentation. It’s a serious offering and must be treated as such.

[Virtue: Album stream and track-by-track guide in her own words.] [Out today.]

THE LIGHT

Written by

Pela – Waiting On The Stairs

You feel the wind before you see the light. In some stations — depending on the curve of the tunnel that disappears into the darkness to your right — the white light appears before the blast of hot, stagnant air collides with your cheek. But if you’ve been waiting for the subway long enough to notice the gust, you’ve given up on peering into the dark, searching for the train. You know where that leads: Looking for the light at the beginning of the tunnel is worst than standing still. You’re focusing on your book, glancing at the beautiful girl down the platform, skimming the 6,000-word New Yorker article you put on your iPhone for these moments. The train will arrive; it always does. You can disappear from the present.

The wind, pushed in front of the speeding hunk of metal designed to move you forward, brings you back. The people on the platform perk up, knowing this moment is the next step.

If not already visible, the light arrives, followed, undoggedly, inevitably, by the first car, the second, the third, the fourth, slowing, ever slowing until a full stop.

The doors open with a blast of cold air. You walk on, turn left, and through unfocused eyes gaze lazily into the future. [Buy.]

She will burn your house down

Written by

Melanie Laurent – En T’Attendant

The setup is minimalistic: two thirds assuaging drawl, a teaspoon of scream, and the rest a composed offering of polished frenzy (think watered-down Funeral). The song’s arc forms not in its predictable structure, but in Laurent’s stirring delivery, birthing with scattered syllabic fumbling – vocalised jazz hands – over untranslated verse, soon weaving with choruses made distinct by a change in vocalised approach; a soothing stretch and pull of her words and their poetry – tormenting their mobility. The appeal is in the voice, of course. Sure, there’s enough to be had in the cohesive instrumental: the approachable freely-strummed guitar and the added decoration of pounding piano, timid trumpets, viola, and the confidence of aspiring backing vocals, but it is the vocals, in their palette so dry yet drenched in desire, that proves the adage of the French and their allure.

[Glorious.]

Sofija

Written by

Life’s never ending search for Lost In Translation‘s Official Soundtrack: Part Deux.

If you go down to the woods today

Written by

The 2 Bears – “Bear Hug”

On this laptop, I have ten songs by eight individual artists splattered across my iTunes. Sabotage must’ve occurred while in-transit, leaving an army of thousands to not one sole soldier. Never mind, the headphone input is broken to the point where it picks up just the right or left ear and the basic layering of vocals and guitar only, and speaker quality borders on whispers of something boring to a deaf person. Plethroa or none, there’s no real use in worrying.

“So if you’re leaving with a bear tonight, for some lovin’ in the pale moonlight, well you know everything’s going to be all right.”

The car boasts a busted radio that gives off a straight line hiss just often enough to be reminded of its usefulness and a passenger window that fails to drop on any command – or by any attempted translation – to relieve my lungs of swamp-heat. Filling the air’s open space with my own voice is cause for concern, but mostly irritation. All the while I can’t remove this mess from my head. Without my library, things like this appeal. “I know you want it. You know you want it.” I don’t. I want my songs back.

[Hug.]

R.I.P. WOLF PARADE

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A few hours ago, Wolf Parade played its last show, a gig in Vancouver with Frog Eyes opening, before going on indefinite hiatus. Apparently, the last song they played together was Knockin’ On Heaven’s Door.

By now all of the members have other projects going on and are scattered across Canada, and I found the later material a tad stale, so it makes sense. I get it. I mean, I understand. I don’t have to like it though.

I remember clearly when I first heard Wolf Parade. On a forum I troll, someone had posted a thread entitled: “Wolf Parade – I don’t get it.” Inside was a link to the Myspace page, which was featuring the video for I’ll Believe In Anything you see above. I clicked play, watched it, and thought, “I sure as hell get it.”

It feels too off-the-cuff to be that catchy. Spencer’s shirt is ripped at the armpit, Dan and Hadji both look like they’re going to spazz out and injure themselves, and no one seems to be paying enough attention to each other to possibly be in synch. But it’s tight, it’s tight as hell, man. Yeah, I got it.

As I listened through the song for the second time, I opened a tab to Amazon.com and bought Apologies To The Queen Mary and, because it was listed as similar, Modest Mouse’s The Lonesome Crowded West.

Those two bands immediately became huge influences on my listening and aesthetic choices. I’ve seen Wolf Parade and its various side projects in four different states across half a decade. When Spencer put out Random Spirit Lover as Sunset Rubdown, it came at one of those crucial junctures of my life when, looking back, I can see how willing and earnest I was at the time, and I opened up a slab of my heart and it slotted right in there. I still consider it my favorite album of all time.

Sunset Rubdown is gone now too. Cognitively, I know all the bands I enjoy will split up or turn shitty or go on indefinite hiatus and then never resume or have members die. Mentally, I understand that. But it still feels awful raw when one of the first bands I ever fell for does it. [R.I.P..]

Yeah the doctors don’t know

Written by

Gil Scott-Heron & Jamie XX – NY Is Killing Me

Coming out in New York.

Spurious lands

Written by

Stephin Merritt – “Forever And A Day”

People, they visit lands and succumb to an overwhelming sense of place and belonging, as if cut from the same soil beneath them, as if made of discovered dirt. You’ve heard this before, and, isolation of shared experience apart, you trust in the merit. A home aside from home. Some place where loneliness waits as secondary. Maybe due to bucolic depictions, maybe due to a truth, Provence, France has always whispered to me with a curl of a finger. When forced from your own land, though, I wonder can such place be found or will the idyllic state of that which is left behind forever haunt?

I’m not certain what it means to be an Irish man of a time when men of similar and younger ages must flee for the most basic of chances. He was once a boy and he sang, “England is mine, it owes me a living!” It’s got the strength of a slogan, but he’s wrong. We’re owed nothing. And as long as we’re alive and willing to stand still, we’ll lie in wait for nothing. Our role is to adapt in line with the whim of others. We’re asked to leave behind the only green we know and live a pretence of building a home atop strangers. Get married to a Merritt song. It’ll last longer than land.

[Song: Nonesuch.com. Art: Yago Hortal.]