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Archive for the ‘Oddities’ Category

uriSOUNDTRACK: TINDERSTICKS-Waiting for the Moon (2003).

moonThis Tindersticks disc shows a bit of a departure for them.  Two of the first three songs are not sung by Stuart Staples (which is nice for diversity, but it is shocking to hear the first sung words on a Tindersticks disc be in the relatively high register of Dickon).  Not to mention, the song opens with lines about killing someone (!), which is a bit more drastic than most of their lovelorn lyrics.

The fourth song “4.48 Psychosis” is the most guitar heavy/rocking song in the band’s catalog, I think.  And the rest of the disc falls into a fairly traditional Tindersticks camp.

I’ve read a lot of reviews of this disc that describe it as a grower.  It’s entirely possible that I haven’t allowed this disc to grow on me enough, but I’m not as enamored of this one as I am with the rest.  The problem for me is that the first batch of discs are so magical that it just feels like this one is simply not as exciting.  Of course, any Tindersticks record is a good one, this one just isn’t quite as good as the rest.

Mayhaps I need to go back and try it a few more times?

[READ: October 31, 2009] Etidorhpa

I found out about this story when a patron requested it.  I’d never heard of it, and when I looked for it, it was very hard to find in our library system.  But when I Googled it, it was available as a Google Book.  They had scanned the entire thing and (since it was old and out of copyright) it was available free online!  Awesome.

I printed out the whole thing (double sided) and figured I would read it fairly quickly.  [Oh, and just to ruin my cool story about Google books, I see now that it is available in paperback for about $10 from Amazon.  Doh!]

Of course, I’m not just going to read something because it’s available as a Google Book.  The patron said that it was like Jule’s Verne’s Journey to the Center of the Earth.  I had just read “Symmes Hole” in McSweeney’s #4, so Hollow Earthers were already floating around my mind.  It all seemed to work out quite well.

By the time I started reading it, I had forgotten about the Hollow Earth ideas.  Which is fine, since the first 100 pages or so are given up solely to the ideas of occult sciences.  But, let me back up a bit first.

First there is a Preface.  Lloyd claims to have found this manuscript which was hidden by Llewellyn Drury.  Before he gets to the manuscript, though, he gives a little background about himself.   He also relates a lengthy story about the value of libraries and shared knowledge.  He concludes with speculation about Drury, and the revelation that although he is unwilling to specify how he came into possession of the manuscript, he has had it for seven years (as of 1894) and is finally convinced that it’s time to get it published.

My edition also contains a Preface about Daniel Vaughn. Vaughn is mentioned as a character in the story (but he was a real person as well).  In the story, Drury sought Vaughn’s assistance with some scientific matters.  So there’s a brief biography about the man.

AND THEN, there is a section called “A Valuable and Unique Library” which is another preface about the value of libraries.  I’m not even clear about who wrote it, if it’s supposed to be a plug for this book itself or if it’s just an ad for something.

Finally, the story proper begins.  But not without a preface by Drury himself, giving his own life story (his full name is Johannes Llewellyn Llongollyn Drury) but he decided to remove those two ugly names. (more…)

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cbtSOUNDTRACK: TORI AMOS-Abnormally Attracted to Sin (2009).

aatsIt’s been almost a decade since I was blown away by a Tori Amos album.  I feel like she has really been so engaged in the concept of her albums, that she has lost track of the tunes.  And while I don’t hate anything she’s done in the last few years, I was seriously getting to the point where I wasn’t sure it was worth getting her new releases.

But I was pleasantly surprised with Abnormally Attracted to Sin.  The opening track “Give” reaches back to some of the cool trip-hop stuff from from the choirgirl hotel.  And, the wild guitar work is such a welcome change.  It’s followed by “Welcome to England” which has a cool bass line that also makes me think of choirgirl era Tori (I saw her about three or four times on that tour).  “Strong Black Vine” is middle eastern tinged,  with a cool percussion-filled bridge.  But my favorite part is the dirty-sounding “baby” that opens the chorus.  The chorus also calls back to Boys for Pele era stuff where she used multiple backing vocals (from herself) in the choruses.

“Flavor” brings in some mellowness (and sounds like she was recorded in outer space).  “Not Dying Today” is definitely a silly song (and the one that mentions Neil) but the weirdo bassline is so catchy I am totally hooked by it (I’m also not sure if it says something about me or her that I thought the line was “Neil is thrilled he can say he’s Canadian” (when in fact he’s thrilled that he can say he’s mammalian (I’m not sure which is weirder)).  This also leads to a weird little spoken bit.  The whole thing feels very 80s to me.  But in a good way.

“Maybe California” is one of her piano songs.  When listening to it by itself, it’s quite enjoyable.  But I think it kind of slows the album down after those openers.  Tori has a lot of gorgeous piano ballads (“Northern Lad” still blows me away), and this one is good but not great.  “Curtain Call” is kind of a dud, but it has a great chorus.  And that’s what a lot of the rest of the album feels like for me.  Each song has one part that really hooks me, but it’s usually not a whole song that keeps me.

“Fire to Your Plain” is another bit of a dud.  The little keyboard hits don’t do this song any favors.  “Police Me” has cool guitars and weird sound effects and could have been a choirgirl B-side.  (Although, again, there’s a part after the chorus which is very cool).  And then comes “That Guy.”  I want to like this song so much.  The lyrics are fun, the sound is very torchy and music hall, but I just find it to be ultimately as nondescript as the title.

The title track has a great weird sci-fi keyboard sound, with cool guitars.  But this is yet another example of “Why does she pronounce words like this now?”  If you listen to her earlier records, she had a full command of the English language.  So, why does this song start out with her saying “Impeccable Pec-a-dell-o” (when we all know it is pecadillo).  And what on earth happened to the words in the chorus?  This is the title song.  Why does it sound like she’s singing “I’m marmalade. I trah yak toosee.”  Sure, once I realized it was the title track I could figure it out, but Jesus, woman, what happened to you? (That aside, the song is pretty cool, especially the quiet but bitchin guitars in the way back).  “500 Miles” is a cute song. I sort of don’t like it but the chorus is so frikkin catchy that I can’t turn it off.

The end of the disc feels kind of tacked on to me.   “Mary Jane” is a weird one.  It sounds like an extended version of “Mr Zebra” from Pele, (which I loved, but it was only a minute long), with all kinds of weird lyrics getting tossed around.  It does seem odd to hear her singing about pot, but whatever.  “Starling” sounds great but just never really catches me.  And “Fast Horse” starts out so great: the riff is very cool, but I don’t care for the direction of the chorus. (And the Maserati bit more or less kills the song off).  “Ophelia” has awesome potential of being one of those affecting piano songs, but rather than pulling out all the stops with a kick ass chorus, it just sort of wanders around (I wonder if I’d change my mind about this song if it weren’t so close to the end).  And the disc ends with “Lady in Blue.”  This is definitely one of the weirdest songs she’s ever done.  And I sort of love it.  The sounds she’s twisting out of her organ are insane.  It sounds like her speakers are at the bottom of a pool.  And the chord choices are unexpected.  She really stretches this weird sound for all its worth (including the most egregious of her pronunciations problems: “What es layuft is right.”  Really, Tori, emphasis is one thing, but it’s not cool to make the words wrong).  But anyhow, this undersea adventure stretches out for over 4 minutes, and I’m just about to throw the disc against the wall because it seems like it will never end, and I’m in some kind of trippy suffocating nightmare (in which you kind of like what’s happening at first and then you realize that the pillowcase they put over your head is really a plastic bag) but then she kicks in a solid piano riff and the song absolutely rocks out for the next three minutes.  It’s confident and infectious and ends the disc on a fantastic note.  If that early section were about 2 minutes shorter this would be one of my favorite Tori songs ever.  But I keep reaching that take-the-disc-out! moment before the greatness kicks in.)

My biggest problem with the disc is that (as with past discs) at 75 minutes  it’s just too damned long.  Again, I can’t pick a least favorite song because they all have parts that I really like, I would just like to put the cool parts together and get rid of twenty minutes of the blahs.

The other problem is that I really don’t know what Tori is singing about half the time.  When I first got into her, I was drawn by her lyrics, which were weird but also evocative.  I didn’t really know what she was singing about exactly back then, but I had a pretty good idea.  However, lately it’s just all weird abstractions and general concepts.

I know that I fell for Tori back when she was writing emotionally naked songs.  She was sexually honest and was a breath of fresh air in 1992.  And, sure I wish she would make albums like she did back then, but I know artists need to grow and expand.  And it would be frankly creepy to hear 2009 Tori, wife and mother, singing about guys who can’t make her come.  Right?  I mean, I found her “MILF” line on a recent album to be rather disturbing.  And, I also don’t think I want to hear about the highs and lows of motherhood and parenthood.  So, personal stories are out, I guess.  Alas.  I just hope she can get a little back down to earth (and not necessarily need to be so “wicked” all the time).

The final gripe relates back to what I said in the beginning.  This disc is littered with pictures of Tori in various costumes, evidently acting out scenes from her songs.  The bonus DVD is full of videos for each song.  But each video is basically just her in some outfit and wig wandering around in various places.  It’s a strangely egomaniacal video collection even for a musician.  But so yes, she clearly enjoys this role playing exercise that she’s been on since Strange Little Girls, but it seems like so much extra time is being spent on these “personas.”  I don’t care which personality wrote the sing, I just want it to be good.   And I just miss the old Tori.

I also don’t like to criticize people physically, but I feel like she also looks less pretty than she used to.  After watching 70some minutes of those videos of pretty much just her, I felt like she was too harsh or angular or, dare I say it, old looking.  And I only mention it because she seems so focused on presenting these characters with wigs and make up and the whole shebang, but I think she doesn’t look nearly as pretty as she when she was just Tori, piano player.

But that’s no way to end a music review.  Abnormally Attracted to Sin is certainly her best disc in a decade.  It’s got some great songs and some great sections of songs.  With a judicious editor and someone who can keep her on track when her words start drifting away from what they should properly sound like, (maybe it’s time to look for a producer other than her husband?) Tori could be well on her way to making another totally stellar album.

[READ: October 2009]  Comic Book Tattoo

Sarah gave me this book for Christmas and I’ve been reading it on and off for about 10 months now.  I finally finished the first read through and decided to give it a second go before writing about it.  It took so long not because I didn’t like it but because it is a very awkward book.  It is HUGE.  It is the size of a vinyl LP, but is as thick as about 15 of them.  And it’s heavy!  I had to store it under the bed so I wouldn’t kill myself on it.

What I’m getting at is utter value for money ($30 retail).

But what is it?  Okay, so it is a collection of comics that are “inspired” by Tori Amos songs.  But let’s be clear, these are NOT IN ANY WAY illustrations of the songs.  The stories that are created here have virtually nothing to do with the lyrics, in most cases.  They seem to be inspired by the titles and maybe (sometimes) the mood of the songs themselves.  In many cases, it’s hard to even see what the stories have to do with her at all.  And, I have to say, it makes the whole collection that much stronger.  Even if I love most of the songs that they draw in here, I wouldn’t want to “see” Tori’s songs.  Rather, taking them as a jumping off point lets the authors and artists use what inspired them and ignore the rest. (more…)

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glassSOUNDTRACK: DANKO JONES-Never Too Loud (2008).

dankoDanko Jones is a hard and fast rock band, with a one track mind and a straightforward sound.  They deal in excessive cliches (album titles include: Sleep is the Enemy, We Sweat Blood, Never Too Loud, etc) and play mostly short songs.  And despite all that apparent negativity, I enjoy them beyond reason.

Their first full length was a compilation of their early EPs, and it was full of outrageously short songs about big dumb sex (a bunch of the tracks were under two minutes).  Danko’s voice sounds a but like Phil Lynott from Thin Lizzy, to give a frame of reference.

Never Too Loud, despite the name, actually changes their style a little bit.  He throws in a ballad (!), and he’s got one song “Take Me Home” which reminds me an awful lot of Kid Rock.   And songs like “King of Magazines” and “Forest for the Trees” similarly slow the pace down (Forest for the Trees is even 6 minutes long!).  But despite all that, Danko still rocks hard.

And yes, I admit that lyrically the disc isn’t ground breaking (“Still in High School” tends to sum up a lot of the themes here), but I don’t care.  Sometimes it’s fun to just rock out.  And Danko rocks with the best of them.

[READ: October 14, 2009] City of Glass

Douglas Coupland is from Vancouver.  And this book (and the revised edition) is like a love letter to the city (although he describes it as a personalized guide book).

When he first published this in 2000, Coupland had been experimenting with things other than novels, but this was the first book he released that was primarily photography (not his own, mind you).  He mixes photos of Vancouver landmarks as well as stock photos to illustrate the varied and multicultural life of Vancouver.

He also includes alphabetically titled texts in which he writes about a paragraph or two or three about the topic.  Most of these are personal insights into the city.  It’s not a work of fiction or even a collection of essays.  It’s more like love notes about this city. (more…)

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coprseSOUNDTRACK: ERIC CHENAUX-Sloppy Ground [CST052] (2008).

sloppy

It took several listens before I fully enjoyed this disc.  There’s something about Chenaux’s voice that is very calming, almost soporific.  And, since his general songwriting style is kind of ambient and almost formless–with no real choruses or even rhythms, the disc tends to get lost in the ether.  There’s also some unusual instrumentation (electric harp & guitarjo (!)) too, which continues the otherworldly feel of the disc.

What really hooked me into the disc though was the three “funk marches” that distinguish themselves from the rest of the disc.  “Have I Lost My Eyes” comes in like a raging gust of fresh air after the first three drifting tracks.  It’s got a strong melody and raw drums that propel this fantastic track.  “Boon Harp” & “Old Peculiar” have a similar strong vibe.  And they are really the anchors of this disc.

The rest of the album isn’t bad, I just find it hard to listen to in one lengthy sitting.  The opening three songs tend to drift a round a little too much.  But one at a time, these songs are pretty cool.

[READ: Last Week of September 2009] The Fifth Column & The Flexicon

These two pieces were part of the list of uncollected David Foster Wallace publications.  The difference with thee two pieces is that he plays a small role along with several other authors.  Both of these pieces are sort of a exquisite corpse idea. Although unlike a true exquisite corpse, (in which the author sees only a little of the end of the previous author’s work) it’s pretty clear that the authors had access to the entire work.  The quotes in bold are from The Howling Fantods.

For a delightful exquisite corpse piece that I authored see the untitled comic strip on my website.  About ten years ago I started an exquisite corpse comic strip and sent it to a number of people who all had a lot of fun continuing the story.  I have finally put it online at paulswalls.com/comic.  (See, artists, I told you I’d do something with the cartoons some day!) (more…)

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adidasSOUNDTRACK: TV ON THE RADIO-Dear Science, (2008).

sciencThe problem with TV on the Radio for me is that their first EP is so damned good that anything else they do pales in comparison.  Having said that, Dear Science, comes really close to topping that EP.  I liked Cookie Mountain (their previous disc) but I felt like they put so many elements into the mix that it detracted from the best part of the band: Tunde Adepimbe & Kyp Malone’s vocals.

And so, on Dear Science, the vocals are back up front where they belong.  This disc is a lot less busy, which may seem a little like selling out, but instead, it just heightens the complexity and originality of the band’s work.  The disc rocks hard but it also heightens some really cool jazz and dance elements.    But it all comes back to the melodies and vocals for me.  And on Dear Science, they pretty much outdo themselves.

And you can dance to it!

[READ: September 30, 2009] Shiny Adidas Tracksuits and the Death of Camp and Other Essays

After reading David Foster Wallace’s essay in this book, I looked at the other articles here and decided to read the whole thing.  And I’m really glad I did.  It’s an interesting book full of, funny and often thought-provoking pop culture articles circa 1996.  As with some of the other pop culture/political books that I’ve read several years after they were relevant, it’s often weird to look back and see what things fully occupied the popular landscape at the time.  And, when a piece is completed dated, it’s pretty obvious, and sometimes unintentionally funny.  But there are many pieces here that are timeless (or at least hold up for a decade), and those are still really good reads.

This book also does a good job of summarizing the tenor of the defunct Might magazine.  A dose of irony, a splash of humor and a lot of criticism of what’s trendy.

The strange thing to me about this book, though is the targets that they chose to go after sometimes.  Rather than critiquing right-wing attitudes or corporate shenanigans (which they do touch on), they really seem to be after pop and rock celebrity.  For instance, there are two separate articles which take a potshot at Eddie Vedder (this was around the time of the Ticketmaster fiasco which didn’t put him in the best light but which could hardly be seen as only self-serving).  This seems rather unfair, unless his sincerity could really be called into question by a bunch of ironic jokesters.  Magazines like Radar and Spy used to do snarky articles like this. I’d always thought that Might was a little better than that.  But indeed, there’s one or two pieces here that have a holier- (or perhaps indier)-than-thou attitude.   Which may have been fine in the 90s but which seem petulant now.

But aside from those, the irony-free pieces are very enjoyable.  (more…)

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glist1SOUNDTRACK: DEERHUNTER-Microcastle/Weird Era Continued (2008).

deerSomehow, I can never remmeber what this disc is going to sound like when I pop it in.  Once it gets going the songs are all familiar and very good, its just that initial listen, where I forget that the band is rather delicate and poppy.  I tend to forget this because well, the bands name doesn’t sound delicate, and the album artwork has skulls all over it.  So, to put it on and hear pleasant keyboard songs is alwaya  bit of a surprise.

The guitarsd are jangly and have an almost 60s folk rock sound and yet the drums are very electronic  (I presume its a drum machine) and the vocals stick out as rather unlike the 60s style.  There is also a wonderfully low budget/hazy quality that pervades the disc.  It sort of envelopes the disc in a layer of cotton keeping the sound consistent and sometimes narcoleptic.

And yet despite that sort of sleepy feel, the catchciness of the songs shines through.

The last few songs of Microcastle especially provide a really strong set of songs.  And they lead into Weird Era very nicely.  For although it is clearly the same band, Weird Era is a very different disc.

It is a far more rocking/noisy affair.  And although there area  number of very short instrumental pieces, for the most part, the songs are catchier and a bit more fun.  Ideally, mixing the two discs together would provide an overall more well rounded listening experience.

[READ: September 15, 2009] Glister 1-3

This is a strange little series from Andi Watson.

I’ve enjoyed just about everything he’s written/drawn, mostly for his artistic style, but really because of his off-kilter and wholly fascinating sensibilities. So what makes this series so odd is the rather almost-sloppy style he uses for the backgrounds and other characters.  Maybe it’s not sloppy so much as “fuzzy” which lend an air of spectralness to this supernatural tale.

The other thing that is odd about the series is that everything suggests that this will be a long running story.  The story has a convoluted set up and a weird plot (and Issue #1 even includes an unrelated sub-story).  The inside back cover also has all manner of things that suggest we’re in for the long haul: a letter-writing address, a contest to design a teapot, etc.  But no, the series ends after three issues. Weird. (more…)

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ijestSOUNDTRACK: SONIC YOUTH-Sonic Nurse (2004).

nurse

After the glorious Murray Street, SY return with an even better disc: Sonic Nurse.  This is probably their most overtly catchy (and therefore in my opinion wonderful) record since the Goo/Dirty period of 1991.  (Can it really be 13 years between these discs?).

This disc features Jim O’Rourke as well.  I’m led to believe that he has been playing bass with the band in order to free Kim up to do other things.  Although what she is doing I can’t really imagine.

“Pattern Recognition” opens with the most catchy guitar line in Sonic Youth memory.  Such a great and easy guitar riff.  Kim’s voice is sultry and wondrous.  And Steve Shelly really gets a chance to shine with some fun drum parts.  And, as is typical lately, the catchy songs get some lengthy end treatments, so this song ends with a 2-minute noise fest.  But it’s a good one.  “Unmade Bed” is one of Thurston’s special mellow-singing songs but the guitar solo is weird and wonderful.

“Kim Gordon and the Arthur Doyle Hand Cream” was originally called “Mariah Carey and the…” (and I have no idea if the original was different).  Is one of those noisy Kim-sung jams that SY are known for. But it also features a “Hey hey baby” sing along chorus too.

“Stones” continues this midtempo catchiness with another amazing guitar riff that runs throughout the song.  While “Dude Ranch Nurse” is another mellow Kim piece that has a great riff and wonderfully noisy bridges.  And of course, Lee is awesome on “Paper Cup Exit,” yet another fatastic song.  The cool breakdown in the song is a nice unexpected twist.

“I Love You Golden Blue” may be the most beautiful song the band has ever done.  Kim’s voice is delicate and delightful as she whisper/sings over a gorgeous guitar line.  The final song is another of Thurston’s beauties: “Peace Attack” a slow builder, complete with verse ending guitar solos.

Sonic Nurse is a beuaty.

[READ: Week of September 14, 2009] Infinite Jest (to page 949)

Flying in the face of potential spoilers, I was looking for any evidence of there ever being a “unedited Director’s Cut” version of Infinite Jest.  There is, supposedly, one copy of the full text floating around, and I’m actually quite surprised no one has tried to capitalize on DFW’s death by releasing it (I’d rather see that than another “This is Water” type publication).

But while looking around, I got this pleasant surprise from the Howling Fantods–these are comments on a first draft of IJ (without too much unpublished work shown).  But there’s also this disturbing (to me) item:

(N.B.: Wallace made numerous corrections for the paperback edition of 1997, so that edition is the one scholars should use. Put a Mylar cover on the pretty hardback and leave it on the shelf.)

Great. So I read the wrong copy?  Twice??

ijdot1
I haven’t said very much in any of these posts regarding DFW himself.  I don’t feel it is my place to comment on the man or his situation.   However, through a nice shout out to me, I found this really cool site: The Joy of Sox.  It’s primarily about the Red Sox but it has a delightful side venue in DFW information.  There’s not a ton, and he quotes extensively from others who have done more research than he–he’s a fan of DFW, but this is a sports blog after all.  But it is a delightful collection of miscellanea.  And he pointed me to this article, “Democracy and Commerce at the U.S. Open“, which I had never read (so thank you!).   So, do check out the site, he’s not doing Infinite Summer, but he’s likely going to read IJ again in the fall.

ijdot1
As this almost-final week opens, the book is flying downhill like an AFR wheelchair, paralleling Gately’s literal inability to talk with Hal’s metaphorical? literal? we’ll see? one.  But it really is the Gately show.  We learn more and more about him, and his back story makes him more and more likable.  Who ever would have guessed? (more…)

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weekI’m not sure how I first learned about The Week. I think I received a trial issue in the mail. But after just one or two issues we were hooked.  The Week is a comprehensive newsweekly, although it offers virtually no original reporting.  It collates news stories and offers opinions from a variety of sources: newspapers, online magazines, political journals etc. And it provides opinions from across the political spectrum.

Each issue has the same set up (although they recently had an image makeover: a new cover design and some unexpected font changes in a few sections, which I suppose does lend to an easier read).

Each issue starts with The main stories… …and how they were covered. The first article is a look at whatever major story captivated the editorials that week.  (The growing gloom in Afghanistan).  And in a general sense of what you get for long articles (the long articles are about 3/4 of a page) You get WHAT HAPPENED, WHAT THE EDITORIALS SAID, and WHAT THE COLUMNISTS SAID.  The What Happened section is a paragraph or two summary of the story.  The editorials offer a one or two sentence summary from sources like USA Today, L.A. Times and The Financial Times, while The Columnists are from The Washington Post, The Wall Street Journal and Time.com, for example. (more…)

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worstMental Floss has been one of my favorite magazines for about four years now.  It only comes out every two months, but it is just chock full of all kinds of weird information.  Sarah and I fight over who will read it first.   And then later we say, Oh, I read somewhere about X, and the other will say, yes, I saw it in Mental Floss too.

A bunch of friends and I used to do the Mental Floss Quiz of the Day which is good random trivia fun.  And I think that’s how I learned about the magazine.

So the magazine is designed to be read in easily digestible nuggets.  None of the articles are overlong.  Even the cover article, which tends to run for several pages, is broken down into bite-sized sections.  And each and every article makes you go, Huh or WOW.

The magazine even starts out great.  On their copyright page they list their errata which they call Mental Flaws.  And their corrections are just as funny as the rest of the magazine.  I think they had one issue with no Flaws and they were very excited about it.

mistakesNext comes the ubiquitous letters.  This also contains the occasional feature of Readers and Their Famous Friends, which shows pictures of readers celebrities (pretty much the only celebrities they ever talk about).  This is followed by the letter from the editor.  Neely Harris (I have yet to determine if Neely is a boy or a girl and I’m not going to look it up either, somehow it’s more fun trying to imagine) is very funny and always sets a good tone for the magazine. (more…)

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dfw-title-pageSOUNDTRACK: GARBAGE-Garbage (1995).

garbageI was thinking about how IJ reminds me so specifically of a place and time (I instantly think of the apartment I was in when I started reading it).  And there are also some discs that I was crazy about at the time too.

I very distinctly remember when the first Garbage single “Vow” came out.  I remember seeing it in Newbury Comics [the absolute best record store chain, ever] on Newbury Street and it was plastered with stickers about how it was the new band from Butch Vig and he had produced every popular alt record in the 90s and blah blah blah.  But so I basically got Vigged out and didn’t bother listening to it.

Strangely, I don’t remember what changed my mind about them.  I assume I heard the first proper single “Queer” and instantly fell in love with the band.

It makes me laugh that the band was initially marketed as Butch Vig and two other high-profile producers got together and made this great music and they found this unknown Scottish woman to from the band.  And then, shortly there after the band was Shirley Manson and three unknown guys.  Heh, prettiness wins out.

Garbage was at a record store in downtown Boston that year.  I went down, but went to the wrong location (Doh!) and by the time I got to the right one, the line was too long and I was told I wouldn’t get in.  Alas. (Hey, I’ve still got my autographed poster from The Verve before they released “Bittersweet Symphony.”)

This album was in very heavy rotation at my house at the time.  I must’ve listened to it 1000 times.  But this is the first time I’ve listened to it in awhile.  It’s hard for me to be critical of it since I know every nook and cranny.  But listening to it today I think it is still pretty damned awesome.  The vocals are tight and creepy/sexy.  The songs are all solid rocking/catchy.  And the production is superb (obviously).

Not a bum track on the whole release, even 14 years later.

[READ: Week of August 24] Infinite Jest (to page 729)

There has been much discussion here on the forums and here between me and Infinite Tasks about the IJ timeline.  There is the pretty glaring observation that M.P. tried to kill herself  on November 7th, was in the hospital for five days and then appears in Ennet House on November 8th.

In last week’s reading, the WYYY engineer is musing about M.P.  He was told that she was hospitalized, and I considered that maybe that five day gap came BEFORE she tried to kill herself (for otherwise, how to explain that Mario missed her radio show sometime in late October?).  And yet that doesn’t seem to jibe with the fact that she’s apparently in there for an overdose.

A new timeline issue may be cropping up in this week’s reading.  A green Nunhagen-sponsored car appeared during the Escahton match.  We learn this week that Steeply is driving a Nunhagen-sponsored car.  But she arrives during the Hal/Stice tennis match, three days after Eschaton.  Has she been trying to get into E.T.A. for three days?  But, also, note that she left AZ, and Orin met the Swiss hand model (and Orin is having his second go -round with her during the match), early on the 11th (I think).  So I don’t think Helen could have been at ETA during the Escahton match.  Is there a second gunman green car?

This timeline stuff bugs me mostly because I feel like IJ is really fantastic.  And I assume that DFW spent a lot of time on it. (Certainly more time that I am spending reading it!). I imagine him with charts and graphs and circles and arrows explaining where everyone is at any given time.  Now, there are a number of conceivable explanations for the mistaken timeline:

  • Most of the stories about Madame Psychosis are second-hand, so they could be wrong.
  • There is ample evidence that people in this book are crazy and therefore not to be trusted.
  • And of course, there’s always the possibility that DFW just screwed up.

If this final option is the reality, I won’t be devastated.  I don’t think the book hinges on a few minor timeliness issues.  But I will be a bit surprised.  DFW seems like such a meticulous guy (I mean, geez, look at the detail he puts into his scenes) so it would be really surprising if he got timeline issues messed up.

There is always the possibility that these issues will be cleared up, after all, he ties up so many loose threads, but I suspect they won’t.  And that’s okay.  I won’t turn into Steeply’s father poring over every page and keeping a journal in little notebooks (that’s what the blog is for!)

ijdot1It is incredible serendipity that I did the JOI filmography during this week as this week’s readings actually count on knowing a bit about it.  And since I had just reevaluated it, I was aware of a thing or two during Hal’s viewing scene.

ijdot1Week 10 starts off seeming like a lot of nothing is happening.  There’s a few post-Event scenarios.  Until we get to November 14th, and a whole lot goes on.  A whole lot! (more…)

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