The Signifiers Have No Value for Us Anymore

How abnormal is it that I have a sufficiently well-developed personal symbolic system that when I am at a concert and some random dude in a Halloween skeleton costume comes out before the lead singer to ask, "What kind of moth do you want to be?  The kind of moth who beats itself to death against the wall of the lantern, delusionally imagining it to be the moon?  Or the kind of moth who manages to sneak onto a space rocket and flies to THE!  ACTUAL!  MOON!, I don't even have to think before mentally responding, "I want to be the kind of moth who helps to create the moon on Earth with my own hands!"?

I think the problem with the symbolism here is that, as far as I know, most scientists think that the moon that we already have was in fact created on Earth?  On the other hand, I guess it was not created on Earth by the hands of moths, so maybe that's still okay?  Well, okay, the other problem with the symbolism is that moths don't have hands.  But the moon was also not created on Earth by the. . . legs of moths?  Antennae of moths?  Something?

Is It Just Me, Or Is This Hilarious?

Wikipedia on Johnny Thunders:

"With Thunders leading the band, the Heartbreakers toured America before going to Britain to join the Sex Pistols, The Clash and The Damned on the now-legendary Anarchy Tour, replacing the Ramones, who had quit the tour due to a lack of organization."

Bassem Sabry

The first song from of Montreal's next album, Aureate Gloom, has dropped.  I must like it, given that I've replayed it multiple times today.  I'm kind of surprised by the rather explicitly political title and lyrics (and, for that matter, not even on American politics but on the Arab Spring, unless the Arab Spring is being used as a metaphor for American politics?), though.  That isn't really what I would have expected from Kevin Barnes.

Unfinished

Oh, yes;
He is waiting.
I had nearly forgotten him, darkness in a hollow cylinder,
A firm body, a slight sword, something I want.
I had nearly forgotten.
Earlier it was his hand on my skull, gripping my head,
Keeping me in place, but then some stranger stole his space
And something else was holding me down in its grasp
So that only one point was in my line of sight,
Only one tune echoed in my brain.
Some things are caves,
Some things cover up caves.
Everything I want is empty.
Substance can just leak out now -
I want to be taken over,
And, whether it is enthusiasm or ecstasy,
I want to lose myself.
Sometimes you are subsumed in a pool,
Sometimes you rush out as the wind.
Either way, it is suspension.
I want to jump in the pool right now,
Because the water is warm and could
Protect me - I want to even if I can't.

Reading _Alice_'s Footnotes

Maybe it's just me, but I find this a hilarious footnote in the heavily annotated edition of Alice's Adventures  in Wonderland that I'm now reading: "The Liddell children had a particularly distinguished drawing-master at this time, John Ruskin. . . ."  What an incredibly bizarre way to describe Ruskin, "a particularly distinguished drawing-master?"  Seriously?  Later on, the footnote says, "He taught Alice drawing in the deanery, lending her paintings of Turner to copy. . .," and I found that hilarious too, but that really is probably just me.  The thing is, most of my exposure to Ruskin was in my summer course back in high school on Victorian literature, where our big joke was that Ruskin suffered from profound lust for Turner because he just would not shut up in any of his work about how great Turner was. . . I suppose by this principle I myself suffer with profound lust for Byron, Shelley, Henry James, DWJ, Jenna Moran, Bowie and Kevin Barnes?

I also seriously had no idea that the Liddell in Alice Liddell was the same as the Liddell in Liddell-Scott.

Obviously, these are the kinds of things I am going to blog about.

The Subject and Power

Yes!

"I know it's the shadow cast by what's looming and not the thing in itself that engenders fear."

---Kevin Barnes, "Malefic Dowery," Paralytic Stalks

This Amuses Me

Apparently Nina Barnes is a Zizek fan. This would probably amuse me more if it were Kevin Barnes, but it's still pretty good. I think that means that any Lacan references I find in of Montreal lyrics can be taken as deliberate, which, given my propensity for finding Lacan references, is probably convenient ;-)

What Hitherby Does to Me

I adore Satanic Panic in the Attic. It is an amazing album that I want to listen to whenever I feel happy, and sometimes when I'm not particularly happy, because it is just so full of happy, amazing songs. That having been said, there are a few songs on the album that I don't particularly care for, and among that number is "City Bird." I just find it kind of dull. Nonetheless, I have had it inexplicably stuck in my head for the past few weeks. I really can't understand it; I have no conscious reason for that particular song to be constantly stuck in my head.

Then yesterday there was this. And today, on one of those occasions when I have to stand around for an hour doing nothing, I was thinking about that, and had "City Bird" stuck in my head, and it suddenly occurred to me, Oh, "City Bird" is a song about a bodhisattva. It simultaneously makes so much sense and is so completely over-interpreting, but I just know I'm never going to unsee it now. From now on, I'm always going to just assume it's a song about a bodhisattva.

More Music Video Reviews

Given the fact that I spent my entire high school career procrastinating by watching music videos, it's weird how boring I find most of them now that I have the internet to procrastinate with. This is especially tragic when it's my current favorite band's videos that I'm being bored by. of Montreal has made a couple of really awesome videos - "Heimdelsgate Like a Promethean Curse" is fascinating, and I actually once spent an entire evening repeatedly playing "Wraith Pinned to the Mist and Other Games" and sobbing - but most of their videos I watch only one time, can barely focus at all, and then never care to see again. So with their most recent video - "L'Age D'or". Just boring.

I don't know what it was about the music videos of my adolescence that made at least some of them far more interesting to me - but I guess I have some idea of what I like about certain videos. For example, I definitely know that I approve of videos with charismatic performers, just as I approve of live performances with charismatic performers. I know Kevin Barnes tries really hard to make an aesthetically interesting performance, but I'm not sure he really has that raw charisma. It's definitely something that's different from musical quality. But, whatever it is, it can really make a video. Let me list some examples:

-Save Ferris: "Come On Eileen" - I am far more likely to find male performers charismatic than female ones, but I think Monique Powell is really appealing in this video - I fell in love with their cover when I was a teenager just because she was so attractive in the video. It's hard to sum up what it is that makes her performance work so well for me, but I think her facial expression is a key part of it. She looks simultaneously so happy and kind of knowing. It's an intriguing combination that makes her much more interesting to watch than most singers. I'm able to stay focused and keep paying attention to the video because I want to see more of her expressions.

-Red Hot Chili Peppers: "Under the Bridge" - I don't even particularly like the Red Hot Chili Peppers, on the whole - occasionally I get curious about some of their other songs because I like the video for "Under the Bridge" so much, but none of them has ever worked for me the way this one does. But the reason for that is very clear in this case - in this video, Anthony Kiedis is an attractive man with long, straight hair and no shirt (well, at least for large portions of the video he has no shirt) who occasionally makes rather facetious-looking gestures. He spends the second half of the video running with no shirt on and his long, straight hair blowing in the wind (imagery that is so appealing to me that my best friend has actually recommended a movie to me purely on the basis of its including a scene with similar imagery). I really need say no more.

-David Bowie - "New Killer Star (live)" - Now, of course, as you may have noticed, I do in fact particularly like David Bowie. What's more, more or less everyone I know finds Bowie to be a particularly charismatic and attractive performer. It's therefore slightly embarrassing to me that I never find the younger Bowie particularly attractive, unlike everyone else and despite the way that I love his music. Somehow, though, I get over this problem with the older Bowie. Maybe it's because this 2003 Reality Tour was the only time I ever saw Bowie live myself. I usually really don't enjoy the kinds of concerts where you have to sit all that much (I feel like the point of live music is to get really into the music and dance around to it), but Bowie's concert was an exception. Just because he was that good a performer, that he was still inspiring even when he was tiny.

-Pulp - "His N Hers (live)" - When last I wanted to post this on my blog, I couldn't find it anywhere - now there are actually two versions up on youTube! This one, though cut short, is still worth watching, because, well, it's amazing, but the one I linked to first is the full song and is possibly the paradigmatic example of what artists who want to please me should be doing. The wasp bit! The way he ends the wasp bit! I have to be honest and admit that it's hard to pick apart how much it's true that what Jarvis Cocker does is perfect for my tastes from how much it simply is that Jarvis Cocker was the formative influence on my performance aesthetic, but man. I am not kidding when I say this is what all artists who want me to actually watch their videos should be doing! That little hand wave - "anyway, I'm getting away from the subject here." How do you even come up with such genius?

Dante Had Two Prussians in Her Brush

People online that I've seen have been wondering about the lyric from the new of Montreal song "Slave Translator": "Dante had two Prussians in her brush, quite a rush."

Yesterday, I wanted to take a nap, but, as you do, I also wanted to delay the nap. I also am quite bored of The Hunchback of Notre Dame and wanted to look at the next two books in my list so as to remind myself that this was not the only book. A friend of mine who left the country to go travel for months gave me all her books as she knew I'd give them a good home, so I've been reading my way through them, in more or less random order. So I pulled out The Portrait of the Artist as a Young Man and Maurice, feeling that I was likely to delay my nap for quite a while looking through them.

Instead, on the very first page of The Portrait of the Artist as a Young Man, I found "Dante had two brushes in her press," was deeply amused, and felt pleased enough to just go take my nap. It's a little interesting that Kevin is referencing James Joyce again - he already started talking about Ulysses in "Vegan in Furs."

This is how you go about constructing a system. Truth is obviously irrelevant!

Qualia

When I purchased False Priest (amazing, btw) from Polyvinyl, I received The M's Future Women along with it for free. I've been extremely busy listening to False Priest as much as humanly possible, but today I finally listened to Future Women for the first time. As is more or less always the case when I listen to new music for the first time, I was unable to get much out of the experience. In fact, all of the songs sound sort of the same to me. It's not that I really think they all sound the same, but the differences all kind of blur together. They all sound like generic songs. And even as I can't tell the difference, I know perfectly well that if I listen a lot to this album, the songs will (probably) stop sounding so generic to me, I'll be able to pick up the distinctions, and they'll all sound relatively distinct, whether or not I end up liking the album (although this is not invariably true - one reason why I dislike albums like La Belle's Moon Shadow, The Dismemberment Plan's Emergency & I, and The Webb Brothers' Maroon is because the songs never became un-generic to me; even though I listened to those albums a lot, I can barely remember a single distinct from them).

This is not an original thought; I have had this thought many times before. However, what was original was that today was also my last day of classes for the year, and I was also thinking about my relationship with my students. I'm terrible at remembering people, and out of my five classes there are actually two where I can't honestly say that I know all of the students. But that makes three where I do, and I know those students reasonably well - I have ideas about all of them in my mind. Even in the classes where I don't, I know a lot of the students. And yet I am reasonably sure that when I start new classes in 2011 I will know barely any of the students at all for weeks, and for months quite a few of them will be a blur to me. It's hard to imagine now, when the students I teach all seem so familiar - can they really remain blurs for so long? And yet, judging from past experience, that's precisely what will happen.

So apparently my relationship with music is actually quite similar to my relationship with people - they both seem like indistinguishable blurs to me at first, but give it enough time and most of them resolve into quite distinguishable figures. That's kind of interesting. I've been reminded lately of just how unusually non-physical I am by a friend calling me weird because of it - and it really is true - I've often said I wouldn't really miss all that much if I became a brain in a vat. I love music, of course, and I like having ears. But it's interesting to me that all of these sensory impressions, whether auditory or visual, take quite a lot of time to take on me. I think I'm just less good at the physical than the mental, in general, even with those physical sensations that really are important to me.

If the End of the World Has Ever Happened, This Must Be It

Okay, so as far as things to be emotionally involved with go, Mely's opinion of Spike is a rather pathetic one. Nonetheless, I can't help but be pleasantly surprised at the fact that she's suddenly criticizing how Joss wrote Buffy because she's too forgiving of Angel and fails to sufficiently appreciate Spike!

Don't Want To Really Get To Know It Better

One of the few bands that I actually pay attention to and try to buy CDs by, when they come out, is an extremely obscure British indie group that I discovered through some form of Internet radio - I can no longer recall if it was Pandora or Live 365. As it happens, about a year and a half ago this group (which is not the point of the entry) actually played a show in the city where I was living, at an indie festival. Naturally, I had to go. I am kind of obsessive about standing near the front at concerts (it wound up being well-worth the obsession at this particular concert), so I was there for all of the bands even though the band I'd come to see was the last to play.

Rather early on in the festival proceedings was a performance by Janelle Monáe. This made an impression on me, for several reasons. First of all, I was surprised to see a black woman performing at an indie festival - one thinks of indie as fairly white and male. Secondly, lots of people came specifically to see her performance, talked about past shows of hers they'd seen, and generally hyped her. Finally, she was undeniably an interesting performer - she comes off a bit cold for my tastes, but she definitely has style.

I wasn't really expecting Janelle Monáe to turn up in my life again, but she's popped up more and more often since that first performance. For one thing, although I'd first seen Janelle perform in a context completely unrelated to of Montreal, I wound up seeing her perform two more times (three in total), because she and Kevin Barnes have become quite good friends, and she often served as an opening act for of Montreal. Kevin talks about her all the time and even recorded a song for her new album - "Make the Bus." Meanwhile, Coffeeandink, whose blog, as I've mentioned in the past, I quite enjoy, has started posting about her quite a bit. I suppose this isn't really surprising, as Janelle is a black woman who writes science fiction, and that's generally what Coffeeandink likes anyway, but it's still interesting in that it's a context completely unrelated to either Kevin Barnes or the indie band I originally mentioned.

So, the thing is, I don't particularly like Janelle Monáe's music. I realize that I've mostly only heard it live, and I rarely like music I hear live, but I still feel like having seen her stage show three times does qualify me to have a sense for whether or not I'm eager to hear more, and I wouldn't say I am, particularly. I barely remember her songs despite having seen the show so many times; they didn't make much of an impression on me. And yet, despite this, I feel as though I kind of have to buy her album. I wasn't going to - after all, all these coincidences aside, it didn't interest me - but I've been listening to "Make the Bus" so much - and I like it! It mentions Do Androids Dream of Electric Sheep? - that I feel I really ought to own it legally, and somehow that's pushed me over the edge. It's a kind of weird situation - everything I've read online makes it quite clear that "Make the Bus" is an of Montreal song with only minor participation by Janelle Monáe, and that it's really out of place on the album, and everyone who loves the album doesn't particularly feel that it fits in. So I really should just purchase the single track "Make the Bus" and let it go. But the fact that I like this song so much - much better than "Coquet Coquette", the first song released from of Montreal's upcoming False Priset - makes me feel like, given the preponderant weight of coincidence on the side of the album, I might as well go the whole hog. I feel as though I am fated to buy this album, taste aside.

Train of Thought of the Day

". . .okay, so 'Vegan in Furs' and love. . . . You know how you were born from a mother? Well, it's just like that with 'Vegan in Furs' and love. 'Vegan in Furs' was born from love. 'Vegan in Furs' has love genes. And it's also sort of like Jesus. . . ."

Enabled by the Internet

Not only can you read your favorite band's daily recommendations about what albums to check out, but they are all probably available for free somewhere on the Internet.

So far, I was pleasantly surprised by Funkentelechy vs. The Placebo Syndrome - there is a very long song about meeses, and apparently I just go for songs with weird pluralizations of "mouse" - but disappointed by 24-24 Music, which was boring.

We Use Love to Build Kevin Barneses

Pandora just played me "I Want to Have Fun," by of Montreal. Which has the exact same melody as "The Actor's Opprobrium".

Now that, my friends, is a juxtaposition. I want to go around singing, "When one is licking the knife, it's such a beautiful sight," except it's not actually that much more funny than the actual lyrics of "The Actor's Opprobrium" without all of the context.

Not a Curse

There is no slight exhaled breath out in the vault of space.
White needlepoint stars never prick through a midnight blue sky.
Naked long-tressed goddesses can never be seen on the beach.
We do not lie surrounded by green grass to fall asleep.
No faint noise birthed from children's games can ever hold us up.
No quiet wind will ever pull us softly into darkness.
There is no city through which we can make dreams manifest.
There is no cave through which birds fly forever to the river.
There is no river through which water meanders to the sea.
There is no mountain through which earth stretches out towards the sun.
No matches ever light our hearts with thunder-fetching fire.
We do not swing, forever and ever,
Higher and higher.
We climb no ladders.
The milkmaid does not call.
No one picks up the phone.
Human voices do not wake us.
We do not drown.
Problems are salt.
Nothing is an ocean.

I Will Post Something in March So There Hah.

Tonight I feel like I should just destroy myself
Tonight I feel like I should just explode myself
Myself

Tonight I feel like I should just destroy myself
Tonight I feel like I should just explode myself
Myself

There's someone calling my name
But there's nothing to respond
I lost so much in our collapse
Man, what little hope is gone

The voice said, "Don't worry, friend
The darkness is just a suggestion
No, don't worry, kid
The darkness is just suggestion
No, don't worry, Kevin"

Tonight I feel like I should just destroy myself
Tonight I feel like I should just explode myself
Myself

There's someone calling my name
But there's no one to respond
I lost so much in our collapse
Oh, what little hope is gone

The voice said, "Don't worry, friend
This darkness is just a suggestion
No, don't worry, kid
This darkness is just suggestion
No, don't worry, kid"

Tonight I feel like I should just destroy myself
Tonight I feel like I should just explode myself
Myself

I'm allergic to the world when we are separated
There's nothing in my heart that's worth a beating
Feeling like a Styrofoam prop ennui is eating
Oh, sure, we talk and talk and talk
But nothing worth repeating

I feel defeated
I feel defeated
I feel defeated

Now I'm OD'ing on your cocksucker blues
You make me uptight when you just don't work right
You painted my prison, now something's wrong
And I never, ever, ever wanted to write this song

I'm killing myself but it's not suicide
I'm killing myself
I'm killing myself but it's not suicide
I'm killing myself but my friends will never know
Because I've never been
Because I've never been honest with anyone

Always pulling faces from the unprepossessing places
Of the universal mind
I'm crippled by the world when we are divided
There's nothing in my heart that's worth the creaking
Feeling like a Pamplona bull that's finished kicking

Although we try to break the loop, it's always stuck repeating

I feel defeated
I feel defeated
I feel defeated

Now I'm OD'ing on your cocksucker blues
You make me uptight when you just don't work right
You painted my prison, now something's wrong

And I never, ever, ever wanted to write this song
I always thought things would change somehow
And we would start getting along but it's hopeless
Hopeless

And I never, ever, ever wanted to write this song
I always thought things would change somehow
And we would start getting along but it's hopeless
Hopeless

And I never, ever, ever wanted to write this song
I always thought things would change somehow
And we would start getting along but it's hopeless
Hopeless

And I never, ever, ever wanted to write this song
I always thought things would change somehow
And we would start getting along but it's hopeless
Hopeless

And I never, ever, ever wanted to write this song
I always thought things would change somehow
And we would start getting along but it's hopeless
Hopeless

Kevin Barnes (of Montreal), "No Conclusion"

Revisionist Christian Mythology Lyrics

To be honest, I don't think that Franz Ferdinand's You Could Have It So Much Better is all that good an album - I don't intentionally listen to it very much and never have. At this point, my favorite songs from the album, and the two that I think about with the greatest frequency, are "Walk Away" and "Outsiders." I don't think of the other songs, including "The Fallen," all that often.

But when I first heard the album, the song that caught me right away and impressed me was "The Fallen." And in listening to this concert today, I was reminded of just how much I liked that song the first few times I heard it. I don't know if this particular live version is a little different from the album version, though I suspect it is, but it really sounds forceful and powerful. And the song has those revisionist Christian mythology lyrics for which I've already mentioned my fondness. I would say these lyrics are somewhere in between those of "The Fall" and "The Repudiated Immortals" - they're not particularly sketchy, but there's still something missing from the story (evidently Alex Kapranos revealed some extra-textual background when he explained that the song was imagining a specific friend of his as the reincarnation Jesus).