Still waiting for a new LP from Alex Winston. Apparently she’s been in label purgatory for the past five years, with a full album that she hasn’t been able to release because contractual obligations yada yada yada. That’s a trap a lot of rising young artists with plenty of talent but not a whole lot of business sense fall into, and it can really nip a promising career right in the bud. There’s still no word when and how Winston will release all the music she recorded while signed, but she is working on a collaborative project with Max Hershenow aka the male half of MS MR, which excites me a lot. In the meantime we’ll always have King Con, with its rogues’ gallery of Amish youths-gone-wild, Mormon sister-wives and velvet paintings.
Bob Dylan pays tribute to his dearly departed friend John. Lennon, that is. It’s a moving ode, and an honor, one legend to another. Why Dylan felt compelled to light this particular candle in 2012, as opposed to, like, 1981 is unclear. Maybe the pain was too great. Maybe thirty-odd years is just how long he needed to be able to articulate something. Maybe to have written a song any closer to the fact would have felt wrong, trashy, opportunistic. Maybe it’s not helpful or kind to react to a friend’s tragedy by going all ‘great American songwriter’ about it right away. John Lennon, of all people, never needed to have “Eulogized by Bob Dylan” added to the end of his obituary. It certainly wouldn’t have burnished his star any brighter. So maybe it’s just out of respect that Dylan held back his eulogy a few decades. Either way, it’s a touching gesture. Why he chose to sing it in extra-emphysemic mode is another question, especially since he’s been on a standards-album kick lately and he can still croon like it’s Lay Lady Lay all over again. Oh, well, Bob Dylan moves in gnomic ways.
Rihanna, EDM queen. Frankly, it’s a pretty generic EDM song; with any other vocalist on duty, you couldn’t pick it out of a playlist. But it’s Rihanna, and when she says we’d better live up while we still have time, she sounds like she means it. That’s a generic-as-fuck platitude, designed to get you bellied-up to the bar for shots, all primed and ready to get out there and make some bad decisions. But, again, it’s Rihanna, and she makes bad-decision-making behavior look like good-decision-making. And face it, you’re never gonna be this young again, so get the fuck out there and do something stupid.
Sometimes I wonder if my love life would be a bigger success if I made a bigger effort to be a toxic bitch. People like that, right? Men would flock to me? It’s a trope that mentally unstable people are more desirable, and romance isn’t really worth it unless it’s full of explosive drama and mutual bad behaviour. Most of us learn otherwise pretty quickly in life, but the trope shows no sign of losing its appeal. It’s the Manic Pixie Dream Girl’s rehab-failing older sister. The Toxic Bitch may smash your windshield and ruin your life, but nobody ever made you feel more alive. The male equivalent is the guy who breaks your nose on Valentine’s Day then takes you to brunch the next morning, and he is only marginally less easy to glamorize. Toxic people are shit and you should run away from them when you see them coming, but don’t you secretly want to be that out of control?
Lana Del Rey is releasing her fifth album tomorrow. Del Rey has shown surprising longevity, and she’s grown considerably as an artist. That’s not easy in an industry that throws It-Girls into the stratosphere and then forgets them overnight. Six years of fame is an eon in the Instagram era, and in the age of widespread piracy artists often spend most their time generating #sponcon and designing capsule collections instead of making art. So we should tip our hats to Lana for managing to stay focused on her music; she’s released an album almost every year and each one has been a step forward for her. She’s also managed not to embarrass herself with drunken escapades, ill-advised love affairs, bad makeovers, or forays into fields where she has no talents. She suffered enough negative publicity when she first came into the spotlight, for her looks, for her aesthetic, for her amateurishness on stage. And she soldiered on and she earned her credibility. Needless to say, I’m pretty excited for the new record. But I think I’ll always love Born to Die the best.
Marina Diamandis is the camp icon for the millennial set. It’s self-aware pop music for a generation that’s so self-aware and meta and ironic they can’t stop being self-conscious and just allow themselves to feel a natural emotion. Of course, vacuous idle youth have been the bogeybear that every receding generation shakes its stick at before reluctantly conceding that the kids are alright after all. It’s just the technology that keeps updating. Every generation gets the pop idols it deserves, supposedly. We certainly have enough of the kind who wholeheartedly and unironically represent the specifically modern tyranny of aspirational images. Some of them have a touch of the uncanny valley effect about the eyes that makes one wonder if they aren’t just digital sales bots. One suspects that Kendall and Kylie don’t actually exist; their eyes are glassy and they can barely speak in sentences, but their lives are impeccably well designed. Celebrity automatons may be easy targets for intellectual scorn – and may even be deserving of it – but who among us doesn’t spend time curating an ‘aspirational’ public image of ourselves as if we were of interest to anyone besides our 12 closest friends? What does that do to our souls? How does it affect our ability to be real people interacting with other real people? Are the self-regard and narcissism that social media so easily enables actually a satisfying substitute for the hard work of forming and maintaining relationships IRL? Why bother following the prescribed life path when you can just create the illusion that you’re following it? Sure, you’re a half-baked man-child or babygirl with no life- or interpersonal- skills and no interest in acquiring either, but you look like an interesting person on Instagram. And, really, when you think about it, aren’t you just a better-groomed version of the guy who leaves the club alone to go read books in the cemetery because solitary pursuits like reading and moping are so much easier and more fulfilling than the drudge and pain of trying to form meaningful connections with your fellow humans? It’s all the same miserablism played out on a different stage.
This is going out to all of my Russian readership. Here is Regina Spektor with a faithful and passionate reading of a classic by the Georgian bard Bulat Okudzhava. Right now, Regina Spektor’s best known piece of work is the theme song for Orange is the New Black. She may never be able to shake that particular brand of fame-by-association. Fans who got on board pre-Netflix know her as an incredibly smart, literate and poetic singer-songwriter with an eccentric streak. Her work has been refreshingly free of both the overly saccharine and the overly confessional tendencies that often plague female singer-songwriter-pianists. Spektor is, of course, a Russian emigre, and though it’s often very subtle, her writing and musical style is distinctly Russian. Russians are naturally wary of cheap sentiment and unnecessary intimacy, which helps account for the lack of the usual love song cliches and shrill emotionalism in Spektor’s work. Instead Spektor leans towards the literary, finding new ways to illuminate everyday emotions and experiences, using subtle metaphors and long-form narrative, all of which shows the unique influence of her background.