THE FOOL

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The Fool, the album, by Warpaint

Set Your Arms Down – Arabella traveled every inch of the world collecting every gun she could find, she could take, from the limbs of havoc. She hopped grassy knolls and wandered the deserts and climbed in through back windows across the Earth. She hoarded every firearm, every piece, every bullet and trigger and chamber. A stockpile of steel glistening in the throbbing sunlight. Arabella knew now, unquestionably, that every gun in the world was right here, right in front of her. I’m closer to peace than I’ve ever been. She didn’t feel that much happier. Arabella lit a match, breathing thoughtfully, and flicked it into the pile. The powder lit, sparks in the air, pistols and shotguns and revolvers firing in a Kalian sprawl across the noiseless flatlands. Arabella fell in a dusty heap, insides creeping out from open wounds.

Warpaint – In the parklands across the road from the elementary school, children waited in line with their parents to paint their faces, to smear the skin of their cheeks, wearing youthful costumes and smiling with abandon. Those who waited waited impatiently, those who had finished ran to the playground and pretended to shoot the other children wearing cowboy hats and flannel shirts with imaginary arrows.

Undertow

Beesbzzzzz. limbs prodding through the flowers. picking at the pollen. taunting the drones. the queen is calling! bzzzzz. don’t touch my stinger.

Shadows – Jennifer was an invisible girl – except when she did anything illegal, like steal food because she was starving. She had one pair of clothes and never did laundry. She was nine, an orphan – she was never heard, never knew her parents, didn’t know where she came from, and wanted to be loved by the people who couldn’t see her. She couldn’t sleep in the warm houses because they belonged to others – people would see her and tell her to scram.

“You’re ugly and a disgrace!” they shouted.

Jennifer slept in the trash of dumpsters – in crumpled newspapers and food and plastic bags and things torn to bits – like a warm nest that smelled of the people she wished would love her.

At night she heard cats.

During the day she walked and avoided the heavy people, picking up dropped coins and looking into shop windows.

“I do wish someday to be real.”

(buy Manifesto, written by somebody – not me)

Composure – This song bleeds into your ears like melted clay, waiting to mould something from the misshapen thoughts in your skull. It trickles out, drips from the earlobes, pinpricks of muddled ideas brushing against your toenails. It drum drum drums – “how can I keep my composure?” – and I don’t know and you don’t know.

Baby

Majesty – “Do you know your fate?” whistled the parrot to the hounds panting by the gate. Their lopsided grins, unintentional, plastered across their dazed expressions.

Lissie’s Heart Murmur – Lissie felt the murmur some time in the morning too late to go back to sleep and too early to get ready for work. It wasn’t the kind of murmur that doctors furrow their brows over, no, it was more like a ba-bump bump whoosh, like her heart was frightened, fell out of bed, slipped out of its nightgown and into the arms of loneliness; cold, hoping for warmth.

(illustration by Chris Kuzma)

He works so hard

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Sheena Easton – Morning Train (Nine To Five)

Why does our present look so unlike the future once envisaged? The time we now live in, described by the minds of those long gone. They’d be so upset with the bland and the unison – the monotony. The immaculate misconception. Is it wrong to sometimes desire the nine to five? [Best.]

Careful, watch your step, in you go

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Destroyer – Archer on the Beach

I saw Dan Bejar live once. I bummed cigs from a couple from Sweden, and the Asian kid sitting on the plastic stackable chair next to me played some racing game on his phone between sets.

It was awful. Bejar kept pushing his fro out of his eyes and his sentences trailed off, like he was thinking aloud to himself on the stage. I could have chalked that up to his endearing standoffishness were the songs – performed solo acoustic – not so lifeless, so carelessly tossed out of his mouth and guitar as if he were practicing alone on his back porch.

Like his demeanor in that show, the two 12″ singles Destroyer has released since have had a cold complexion. Electronic synths and midi orchestrate lengthier, repetitive tunes. But the warmth of the recordings coddles me. On the b-side, Grief Point, you can hear the flint of a lighter and clink of ice cubes in a glass behind the most earthy recording of Bejar’s voice we have yet.

In this song, Archer seems paralyzed on the beach, his arrows just out of reach – it’s chilly and melancholy. Except that we can hear the pitter-patter of every rain drop in the sand beside him.

[Hurry and get one of the 1,000 copies of Archer on the Beach b/w Grief Point.]

Dress me down and liquor me up

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The National – Available

Webster Hall, February 2, 2006, New York, NY – The National are angry.

The band – touring in support of a wonderful Alligator album that hasn’t made them rich as they think it should – are headlining the Plug Music Awards, a made-up ceremony in which the “awards” are handed out during set changes. They play last, surrounded by devil heads on the walls and indie kids on the floor.

They are the same band that will write Boxer and High Violet, be subject of a fawning New York Times Magazine story, and play a high-minded show at the Brooklyn Academy of Music. They are the same band that will eventually become successful enough that others accuse them of being boring, a claim that’s both driven by equal parts jealousy and fact. They are the same band that will get paid, find love, have children.

They are a band on the way, but right now, in this moment, they are pissed.

This show, it’s clear almost immediately, means everything to the group of five. They destroy their bodies on stage. They are desperate. Hungry. Vital. Overpowering. At one point, Matt Berninger sings so violently that he shakes the microphone cord out its slot.

A year from now, the lead singer will offer, “I think everything counts a little more than we think,” on Boxer’s “Ada.” Tonight, however, he has a different mind set: Nothing matters, except killing this show, even if it kills them.

Amtrak, October 26, 2010, Somewhere between Providence, RI and New York, NY – I have no idea if The National played “Available” on that February night four years ago. They might have – they didn’t have a huge catalog back then – but it’s not a great song. At this point, it wouldn’t make a two-disc “Best Of… The National” album. For 200 seconds, Berninger finds himself battling an alt-rock wall of noise in an effort to locate the slow, dark, melodic songs that the world associates with his band. He’ll get there – Sad Songs For Dirty Lovers cut “90-Mile Water Wall” provided the roadmap, and he inched closer on Alligator before perfecting the form on Boxer – but “Available” is a messy mix of ideas. I don’t know why they would have played the song.

But if you could compress the hopeless feeling overwhelming the room at Webster Hall – the frustration of knowing you’re good enough to succeed and but knowing that you aren’t – into 25 seconds, it would sound exactly like the stretch from 2:20 through 2:45.

Today, the National are a far superior band. They doused the fire present onstage at Webster and created magic from the smoke and the embers. But I’m allowed to miss the inferno. [Sad Songs for Dirty Lovers.]

On the phone, there was all the laughing

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Scarlett Johansson – Anywhere I Lay My Head

Pitchfork claim ‘Anywhere I Lay My Head’ as “dearth of vocal personality,” and the suggestive Entertainment Weekly see the record’s soundscapes as playing “second fiddle to disguising her [Scarlett’s] expressionless voice.” Oh, to be grotesquely wrong. But the Guardian got it right. When writing their letter to Music – following an acknowledgement of a record with “surprising allure” – they quizzed the master, “What would Johansson have made of ‘Christmas Card From A Hooker In Minneapolis’?” This is one of the most splendid of records to have cushioned my ears. The tickle and charm of whimsy. [Cheaper elsewhere, but here’s the manufacturer.]

Give me a village the size of a teacup

Written by

James Yorkston – Woozy With Cider

If you are reading this later, you might notice these words are different. Initially I tried writing from the point of view of the girl in this song. But that’s wrong. Her song is different, it doesn’t sound anything like this one. It didn’t fit.

I’m not sure what her song is. Maybe I wouldn’t like it. But I know what this song is.

This song is an old picture of that road trip you took after freshman year. Forget the all-nighters you pulled, erase the gnawing stress of finals week, let’s not even bring up the shame on the night you lost your virginity – for that one week all was right in the world. The sunlight hit your hair from behind, giving your face a warm glow.

This song is a steaming cup of hot cocoa with Bailey’s in it. You sip it tenderly as the frost opaques the windows and a soft blanket of snow drapes over the car. You don’t have anywhere to be all day.

This song is an old home video of your two kids fighting, viewed long after they’ve moved out. It’s the dry kiss you place on your lover’s brow as she tears up watching it. It’s the way she rotates the ring on your finger.

[Buy The Year Of The Leopard.]

Streetlights

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Kanye West – Street Lights

It wasn’t a classic album, or a great one. It’s not even that it was a bad album; it wasn’t. It was alright. “Paranoid” is great. (“Baby, don’t worry ’bout it! Hey there, don’t even think about it! You worry ’bout the wrong things, the wrong things!”) Auto-tune that heartbreak, Kanye, never mind if your voice was already grating to begin with. But “Street Lights”, yeah. “Street Lights” is a good song. It’s not complicated. There’s no bravado, no chest-beating Louis Vuitton Don boasts, not even an “I’ma let you finish” kind of interruption. It’s slow, it builds and falls, it beep beep ba beep beep beep beeps and Life’s Just Not Fair, you know your destination but you’re just not there. [808s.]

And he smiled, while

Written by

Kate Micucci – Mr. Moon

This is just impossibly cute. [Buy.]

The one where we stumble around friendship

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LCD Soundsystem – All My Friends (Radio Edit)

My friend Tom is the only guy I know who can successfully pull off a tight vest and scarf combination without looking like an absolute Park Slope jackass. He’s also the person who showed me I can organize my iTunes collection by the number of times I’ve skipped a song. These two facts are unrelated. They merely functioning as a way into a story about how yesterday (Tuesday) I learned that “All My Friends (Radio Edit)” was the most-skipped song (38x) in my 4,150 item, 19.48 GB music library.

(When I stumbled upon this information, I wasn’t wearing a vest. I was sporting Tom’s Cincinnati Reds hat that’s black with the a white “C.” It’s much too large for my head.)

If your friends are like my friends, “All My Friends” has at some point since its UK release on May 28, 2007 played a prominent role in your life. If you’re really like my friends (maybe even are my friends), you may still jump around like happy idiots when it comes on, yell the chorus along with James Murphy, and occasionally get thrown out of Brooklyn bars for repeatedly demanding that the man pouring drinks play it. It’s all in good fun, barkeep.

Here’s another fact: I don’t really like “All My Friends.” Hence, I think, the skips. I enjoy the idea of it – the jumping, the yelling, the friendship – but as an actual song: eh? “North American Scum” strikes me as more poignant; “Around the World” and “Daft Punk Is Playing In My House” more important; “Dance Yrslf Clean” flat-out better.

Pitchfork, the blogsphere, and most of my friends would disagree. But my iTunes skip counter doesn’t lie. Neither does the play counter, which hit 78 as I typed. Over and over, again. [Buy.]

A swingin’ affair

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