You Guys Want It Quieter? Or Louder?

What some people will never understand is that noise is compelling, that noise is a crucial vector for the unpredictability that is necessary to make the hoary ritual of the rock gig vital. Being a shambles does not make you unpredictable - incompetence is the flipside of buttoned-down professionalism, predictably piss-poor, routinely disappointing. Noise overloads your synapses, swamping your brain in a sensory deluge. It carries the risk inherent in introducing sound that can’t wholly be controlled, gambling the certainty of harmony and melody on a flight into the abyss. Noise is half the story with Pissed Jeans - it bleeds from every amplifier, feeding back through every mic and pickup in a coruscurating scree. Even when Dave Rosenstrauss’ bass amp cuts out (as it did for the first two songs) leaving only the Bradley Fry’s guitar and Sean McGuinness’ drums, it sounds like there’s a dozen people playing. When the bass comes back, the sound takes on a belligerent thickness that sinks deep into your innards. On the night, Pissed Jeans favour their slower songs, dragging the lurching, bludgeoning riffs out their instruments like every note pains them. It’s grinding, abject stuff, music to drown out the hell of the outside world. When they erupt into something closer to standard punk speed, you’re blindsided, knocked back by the distortion that’s lashing around like a downed power cable. This is something compelling, something that demands your attention and can’t be readily assimilated or ignored.

The other half of that story is Matt Korvette. Like Iggy Pop, or maybe more relevantly, David Yow, he plays on the revolting plasticity of human flesh, absentmindedly squeezing and folding the slippery flab hanging over the waistband of his jeans. Twisting, kicking out his absurdly long legs, contorting his body around the mic stand, howling his lyrics like a mushmouthed drunk screaming in an alley, he embodies the wrenching discord of the music. The threat implicit in a sweating, half-naked man towering over you as he staggers around the stage draws a wary eye, just as there’s a queasy, uncomfortable fascination in hearing him expose the emotions we usually keep tightly under wraps.

Judging from what others write about them, I’m not alone in seeing in Pissed Jeans the return of something I’ve been missing in rock music for a while. People have drawn a wide range of comparisons, be it to the Birthday Party (I don’t hear it), Flipper (getting warmer) or Black Flag (in “Damaged I” mode, definitely), suggesting that people are hearing what they want to hear, or else that noise offers a wide-open field for interpretation. The name Stickmen With Rayguns shows up like clockwork in every description of them but I suspect that most are cribbing that straight out of the press releases…it’s a name so good you can’t resist dropping it in, but in twenty years I don’t think I’ve even so much as seen it on an actual record. Clearly it’s time to fire up Hype Machine and see if there are any mp3s out there. Pissed Jeans blew me away on Wednesday night, even as they were blatantly struggling with their equipment, even when members of the band were making hurried exits from the stage to puke. The music was a visceral, cathartic blast and I still can’t figure out the reason for the dismally muted response from the admittedly thin audience. But as I say, some people will never understand.

Twenty More

The next twenty, from the Rest is Noise - I’ll edit with links later.

Panorama: Claude Debussy (DG)
Mahler, Sixth Symphony, Abbado/Berlin Philharmonic (DG)
Strauss, Salome, Karajan/Vienna Philharmonic (EMI)
Berg, Wozzeck, Abbado/Vienna Philharmonic (DG)
Janacek and Schulhoff, String Quartets, Tallich Quartet (Calliope)
Prokofiev and Ravel, Piano Concertos, Argerich/Abbado/Berlin Philharmonic (DG)
Stravinsky, Symphonies, Stravinsky/Columbia Symphony (Sony)
Ives: An American Journey, Tilson Thomas/San Francisco Symphony (RCA)
Gershwin, Porgy & Bess, Rattle/Glyndebourne Opera (EMI dvd)
Weill, The Threepenny Opera (”Berlin 1930″ edition, Teldec)
Shostakovich, String Quartets Nos 3, 7, 8, St. Lawrence Quartet (EMI)
Strauss, Metamorphosen and Four Last Songs, Karajan/Berlin Philharmonic (DG)
Xenakis, Orchestral Works and Chamber Music (col legno)
Stockhausen, Elektronische Musik, 1952-1960 (Stockhausen Edition No. 3)
Cage, The Seasons (ECM)
Feldman, Rothko Chapel (New Albion)
Part, Tabula Rasa (ECM)
Adams, Harmonielehre, de Waart/San Francisco Symphony (Nonesuch)
Lutoslawski, Third Symphony, Salonen/Los Angeles Philharmonic (Sony)
Golijov, Ayre and Berio, Folk Songs, Dawn Upshaw (DG)

The first ten here.

Road Paving

What has always made the state a hell on Earth has been precisely that man has tried to make it his heaven.

- Holderlin

We Are All Visceral Realists Now

Language still creates islands that the immediacy of modern communications has not erased. It remains possible for a writer to create a substantial oeuvre encompassing poetry, short stories and novels, to win a number of awards and be acclaimed as the most important figure of his generation by fellow writers, to die an early death, and be largely unknown to the English-speaking public. But for a review in the LRB I would probably still be unaware of the Chilean writer, Roberto Bolano, and it took me six months to actually get around to ordering the Savage Detectives. It will be another seven months before Farrar, Straus and Giroux publish his other novel 2666 in translation. Now that I know his name, I start to see it in other places…another book, by Cesar Aira, with a glowing encomium from Bolano prominent on the cover. Still, there’s a faint air of unreality about it, as though he were a creation of Borges, somehow retroactively himself backwards into history.

The Savage Detectives is real enough, a big, sprawling, unpredictable book that took me three weeks to finish. It’s written in three parts - excerpts from the diaries of Juan Garcia Madero bookend the four hundred page middle section, an oral history of the lives of the visceral realist poets Arturo Belano and Ulises Lima told in a dazzling multiplicity of competing voices. Madero is callow, a young poet inspired by his induction into the ranks of the visceral realists, and his diaries reflect this - the writing is sometimes flat, sometimes jarring, but sets the scene for the flight of all three from Mexico City with a vengeful pimp in pursuit which ends the first section. Then the babel breaks loose - the glorious cavalcade of thirty or forty contending voices describing their encounters with Belano and Lima. What is interesting is that these characters, from the garrulous old poet Amadeo Salvatierra to the deranged architect Quim Font, become far more vivid than the men they are talking about. The stories contradict each other and as the different views overlay each other, the image becomes blurred. The history moves forward more or less chronologically, with increasingly large gaps in time separating the accounts, until finally there are no further memories of either Belano or Lima. The visceral realist leaders vanish from the pages of history, and the academic who is their self-appointed historian denies that there ever was a poet named Juan Garcia Madero.

Madero’s diaries describe the visceral realists as an incestuous tangle of poets, convinced of the revolutionary importance of their art, even as the politics of the group drive them towards scission. Yet as the book proceeds, Belano and Lima increasingly appear hollowed out: bereft of the conviction that fuelled their poetic fervour, they become melancholy, haunted figures, drifting the globe. When Belano finally disappears into the jungle in Liberia, facing almost certain death, he is as the walking dead, glad to meet his doom. The final section, Madero’s diary of their journey into the desert, gives one explanation of the riddle that nags throughout the book, the event that wreaks these devastating changes. But it can’t be the full explanation, just one possible reason, something that can be inferred from the words of one witness, who can have no presentiment of what is to come. I didn’t build up much momentum reading the Savage Detectives: days would pass before I would pick it up again, but it rarely seemed to matter. There was always more there than can be understood in a single reading.

Ambition

I hope this book turns out like Mein Kampf for the Hollyoaks generation.

- Mark E. Smith, Renegade

Get ‘Em While They’re Hot, They’re Lovely

Sit Down Man, You’re A Bloody Tragedy links to a new blog, Mentasms - only three posts so far, but it’s good stuff: brutalism and jungle, the bourgeois vacuity of Electric Picnic, Ricardo Villalobos and hyperconsciousness etc.  The blogroll cites K-Punk and Blissblog, there’s been mention of Deleuze & Guattari and jouissance…I think you can join the dots for yourselves.

Mahana Homestead

The Conformist

Over the past few years I have rarely gone to the cinema - the usual reasons: the vacuousness of Hollywood, the convenience and cheapness of dvd rentals, the irritating inability of the average movie-goer to follow a basic plotline without conducting an extended sotto voce conferral with everyone within three rows of him. The consequence is that I watch fewer films. Watching a film on the small screen is a stunted experience, with little of the potential for an absorbing, immersive experience that the big screen in the darkened room offers. The more I watch films on television, the less I feel motivated to watch any films, much less to walk into town and pay a tenner to see one. A vicious circle then, but one which could be broken by seeing a film that vividly expresses why the cinema is worthwhile.

A film, that is, such as the Conformist, which has been revived in a new print. It could technically be said to be showing at the IFI although it almost certainly won’t be by the time you read this post, or even by the time I finish writing it. Originally released in 1970, the Conformist was directed by Bernardo Bertolucci although it’s such a powerful film visually that much credit must go to his cinematographer, Vittorio Storaro. The shots are beautifully composed, with a dreamlike vividness that verges on the surreal, and the dense layers of symbolism add depth to a story that would otherwise be thin and unconvincing. Marcello Clerici is plagued by a profound sense of difference and exclusion, such that he is obsessed with attaining the invisibility of the unremarkable man. He marries a bourgeois woman of transcendental vapidity, he worms his way into work with the Fascist political police. He is devoid of moral compunction, seeking only to become one of the crowd. But of course he never can - Clerici fears and detests the crowd; he cannot stand the press of human flesh and even shies away from the hand of his closest friend, the blind radio announcer Italo who provides his entree to the Fascist apparat. (And one of the most striking images of the film is Italo in the studio, reading aloud a paean to the ruling party from a braille manuscript…the blind media as the unquestioning mouthpiece of the state.)

Clerici is sent to Paris to reactivate a relationship with (and ultimately to assassinate) his former philosophy professor, Quadri, now living in political exile in Paris. He has the convenient cover of his own honeymoon although this means bringing his new bride Giulia with him, which complicates matter further when he falls in love with Quadri’s wife, Anna. Anna in turn seems more interested in Giulia, though whether it’s genuine romantic interest or an attempt to attack Clerici whom she professes to despise.  It could be a farce, but the recounting of the story through multiple levels of flashback while Clerici and his ox-like accomplice Manganiello drive through the snow-covered countryside to catch up with Quadri lends it the tone of a thriller.  Which it is not quite, either - Quadri’s death by stabbing at the hands of a platoon of Fascists (echoing the murder of Julius Caesar) offers no climactic release.  The film ends on a more sombre note, cutting forward to the night Mussolini’s abdication.  Clerici and Italo, both thoroughly implicated in the fallen regime walk the streets.  “I want to see how a dictatorship falls” he responds as Giulia begs him not to go outside.  They are overtaken by a mob - Italo is swallowed up by it but Clerici somehow passes through it whole, and the film ends with his face seen through a barred gate in the flickering light of a fire, a mask of utmost despair.

The roots of Clerici’s difference are never fully explained.  It is hinted that they reside in repressed homosexuality - Italo believes it, and the weight Clerici places on his childhood encounter with the chauffeur supports that.  But then what to make of his powerful attraction to Anna? The difference seems to operate on a more existential level, a cinematic representation of the Sartre’s nausea.  The panic on Clerici’s face as the dancers in the nightclub circle him ever more tightly speaks of a revulsion that is absolute.  Seeing this film once is nowhere near enough to unpack everything contained in it, and new associations come to mind every time I think about it.  It is a cavalcade of images that resonate at both conscious and subconscious levels.  Today the shot that strikes me is that of Clerici’s father in the asylum, angrily flailing the untied sleeves of his straitjacket at his son before folding his arms and awaiting restraint at the hands of a burly nurse.  Tomorrow it will be another, the day after that another still.

Louder Than A Bomb

I spent Saturday evening listening to Hank Shocklee reminiscing over the early days of hip-hop in the New York boroughs while heavily made-up women plied me with beer and sushi…who dares say the new Dublin has nothing going for it?

Eventually his history reached the rise of the MC and his realisation that his soundsystem was dead on its feet if he couldn’t find a good MC to front it.  In those days, he said, “Good Times” was the record, and a DJ couldn’t drop the needle on it without turning around to find a line of guys standing behind him waiting to get on the mic.  One night he was playing a party at one of the colleges, dropped “Good Times”, and sure enough, every guy in the audience was up there trying out a couple of rhymes.  Every one of them, he said, was just dismal, so when the tune ended he took a break and let a guy on to make an announcement about a fraternity party that was happening the following week.  Just chatting about a frat party, this guy demolished everyone…it only took two years of constant begging from Hank Shocklee to get Chuck D to join what became Public Enemy.

So Battered With Misfortune

Heart, my heart, so battered with misfortune far beyond your strength
up, and face the men who hate us. Bare your chest to the assault
of the enemy, and fight them off. Stand fast among the beam-like spears
Give no ground; and if you beat them, do not brag in open show,
nor, if they beat you, run home and lie down on your bed and cry.

- Archilochus of Paros