Said your mother’s dead and gone.

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Antony & Bryce Dessner – I Was Young When I Left Home

Eamon sat on the porch of a house he did not live in. He looked out at the road ahead. It was dusty, one-way, leading away from the trees to flatlands that spanned the horizon and sat lonely with the sun sometimes at the end of the day, when it had tired of hanging in the sky lighting the way for the lost. It would fall, swap tales with the land before disappearing to rest. The moon would kick up its heels, hum a tune, man the post for a few hours. Sometimes only half-there. Eamon picked at his lips. He peeled strips of crackled skin, flicked them away. Touched his hand to his face. Looked down at the red puddles pooling on the skin of his fingers. Squinted in the sunlight. Sighed, peeled another strip.

Blonde Redhead & Devastations – When The Road Runs Out

In the dim street light, the radio hummed slowly through the night. Hugged close by a thin layer of sleet in the middle of the road sat the car the radio belonged to. At this hour there might be a couple of dogs barking, rummaging through the evening’s throwaways in the dumpsters lining the side-alleys, fighting for scraps. There were none. Their thick winter coats betrayed their warmth. The car’s headlights dimmed in the fog, two peering eyes in the evening. Waiting. The engine slowed to a murmur. Bedside lamps went cold. [Dark Was The Night.]

(illustration by Paul Blow)

Your blood.

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This is more than a fascination.

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Innate – Fascination

Asier slung his tongue over his shoulder like a swollen, bruised bandolier. He only had the remnants of a rousing chorus. A chorus that echoed in the forest. Consonants ping-ponging from between the branches of the highest trees, swinging from the overgrown canopies. Vowels ooooing and aaaaaing and uuuuuing in their callous tussles with structure. Adjectives hidden in the ground under piles of burnt sticks, jagged rocks, monkey shit. Verbs like mosquitoes biting when he stepped. Soon the nouns would shudder and heave and fall like the others.

(illustration by moleskinex56)

“We build the wall to keep us free…”

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Anais Mitchell (f. Greg Brown) – Why We Build The Wall

Writing about one great song from a brilliant concept album is much like a man saying, “I spent 2 nights with Aishwarya Rai. The conversation was marvelous.” But here goes anyway.

This scene could be set in Detroit, now. This scene could be set in 1933, anywhere. There is no weather in this scene, only poverty. Love and its attendant tragedy come later. In the ninth scene of this folk-opera, Greg Brown isn’t playing Hades, his voice is Hades. When not in sonic expression, the voice is still present: it has a smell; it has a colour. It spends much of the song asking questions of Cerberus (Anaïs Mitchell), but its lingering insistence tells you what you know already: that each answer was decided long ago, like the verdict of a particularly tuneful show trial.

This wall isn’t Pink Floyd’s Wall – so it isn’t Bob Geldof’s Wall either. This wall keeps us free from the others, free of poverty, free from the enemy. The cultural symbolism here is rich, and you shouldn’t be surprised that Ms. Mitchell is a political science graduate. Cerberus, singing for us, truly believes that the wall keeps us free. That’s what he knows, because that’s what he’s been taught – our friend and guardian is the property of an abusive master, and like all good property, doesn’t know what abuse is. Hades asks a lot of questions in this song. But Hades is no fool. He knows not to ask the one important question: “Why would the wall make us feel free?” The wall makes us free because we are afraid.

[If you enjoy Greek mythology, Depression-era imagery, and excellent folk music – or if you enjoy pretending to like these things to help you get laid – then purchase Anaïs Mitchell’s “Hadestown.“]

We asked Rob to offer us his mind. You can see why now. Follow him on Twitter or Tumblr, because it surely is worth your time.

Going against your mind

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The Electronic Anthology Project – I Dim Our Angst In Agony

The Electronic Anthology Project is “Built To Spill re-recorded in the vein of the ’80s 12 inch remix,” according to the group’s myspace page. It’s also trippy as balls.

It makes me feel like someone is running a finger around in my skull and mixing up my brains like soup in a bowl. It makes me feel like a swirl of neon colors all yellow and orange and purple. It makes me feel like dropping acid. It makes me feel like ripping off my clothes and running around waving sprinklers in the dark.

[Buy The Electronic Anthology Project. Photo is Ryan McGinley‘s Fireworks Hysteric.]

Oh, great, yeah!

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Littl’ans & Peter Doherty – Their Way

Bags crammed with girlfriend owned additions. Grandmother’s holy water etching comforting passages through the oil on my brow. Fear for the moments when the stomach is too slow to catch up with the plane and its surge. Photocopies of photocopies – just incase. A borrowed iPod – green – fully charged with selected musical, podcast(ical), and audio-book goodness. And Say Anything…, prepared for the play.

[They did it their way and no other (way).]

Say cheese!

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moools – neednoneed (iruiranai)

It didn’t take three minutes after the graduation ceremony for Jen’s aunt to bring up teaching.

“So what are you going to do with your history degree? Teach?” Aunt Betty asked cheerfully as they leaned in to snap a picture together.

Jen frowned.

“Hopefully not; I don’t like kids,” she said.

Which wasn’t really true. She quite enjoyed kids, usually. But it made for an easy answer that shut up people like Aunt Betty without making them regret the birthday checks they sent.

The thing of it was – why teach when she could DO?

Jen speared a stray balloon with her heels.

Teaching felt like giving in. There was life to be lived! Romances to sever prematurely, dusty countries to visit, tales to retell loudly in bars, apartments to tiptoe barefooted into, lakes to jump into off balconies!

(Oh god, why was Uncle Earl’s hand so low on her back?)

To be locked in a classroom for the rest of her life felt like trading adventure in. She wasn’t ready to settle for that.

Not just yet.

[Buy Weather Sketch Modified]

Who makes Steve Guttenberg a star?

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The Simpsons – Flaming Moe’s

Shit, man. For an animated television show, The Simpsons has churned out a hatful of gems in their decades on air. “Flaming Moe’s” has a melancholic honesty that some serious performers will try and try and try to reach.

The Simpsons – We Do (The Stonecutters’ Song)

“Oh yeah. Beer busts. Beer blasts. Keggers. Stein hoist. A.A. meetings. Beer night. It’s wonderful, Marge! I’ve never felt so accepted in all my life. These people looked deep within my soul and assigned me a number based on the order in which I joined.”

[Songs In The Key Of Springfield.]

Cast a cold Eye on life

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Sharon Robinson – Alexandra Leaving

You’ve [almost] [possibly] never been.

To a moment where you whisper to “Yours, L. Cohen” through drizzly air; whispers of wishes for further days and contentment for each and every candle whip of light that remain.

“I don’t know when I’ll be around these parts [“Yeats’ county”] again.”

He wouldn’t allow us to set our own tone, our own world – he forced the question, the thought: the chance of adjoining edges to his lifes frame. The concluding paragraph. The finishing touches.

“Like a baby, stillborn, like a beast with his horn – I have torn everyone who reached out for me.”

The gut wrings with prudish rejection when it hears something so crass, something lost in the plain sight of previous visits and views and listens. You see, for the most part, I see Cohen as a comic. Not meant as a negative: he grasps at irony and dangles brimming tales in front of us to toss and devour whole, but then there’s true tragedy – and until now the tragedy of Bird On A Wire, that specific line, such tragedy was lost to me.

“The light of evening, Lissadell,
Great windows open to the south,
Two girls in silk kimonos, both,
Beautiful, one a gazelle.”

When he smiles, we do. Keyboard skills [basic notes on Tower Of Song] met with claps and bellows of reverence and veneration. Cohen’s rebuttal? “Thank you, music fans.” A world in cahoots could author no line so love inducing.

There were a few sporadic seats untouched. Still some who don’t [won’t ever] get it.

[Everybody knows you and me and the things we do.]

Leave me alone, I’m in control. I’m in control.

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The Strokes – Take It Or Leave It

OK, let’s talk about The Strokes’ show at Hordern Pavilion, Sydney, on Thursday night: I’m not going to pretend to care about the opening acts (who were, by the way, Gypsy & The Cat and The Like) because let’s face it: everybody was waiting for Julian, Albert, Nick, Nikolai, and Fabrizio to hit the stage. The openers were good, they were somewhat entertaining, but in the way they performed and interacted with the crowd it felt as if even they knew everybody was hanging around to see the headliners play.

A band so deeply idolised by the indie cluster who dearly adore Julian’s close-fisted singing-into-the-microphone style attracted a surprisingly violent mosh. There were elbows thrown, toes trod on, gadgets and jackets lost, and tears and expulsions throughout the night. I started the evening two people away from the barrier and finished six or seven rows back, to the side, jumping deliriously as Julian screamed in his ever-waning voice, “He’s gonna let you down!”

I met ginger-haired freckle-faced op-shop jacket wearing Jerry’s with irritatingly high-pitched voices and a defined articulation. I tangoed with trashy blondes wearing leopard skin tights and a lack of inhibition. I frowned at the alpha-dogs thrashing about in their band merchandise with a bottle of Smirnoff double-black in their hands (I know, right?) tilting unsuspecting strangers on their sides with their unbridled aggression.

But, all things said, The Strokes fucking rocked.

Forget going through a list of the songs. Forget talking about how “Last Nite” was met with a chorus of bellowing screams and body jerking. Forget how Julian’s between-song chatter was pretty funny (at one point, he looks at the beaten crowd and says, “I see a lot of beautiful women and violent movements,” prompting more body jerking and screams).

Forget detailing every minute and moment; I’m surprised I remember any of it.

(photos posted courtesy of fasterlouder.com)

[Check my pre-concert ramblings for pathways to the albums. Daniel was supposed to post today, but he’s making a four-hour round trip to a Leonard Cohen concert and asked for one of us to deputise in his absence. I wish him a magical experience.]