September 1st, 2010

Hektor took the title of Wells Tower’s debut—Everything Ravaged, Everything Burned—a little too literally. I’m glad he hasn’t figured out how to use the matches and that he has such good taste in literature.

September 1st, 2010
[Flash 9 is required to listen to audio.]
We Dance To The Beat
Robyn
Body Talk, Pt. 2

Robyn
“We Dance To The Beat”

I’ve been putting off listening to the new Robyn album—it leaked like a month ago—so that I could review it with fresh ears. It’s getting close to the release, so I thought I’d revisit the album. This is not one of the best songs on the album, but it has one of my favorite lines:

We dance to the beat of bad kissers clicking teeth.

Actually, this is not a bad song at all. The entire album is a little bit more dance-y, which is hard to imagine when the previous album had one (a top-three best song of the year) called “Dancing On My Own” and another song called “Dancehall Queen.” But just, the production on this album is a little less heavy, a little more spangled-sounding—like the radio version of “Dancing On My Own.”

I’m sure glad that Robyn is releasing three albums this year, because that means she’ll be in the news cycle, and how. For my money (not much), she can sing Björk all day. I’ll keep buying her records and writing about them, because they’re vital, good, and pleasuring. Oh yeah, that line. It reminds me of how when you’re first starting with the really heavy making out and you’re kind of smiling while you’re kissing and your teeth hit the other’s teeth. A good observation, that line.

August 31st, 2010
[Flash 9 is required to listen to audio.]
Variation 20
Glenn Gould
A State of Wonder: The Complete Goldberg Variations

Glenn Gould
Goldberg Variations, 20 (1955)

You know how some things move so fast that your eye can’t make them out. This song is like that, but for your ears. It’s all of forty-eight seconds duration has more notes than a sixth grade study hall. I keep thinking that he’s fucking up some of his contrapuntally strenuous runs, but then I’m like, ‘No. Maybe that’s supposed to be a 1/64th note?’ Say what you want about totalitarian authoritativeness, but when you’re in the hands of a master’s hands, you don’t pick nits.

August 31st, 2010
I hate to neg my favorite book-buying spot—McJ-town, as I call it—but the savings were so great, and the throw-in-to-get-free-shipping-item so enticing, that I couldn’t help but get Amazon’d.

I hate to neg my favorite book-buying spot—McJ-town, as I call it—but the savings were so great, and the throw-in-to-get-free-shipping-item so enticing, that I couldn’t help but get Amazon’d.

August 30th, 2010
[Flash 9 is required to listen to audio.]
Depletion
No Age
Everything In Between

No Age
“Depletion”

I’ve gone back and forth over the mixing on the album. And, I mean, it’s possible that this isn’t the final mix. (Possible, but unlikely.) I really like the vocals being distinctly mixed right in the middle, at a lower volume than the guitar, but with enough space around them to render them wholly intelligible. It’s nice, and I’m not sure that some bands (ahem ahem cough cough Best Coast) couldn’t have benefited from a similar approach. You get that lo-fi sound without it being, like, lo-fi-shanking-you-in-the-ears.

This song is rad. It’s a straight-up charger. I’m not sure totally, but it seems like a reasonably radio-ready-type single for the band. It’s got that classic Hollywood tension, and a traditional sort of song structure. No Age reminds me of Animal Collective in that they’re finding a sound and turtling in rather than expanding and assimilating competing sounds. Pretty soon I can tell—like within another two albums—they’re going to have something that everyone else wants to emulate.

August 30th, 2010

The Aforementioned Brief Description

[I could not figure out how to hack Tumblr chat post + markdown integration. See this passage from Infinite Jest here to get what I’m talking about.]

Wallace’s semi-pseudo-psychoanalytic babel rhetoric got much sharper between Broom of the System and Infinite Jest. Like, one of those plateaux-hopping level-ups he describes with such relish his characters undergoing or not undergoing at the tennis academy. This passage has to do with lots of things.

For one, it gets to the fact that Otho Stice’s bed moves around of its own volition, which is discussed a few hundred pages previously and culminates (there) with Lyle the guru telling Stice a story (a little Diotima-esquely?) about a man who could hop up on a chair and pull himself + chair up in the air, winning bets and causing existential crisis in his crowds’ presence. I can’t recall if the bed-moving-around situation gets explained any more.

The scene further characterizes Rusk—who was more well introduced a bit earlier in the context of the Eschaton fallout, which Eschaton fallout serves as one of the best narrative set-pieces in modern literature. The Eschaton match is hilarious and tragic and makes up one of the big narrative rocks—a nice, anchored, solid place to refer to/from—of the novel, and if you pay attention to the dates, is like most history both absolutely integral to the unfolding of the novel and also kind of humorously accidental in the scope of its causes/effects.

It gets Pemulis moving toward the resolution of his story, which has so far involved potentially disseminating the Entertainment, obtaining the DMZ, interfacing with the Ennet House (sic) residents, and discovering the John Wayne/Avril Incandenza affaire de coeur. (And more, I’m sure, which I’ve forgotten.)

The scene also serves as an exemplary meta-commentary (like Wallace telling himself to pump his breaks and drive slow homey) on the book itself, and its themes of emotional/social maturation versus struggling with omnipotence in variously related, yes to use Rusk’s word, cathected leitmotif of the book itself, viz. various method of control, all of which are outstripped by the actual act of imagination and will in creating the book itself and its polyphonous psychological argument for, well, a reasonable kind of zen plus empathy.

August 30th, 2010

Long Dialogue, Brief Exposition

Dr. Dolores Rusk: On the level of objects and a projective infantile omnipotence where you experience magical thinking about your thoughts and the behavior of objects' relation to your narcissistic wishes, the counterphobia presents as the delusion of some special agency or control to compensate for some repressed wounded inner trauma having to do with the absence of control.
Ortho Stice: Over linoleum?
Rusk: My suggestion might be to forget linoleum and objects in general. In for instance an analytic model, the types of traumas counterphobic reactions cover are almost always pre-Oedipal, at which stage objects' cathexis is Oedipal and symbolic. For example small children's dolls and Action-Figurines.
Stice: I don't play with no goddamn Action-Figurings.
Rusk: GI Joe typically being cathected as an image of the potent but antagonistic father, the "military" man, with "GI" representing at once the "General Issue" of a "weapon" the Oedipal child both covets and fears and a well-known medical acronym for the gastro-intestinal tract, with all the attendant anal anxieties that require repression in the Oedipal phase's desire to control the bowels in order to impress or quote "win" the mother, of whom the Barbie might be seen as the most obviously reductive and phallocentric reduction of the mother to an archetype of sexual function and availability, the Barbie as image of the Oedipal mother as image.
Stice: So you're saying I'm overestimating objects?
Rusk: I'm saying there's a very young Ortho in there with some very real abandonment-issues who needs some nurturing and championing from the older Ortho instead of indulging in fantasies of omnipotence.
August 30th, 2010

“Nicotine and Pay Me”

The title of this post is clearly a bad pun that refers to a no matter how you reckon it lesser Beck jam. But if we keep calling into question the parameters of the task itself, how can we ever complete the task? Even start it?

You are not the kind of guy who would be at a place like this: a bodega at nine am in the heart of Queens, trying to figure out the best value-for-nicotine ratio of the store’s not limited behind-the-counter offerings. So let me tell you. Most smokers are poor. I believe I could be wrong about this, but smoking or non is a great predictor—better than you’re self-identification as, say, red or blue—of your income level. I imagine there’s also a correlation between education and smoking, and education and income. I’m one of those educated smokers, though. I’m also poor. Well, it feels like it. I’m probably not that poor.

Anyway, even if I were extravagantly wealthy, I’d still be a price shopper. I’ve noticed after the latest round of vice taxes in New York City that the cigarettes I smoke cost about $12. Sometimes you can get them for $11, though. As a baseline, Marlboros cost like $10 or $11 everywhere. So I’m at the bodega this morning trying to figure out what to buy. Should I get a pack of American Spirits? (That’s my brand.) Those are $12. But you only get 20, so that’s not a great deal. You know what’s only a dollar more? Dunhills! Dunhill makes one of the best widely-available-in-the-US tobacco products. Seriously nice, robust, good-tasting, slow-burning. They’re like American Spirits but better. And they are now only a dollar more. That’s crazy. Where I’m from, American Spirits are like $7 now, and Dunhills are still like $10 to $12. So the price difference is practically nothing. It’s like the taxes increased, and store owners just brought up the cheapest-priced cigarettes without raising the ‘luxury’ cigarettes. The more interesting thing is that rolling tobacco, which used to cost a lot less than pre-made cigarettes, and later came to cost more, now cost less again. So I got a package of American Spirit rolling tobacco for $11—a dollar less than a pack of them. The 40g package yields about twice as many cigarettes.

I don’t know if taxing tobacco results in a lower adoption rate. I suspect it does, but not in an obvious way. To call back an example of Wittgenstein’s, the man falling over the side of the boat doesn’t cause me to jump in to save him. At least, not in the same way that applying 100C degrees of heat to water causes it to boil. And not, again, in the (differently) same way that my hypothalamus causes me to feel thirst. It is, I think, a great secular example of the ought-is dichotomy. Obviously, legislation is the will of the body of the country that tries to map isometrically its desires. But it’s a kind of sham will, I think, because it counts on the principles of desert and punishment—negative impulses. The real sea change in smoking cessation has to do with positive impulses, impulses that I have. For now, though, I’d prefer to smoke. And I prefer to smoke in a market made up of options: Do I want to spend a lot on high-end cigarettes like Dunhills? Do I want to go the worse-tasting, DIY route of hand-rolled cigarettes? Marlboros or American Spirits? Spirits are definitely a better cigarette, so they should cost more. This taxing the hell out of tobacco shit has made everything cost basically the same. It seems like the opposite of a market-driven plan to influence consumer spending. I don’t like it. I’m poor and I’m educated, and I’d rather make my own decisions within the realm of tobacco-buying that don’t all involve me being even poorer. Start taxing stock trades or something. Just let me smoke and pay rent in peace.

August 29th, 2010
[Flash 9 is required to listen to audio.]
Gila (iTunes Session)
Beach House
iTunes Session - EP

Beach House
“Gila” (iTunes EP Verz)

Sweet god darn, this is a song you can poor concrete to. How frequently do you run up against that friend-o mix of brittle chipped luxuriousness? She’s playing something that sounds like a broken Atari. And he with the guitar sounds perhaps less talented than ever. Which all goes to show what a high degree of songwriting felicity can do for a song.

August 29th, 2010

Programming Note

Because we care about our readers, from time to time B Michael Tumblr Post Industries likes to release an informal ‘programming note.’ This text post is one such ‘note.’ Given these past few alternately too-hot and too-rainy weeks—combined with our ongoing struggle with solvency and, well, trying to remain unvanquished by ennui—we have not posted at anything nearing an annoyingly too-frequent rate. Our upcoming post forecast calls for an increase in per-weekly posts upwards of 250%. We’ve determined that this sharp growth will be driven by our increasing dominion in the books-read resource column, which has resulted in the slow-but-increasing-in-pace formation of new thoughts and ideas. Coupled with our recent geographic expansion into the New York City metro area, and our increasing comfort with venturing beyond the Astoria district, we see the reasons for a perhaps-too-frenzied uptick in ‘post velocity’ as more than supporting our projected 250% per-weekly post rate.

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