Saturday, October 5, 2013

Vonnegut In Retrospect: Deadeye Dick

Deadeye Dick (1982)

After suffering a little Vonnegut overload, I took a 15 month break in my re-read of his 14 novels. Sufficiently refreshed, I enjoyed getting back to it with novel #10, Deadeye Dick. We return to Midland City, Ohio (also the setting of Breakfast of Champions), where protagonist Rudy Waltz lives a sad and pitiful life after a childhood accident leaves him emotionally scarred. It's a bit of a downer, but it is a tight story, unlike his previous three novels that sprawl messily.

7.6/10

Tuesday, February 5, 2013

Music For Morons 31: Things Fall Apart Solstice




00:00 Holly Herndon - Breathe 
05:14 Valgeir SigurĂ°sson - Big Reveal 
08:52 Tim Hecker & Daniel Lopatin - Whole Earth Tascam 
13:25 Yellow Swans With John Wiese - Evicted CDR 

Saturday, September 22, 2012

Music For Morons 30: Equinox Creep




00:00 Ciccone Youth - Macbeth 
04:50 Oneohtrix Point Never - Replica (with Limpe Fuchs) [Matmos Edit] 
07:50 Nosaj Thing ft. Kazu Makino - Eclipse/Blue 
11:17 Senking - Painbug In My Eye 
14:23 R.H.Y. Yau - Lick Him When You Are Dead 
18:30 Loops Haunt - Eagles Fated Pilars 
21:21 completion

Wednesday, June 20, 2012

Music For Morons 29: Long Solstice



00:00 The The - Electric Moonlight 
02:20 Walter Schnaffs - I Am Germany 
05:13 Sonic Youth - (She's In A) Bad Mood 
10:28 Black Dice - Pigs 
13:50 Amon Tobin - Lost & Found 
16:30 DJ Jazzy Jeff & The Fresh Prince - Summertime (Reprise) 
18:28 completion

Saturday, June 9, 2012

Morrissey Albums Rated & In Praise Of Southpaw Grammar



I surprised myself with how highly I rated Southpaw Grammar. I've always liked the album, but listening to it with a critical ear with the idea of attaching a number to it gave me a new appreciation for it. It excels as a complete piece, the only Morrissey album for which I'm tempted to break out the cliche "greater than the sum of its parts." All Moz albums have great moments, but a lot of them are terribly uneven. Southpaw Grammar also stands out in striking me as his least personal work. He barely uses the first person lyrically, and the subjects of the songs sound to me like fictional creations, fitting for a literary dude like Moz. I wish he'd do more "story" songs and fewer about his own pathos. Another unique element of Southpaw Grammar is the musicians being allowed to breath and flex their chops. Mozzaball has usually had enjoyable backing bands and composers, but the music is also generally secondary to Morrissey's personality, lyrics and vocals. Not so on Southpaw Grammar, on which music and voice work together as equal partners (sort of like they did in The Smiths). Taken in the context of his solo career, it's a very weird album. It's also a surprisingly great one.



(While listening to all this Morrissey, I put my favorite songs in this Spotify playlist.)