I will slip into the groove

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World of people

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M.I.A. – The World

The World begins in wobbly fashion; think Rolf Harris meets dubstep, sided by a rhythmic section falling between the crossfire of snare and bass drum action, and a voice-over of repetitive Hollywood clarity ensures we’re made aware of the song’s title in catching fashion, but it’s not until Maya arrives, synth riff in tow, that the humourless becomes humourful, “I got people on my case, I got words for my speakers and my speakers on some crates.” There isn’t much in the way of emotive terrain, not even of a broken sort, but it’s a fractious energy fraught with direction. This is merely a snippet of M.I.A’s drive – certainly in terms of the song’s length – but it encapsulates her flawlessly, nonetheless. The-World-the-the-the-World. “It’s the music.” [Free mixtape.]

Don’t look at the camera

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Low – Try to Sleep

[Words stolen from Jonathan Franzen.]

Antonia’s very good-looking younger sister, Betsy, knew better than to expect even minimal tact or sensitivity from her husband, Jim—he had, after all, proposed to her with the words “If you want me to marry you, I’ll do it,” and she had, after all, accepted this proposal—and so she couldn’t fairly be offended when Jim began to hint that she should have some work done. Jim’s idea of a hint was to remark, while Betsy was seated at her bedroom mirror and doing her makeup, “Isn’t it funny how people’s noses and ears keep growing after the rest of the body stops?” Or to mention, apropos nothing, while the two of them were celebrating their twentieth wedding anniversary at a midtown steakhouse where every busboy knew Jim’s name, that he used to have a moral problem with plastic surgery but was “totally coming around to it now.” Or, when they were out eating lobsters with Jim’s arbitrage partner Phil Hagstrom and Phil’s young second wife, Jessica, to reach across the table and put his butter-smelling thumbs on Betsy’s eyebrows and stretch the skin between them and say, with a wide, instructive grin, “You’re frowning again, baby.”

Betsy was proud of her natural assets, proud of the fact that they were natural—she could still, at forty-three, pass for thirty-six or thirty-seven—but she was also excited, in a dirty sort of way, to imagine reaping the benefits of augmentation, of compounding her native advantages, of strengthening her already impressive portfolio of looks, while being able to blame the procedures entirely on Jim and Jim’s tactless demands, rather than on her own vanity. Almost every year on Election Day, she managed to “forget” to go out and cast her vote, or it was only after she’d fed the kids their dinner and filled her extra-deep custom-built travertine bathtub with hot and fragrant foamy water that she “remembered” that the polls were still open and wouldn’t close for another hour. Instead of putting her clothes back on and shlepping through rain or sleet and participating in American democracy, she lowered herself into the tub and savored the unclean pleasure of not having voted against her conscience (which had been Democratic since her childhood in Cleveland) while Jim had gone and flipped every Republican switch the voting machine could offer and yanked the machine’s big lever brutally, as if to emphasize his ever-deepening hatred of liberal Democrats, so that the household’s only tallied vote would safely go to candidates who wanted to lower the taxes of high-income families and leave them more money for luxuries such as Betsy’s bathtub, which Jim had bribed the co-op to the tune of thirty thousand dollars for permission to install, and which, as Betsy freely admitted to herself, it made her very happy to soak in on a raw November night.

People had always overestimated Betsy and Jim’s ambition. In the beginning, her parents had imagined that she was secretly heartbroken to have been married in a hasty, colorless courthouse ceremony so unlike the California beach wedding of her sister, Antonia. Jim’s parents had similarly assumed that their son was furious when Betsy, as soon as she had his ring on her finger, dropped all pretense of wanting to become a Catholic for him. Though Jim was frank about his lack of interest in anything but making money, and Betsy scarcely less frank about her motives in marrying him, nobody had wanted to believe them. Jim did dutifully spend a tasteless sum on a honeymoon in Paris, and there, for two days, Betsy did gamely try to do the romantic touristic things expected of newlyweds, but she was five months pregnant, and it was plainly a torment for Jim not to have hourly access to the markets, and their richly illustrated moneyed-yuppie travel guide to the authentic moneyed-yuppie pleasures of Paris was like an insider’s guide to Hell. She’d never felt uglier and had seldom experienced more intense dislike of another person. On their third morning in France, out in the middle of the Pont Neuf under a white-haze sky, Jim began to abuse her viciously, shouting into her eyes, “What the fuck do you want to do? You haven’t told me one single fucking thing you want to do!” and Betsy screamed back at him, “I don’t fucking want to do anything! I hate this city, and my feet are killing me, and I want to go home!” Whereupon Jim, more quietly, and with a frown, as if some strange coincidence were confounding him, said, “But that’s what I want to do.” All of a sudden the two of them were laughing, and touching each other’s arms and shoulders, and it was just about the most romantic moment of Betsy’s life, there, sunburned and sweating in the middle of the Pont Neuf, surrounded by the Seine’s atrocious glare, the two of them agreeing to throw in the towel and stop pretending. They went straight to the nearest McDonald’s and then back to their deluxe moneyed-yuppie hotel room for a series of hair-raising romps punctuated by languid hours of English-language TV (Betsy) and highly technical phone calls to the New York office (Jim). How dirty and hot being terrible tourists together turned out to be! Their joint surrender to boringness, their rejection of ambition, became their exciting little secret. Some people, Betsy decided, just weren’t as good at life as others: as good at culture and adventure, as good at being authentic and interesting. “I’m this kind of person,” she thought with relief, “and not the other kind.” Sitting on the Champs-Élysées, eating a farewell Big Mac before flying home three days early, she experienced a rush of gratitude to Jim so strong it felt like love. And maybe, she thought, it was love. Maybe this was what lasting love was all about. Not caring if your husband shouted English at French waiters, demanding food that tasted “more American.” Not caring if your wife didn’t have the patience to wait in line at the Eiffel Tower. Feeling sorry for your husband because his Catholic conscience had obliged him to propose to the first girl he happened to knock up. Feeling sorry for your wife for being too female about math and money to share your interest in tracking, to the fourth decimal, the franc/dollar exchange rates offered by various Parisian banks and kiosks, contrasting the best of these rates with the far better rate that a New York banker pal had given you before you left, and calculating how many hundreds more francs you’d received for your dollars than all the cheese-loving, French-speaking American yuppies who acted so knowledgeable and superior. Each spouse the keeper of the secret of the other’s insufficiency and unambition. Like two lousy golfers encouraging each other to shave strokes, improve their lies, take lots of mulligans. Each obliged to the other for overlooking so much: could this be love?

Apparently it could.

[Pre-order C’mon; subscribe to McSweeney’s.]

Music is irony

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The Canadian rock star grabs the microphone and yells, “Everyone jump up and down!” The sweat-drenched crowd barely moves. He lets out a sigh before unleashing a ferocious diatribe about rebelling against conformity. Apparently, the irony is lost on him.

Rappers rap about the struggle while they drive on rims that cost more than most homes. Country singers pander to heartbreak while smiles and groupies surround them. Teen pop stars squeal about love and despair . . . well you get it.

The mockery is all around us, but pointing out the basic has never been part of the music business.

Elvis would have sung about bacon and fatty acids if he had his way. The same could be said about Britney Spears.

It is amusing how conformity shapes history.

The cosmos is all there is

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Claxxon, the lament thereof

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Blackout Beach – Claxxon’s Lament

Billy liked to imagine his voice held the grit and gravitas of Christian Bale’s Batman when he talked to himself in his head.

“Let’s drive on out of this cesspool of humanity,” he thought, looking out from behind his tinted windows and shifting into third.

In the passenger seat next to him lay an old wooden baseball bat. It had a splintery chip a few inches long at the top, where blood had crusted.

“I’m a professional fucker-uper,” Billy said aloud, but quickly regretted it, since his voice was more high pitched than he liked to pretend. But it was more or less true – he freelanced for a handful of the smaller loan sharks, letting clients know their payments were overdue.

He never killed anyone, but had quickly picked up work thanks to an eight-foot orange extension chord which had ripped off a man’s ear on his first gig.

Now the chord coiled neatly underneath the spare tire in his trunk. It was waiting until Jimmy Lutz came up on his list. Jimmy had widowed Billy’s mother, Sarah.

“I shall have my revenge,” Billy thought, gravelly, “as soon as the money’s right.”

Wolf Parade – Claxxon’s Lament
Carolyn Mark – Claxton’s Lament

Claxxon’s Lament is perhaps my favorite b-side. Originally recorded in 2005 for Blackout Beach’s first album, Light Flows the Putrid Dawn, it didn’t make the cut, and was released as a 7″ on Soft Abuse.

Wolf Parade recorded a cover (with saxophone!) for The Believer Magazine, and Carolyn Mark included a version with extra lyrics and differently spelled title on her album, Just Married – An Album of Duets.

Just last year, Carey Mercer put on the only Blackout Beach live show, and recorded Claxxon’s Lament, offering the version most explicit in its heartbreak and wistfulness. Here’s what Mercer says of the show:

“This is a live record from August 2010 of the only Blackout Beach live performance, focusing on mostly tracks off of Skin of Evil, released by Soft Abuse records. I read some poems and stories. My mom did the door, and my dad was the bouncer. My friends came. It was a nice night.”

[You can buy eight tracks for three bucks on bandcamp.]

People are weird

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[Preorder.]

Don’t go that way, I’ll wait for you!

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The Strokes – Under Cover Of Darkness

The specifics of the case are simple: days gave way to months and in turn those months borrowed years, and with such time came not a stir from the camp. Inconsistent murmurs the only failing of a vintage bridge of rock silence. Broken attempts and outside projects aside, there was very little to suggest that new Strokes material would ever surface. On Under Cover of Darkness, the first single from March-bound ‘Angles’, Julian’s call of “don’t go that way” could well be the heckling crowd’s cry, balanced only by unfailing willingness to outlive the silence: “I’ll wait for you!”

Under Cover of Darkness is a rainbow pattern of hooks and striking melodies, neither ‘going anywhere’ nor failing with own directed pacing. It’s got that classic Strokes appeal, whereby you’ll want to both sit still to soak it all in and at the same time stretch out to heal the twitch to dance. There are moments where you imagine children in a playpen impressing one another with slashes of zesty guitar notation and then the minutes of retaliation and aural chaos that ensue, one flavourful riff playing chase with the other, freshly hugged by Nikolai’s steadfast bass delivery that not only trips itself up with veering lines of colour, but provides the cushioning platform for Casablancas’ emotive peddling, “I’ve been saying it a million times, but I’ll say it again: so long…”

If you expect the basics of structure then you’ll be lost in this store of verses and choruses – two persuasive choruses, no less – and yes, that is likely to be an ironic salute to Last Nite through the wobbling melody of “I won’t just be a puppet on a string.” Whether by mere accidental fortune or intent, there’s a bird chirp of pinched harmonics that bloods the beginnings of Valensi’s guitar solo, too. It’d be laughable if it weren’t so cool. And where has the fucking guitar solo been these past five years? Did someone forget?

Influences are all too obvious, but usually wrong, so I’ll risk saying you’ll hear Thin Lizzy, Queen, a-ha and possibly some Dexys Midnight Runners (Come On, Eileen) mixed in the pot, but under the guise of a freer band. Loose delivery. And that’s always their aim; to make the complexity of the layers sound easy. This isn’t months of effort. This is jamming. It’s the old Strokes sound for this very moment. Same water with a crisper splash.

And that is surely that. Another rock band has returned. And in the end it is merely music and nothing more. It won’t heal or destroy or quell the world and its sculpting rage, but for some of us it is and remains the catalyst for further great loves in our collective lives. I am in love with this band, and because of this band. Careless, ragged, perfect, and free for joy intake. They are back. It’s glorious. Oh, and expect a b-side on the 15th. [The Strokes. It’s a free download.]

My best intensions are clogging the drain pipe

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Risers – Can’t Get There From Here

Somewhere on the crater moon surface of the icy Dallas road system, my windshield squirters gave out, leaving my wipers to manically smear salt and snow across my field of vision. Every time I stopped for gas, I left the wipers on and splashed blue fluid out of a giant clear bottle onto the windshield, temporarily clearing my view.

I used to fastidiously calculate gas mileage; I used to promptly secure oil changes; I used to rotate my tires. But lately everything’s gotten a bit sloppy. I’m shivering out in the middle of winter, splashing bottles of what looks like blue drink over the front of my car, spilling down my pea coat and jeans. I’m haphazardly taking wrong turns down roads leading away from where I presumably want to go. I’m overpaying for rent and not paying for insurance.

[OMG music online for FREE? It can’t be!]

A little man with summer tears

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Expect Little Dragon’s third record, Ritual Union, this Spring.