I think this is an excellent segue from yesterday, and it’s very on point. Lucinda Williams is always on point writing about love, from her position as a woman who has lived through some serious ups and downs, who has loved many troubled souls and watched them not make it, who didn’t find her personal and professional rewards until she was well over the expiration date that women are usually given for finding those things. From that vantage point she asks, what do we need and expect men to really do for us? And what can lovers ever really do for each other, in the end? What gaping existential void are we asking our mere mortal partners to fill for us? I remember a comment from someone – a poet – that the needs we expect our romantic partners to fill are the same ones that we used to fill with religion. We expect guidance and fulfillment and unconditional love and sacrifice and an ear and a shoulder and a heart to cry to, and the other person inevitably comes up short, because they’re also asking for those things. No wonder so many people would rather burn the world than accept living in a secular society. But regardless if you’re clinging to religious ceremony for comfort or putting all of your emotional eggs in the monogamous long-term relationship basket, those things are still a substitute for the hard work of finding fulfillment within yourself, and there’s no easy shortcut to that. Love and religion can help, or they can hinder you, but you still have got to learn to live with yourself.
This is something I quite relate to. You see, I am exactly the kind of nerd who thinks that paying attention to what’s playing is of such supreme importance it outshines even sex. I try to not be weird and awkward about it. Apparently most people don’t want to talk about music when they could be getting naked. Most people don’t want to talk about music instead of getting naked. They don’t want to talk about music while they’re getting naked. They don’t appreciate you getting out of bed because there’s DJ-ing to be done. But sometimes you just have to drop everything and turn up a pop song!
A particular favorite from one of my favorite relatively new discoveries. I’ve been told that Interpol is great live, and that’s evident from this clip. It’s a performance both dramatic and intimate. It even evokes some of the great goth depressingtons of yore that the band has been (often cheaply) compared to. This could well have been a Joy Division song, and I wouldn’t lightly accuse anyone of channeling Ian Curtis. (People who purposely channel Ian Curtis are lazy schmucks.) It’s gnomic and grand, even if falls apart on paper. The meaning is in the delivery. It’s in the image. It’s in the tension that builds from that first arpeggio.
“People in love lie around and get fat, I didn’t want us to end up like that.”
Well, that’s just about the driest possible way to sum it up, isn’t it. Art Brut’s Eddie Argos singlehandedly took Britpop’s drollness to the next level, while sometimes making a muss of the fine line between clever and irritating. You could say that it’s a bit of a gimmick, shouting sarcastically about one’s insecurities over light-VU feedback. But enough of it is redeemingly, genuinely clever that you roll with the gimmick. And who doesn’t relate or wish that they did to the persona of the common bloke who can’t sing and doesn’t look like much but has his wit always at the ready? I must admit that Art Brut has found quite a bit of space on my iPod, and their interludes are refreshing amid the general doom and gloom there.
Typical depressing Modest Mouse. This is, like every Modest Mouse song, about alienation and the search for connection. Or, you could look at is as the opposite. You can see it as kind of uplifting. As in, the only place worth being is where the people we care about are. Also, try to unpack the video while you’re at it. Modest Mouse have a great track record for surreal video that are equal parts comical and disturbing. This one seems to have a lot to say about love, prejudice and ecology. In fact, those are pretty heavy handed themes. But it’s also a little funny in its weirdness. It’s on point with the theme of finding someplace or someone to belong to, and how hard that is, and how weird.
Another lovely song about death. Is every Modest Mouse song about metaphysical angst? Sure seems like it. It’s hard to think of a songwriter less interested in the usual about-a-girl stuff than Isaac Brock. Relationships are almost everybody’s biggest theme, even the most misanthropic people haters’. But almost every Modest Mouse song is about something existential. If it’s not about straight-up dying, it’s about how much life sucks, or how much Isaac Brock hates people, or how much Isaac Brock hates himself. I get the feeling he’s probably not the most fun guy spend a lot of time with; one of those people whose head you really wouldn’t want to get inside. On the other hand, it makes Modest Mouse one of the most uniquely rewarding bands of our time. You can explore their records again and again, for years and years. You can always enjoy the friction of uptempo and gloom.
I love how cryptic this is. I usually don’t pay much attention to Interpol lyrics. It’s more about the tone and atmosphere of the music. But then I do see the words and they don’t really make sense, and that makes me like it more. I like songs that don’t spell out what they mean.