Friday, August 28, 2009

Found In Sound: 08.28.09


The first time I read a Martin Amis book, I was in graduate school, and I hated it. The Information, to me, seemed too, well...British. I envisioned the writer of this book to be a snobby, overly-refined, overly-intelligent prick I would want to punch in the face after five minutes in his company. I finished the book, couldn't revise my opinion of the man, and forgot about him.

Since that time (more than a decade has passed), I have enjoyed the work of several different British authors whose tone and manner are somewhat similar to Amis (Ian McEwan and JG Ballard come to mind), so last summer I decided to give Amis another chance. After devouring London Fields over the course of a couple days, I was certainly glad I'd made amends. Age, patience...who knows what made me more tolerant of Amis's style, but I found London Fields to be funny, challenging, and basically brilliant.

Since that time I've gone on to read quite a few of his books, including, in my mind, the penultimate Amis novel Money, as well as Dead Babies, House of Meetings, The Second Plane (essays about 9/11 and the Islamic Fundamentalists), and the brilliant novel Time's Arrow. After reading that book (and being sincerely blown away), I decided to pick up his memoir, Experience.

Most people who are into these kinds of things already know that Martin Amis's father was Kingsley Amis (SIR Kingsley Amis, thank you very much), the great comic novelist and author of Lucky Jim. Much of Amis's memoir deals with his relationship with his father, how he grew up under the literary tutelage of a great and acclaimed novelist and poet, how it affected his tastes and morals, as well as his development as an artist. Martin's relationship with his father sounds to me to be typically, um...English (there we are again); fairly loving but repressed, sometimes contentious, often revolving around alcohol, subject to the successes of both father and son.

Speaking of alcohol, there's a lot of it in this story. Add to that a healthy dose of adultery, divorce, children born in and out of wedlock, literary references, lovers and friends both lost and found, descriptions of authors and their idiosyncratic behavior, Israel, nuclear weapons, critics, and oral surgery - and you pretty much have it. Most interestingly here, however, is a narrative that runs through the book about Lucy Partington, Amis's cousin who was the victim of notorious British serial killer Fred West. There is quite a bit of detail about Lucy and her family here - for almost 20 years Lucy was considered missing and no one could really say what happened to her. It was only after the discovery of West as a serial killer did all the information come out about his victims. Amis writes compellingly and emotionally about his feelings surrounding this event, as well as the following memorial service, the fallout of the revelations, the press coverage et al.

I am sure I am not doing the complexity of this memoir justice here. Suffice it to say that a very talented writer wrote a book about a very talented family - if you like that sort of thing, this book might be for you.

[Beware, casual reader, however - the text is riddled with footnotes and asides, as well as references to a fair amount of obscure English literature that certainly was beyond me. While there are profiles and more modest mentions of some pretty heavy hitters in Experience (Christopher Hitchens, Julian Barnes, Salman Rushdie, Cecil Day Lewis, Saul Bellow, Robert Graves, etc...), there are quite a few more writers, poets, actors, et al to whom the passing Amis fan will have no real connection.]

jD

Wednesday, August 26, 2009

Found In Sound: 08.26.09


Currently getting major play in my audio world is a collection of EPs from Aus Music entitled 'All Night Long.' Aus is a subsidiary of Simple Records, and both are run by London-based producer and DJ Will Saul. In 2008, Simple put out one of my favorite releases of the year, Motorcitysoul's 'Technique,' and Aus put out the excellent 'Electronic Frank' by Lee Jones (another one of last year's best full-length releases).

There are 3 'All Night Long' EPs, including tracks from Saul with collaborators Tam Cooper and Lee Jones. Jones has a couple tracks here on his own (including the excellent 'Lab'), as does Sian, who is the subject of Aus's latest release (the 'Tonight' EP). EP 2 is interesting in that it features work from producers primarily associated with dubstep - both Applebim and Martyn have work included here.

On the 'All Night Long' EPs, the tracks throughout can be characterized, I think, in the tech house micro genre (although I'm sure many a techno-phile would argue that with me in any number of directions, genre distinctions in techno music being as ghettoized as they are). Regardless of genre labels, what you get here is driving, idiosyncratic, melodic, dynamic music that works nicely in a DJ application (I've currently got 'Squeeze' by Will Saul and Lee Jones in my upcoming Oktave set), but can also be cross-purposed for general iPod or home listening.

For me, it's not necessarily the bangers and the peak time techno tracks that make for the most enjoyable and utilitarian experiences - I prefer music like what's on the 'All Night Long' EPs - you can dance to it, sure, but it also challenges the aural receptors and pleases the longing for melody, harmony, and dynamic impact.

Highly recommended stuff...

jD

Saturday, August 22, 2009

Found In Sound: 08.22.09


Inglourious Basterds was one of the more pleasant movie-going surprises I've had in quite a while. I was not expecting much from this other than a lot of darkly gratifying Nazi murder fantasy sequences. Boy was I wrong.

What I got instead was a very smart, very subversive pseudo-European film (about 2/3 of the movie is told in subtitles - which is much preferable to English spoken with bad German and/or French accents). Tarantino's script audaciously re-imagines the conclusion of World War 2, with movies and movie theaters playing a large and not totally metaphoric role in these proceedings.

The performances here are excellent. Brad Pitt is always solid when he has a character with a flake (warning: his role is quite a bit smaller than you would glean from the onslaught of promotion surrounding the movie), but the real stars are Christopher Waltz as the duplicitous Nazi investigator Colonel Hans Landa, and Mélanie Laurent as the vengeful Jewish survivor Shosanna Dreyfus. Both performances are nuanced and intense. Waltz in particular is fantastic, combining comedy and terror in an exhilarating and not altogether unsympathetic way. I'm sure it helps that his director here is Tarantino, who has always had a knack for marrying the two extremes, as well as building and drawing out tension.

Speaking of tension, there is a fantastic, protracted conflict in a French basement bar that ranks up there with any of the director's former set pieces (think of the overdose scene in Pulp Fiction, the ear severing in Reservoir Dogs, the penultimate theft in Jackie Brown), as well as a terrific climax inside an ornate French movie theater, where nothing turns out the way you think it will.

Nothing turns out the way you think it will - you can say that again. Tarantino takes extreme liberties with history, but this suits the nature of the film, which is that of a highly stylized, highly challenging comic book about the fall of the Third Reich. Certainly not your typical summer movie, I can imagine the same audiences who went to see the 2nd Transformers film being highly vexed by the amount of dialogue in the film, and the amount of time they will have to wait between murders (there's a couple gratifyingly brutal ones in there, but overall I would say the movie is far less violent than you would imagine).

While I was disappointed with the last few Tarantino offerings, Inglourious Basterds delivers the goods. Weighing in at 2 hours 30 minutes, for me the movie flew by and I was sad to see it end.

jD

Tuesday, August 18, 2009

Found In Sound: 08.18.09



Currently I'm finishing 'Down and Out on Murder Mile,' by Tony O'Neill. I bought this book without knowing much about it, other than I loved the elongated design, something rarely used in fiction. It's shaped like a Zagat's essentially, and while the photo above is in red, the version I have is a piercing yellow that zapped me right into reading the dust jacket copy. A story about addiction, Tony O'Neill was formerly a member of the Brian Jonestown Massacre and Marc Almond's band - Marc Almond being the man who sang 'Tainted Love' with Soft Cell, one of my all time '80s pop hit favorites. Between my admiration of the book's design, and my interest in musicians and their silly lives, I was sold.

Stories about addiction are hard to tell in an original fashion, as they have been explored and excavated pretty thoroughly at this point. I wouldn't say O'Neill puts any new gloss on the narrative - male junkie marries desperate female junkie, junkie couple scores a lot of heroin, crack, coke, and methadone (at their severe peril), spiral into darkness, and are then forced to fight for their lives. If you've ever ready any Hubert Selby Jr. or William Burroughs, you get the general gist. That's not to say that O'Neill's book isn't entertaining - it's well written with a lot of energy and style, and it certainly flies by. Generous spacing and narrow pages make this the type of book you can read in a couple days.

In the end, however, it is what it is - a junkie story, and mined, I would think, quite significantly from O'Neill's personal experience. Our anti-hero is an intelligent, fiercely loyal sometimes musician who, at 24, is starting to get very concerned about the waste he's made of his life. I imagine O'Neill didn't have to dig very deep to access that mindset.

If the lesson here is 'don't do heroin, don't do crack, don't end up a slave to the methadone clinic and the attendant asshole doctor who runs it,' I'm not sure I needed to read 'Down and Out on Murder Mile' in order to learn that. At the same time, I found it diverting, energetic, and ultimately enjoyable, despite my laborious bitching above.

Take that for what you will...

jD

Monday, August 17, 2009

Found In Sound: 08.17.09



My current obsession on the techno front is the Ada mixtape record on Kompakt. Ada's first work came out on Areal records, but it looks as if she's moving up in the world, as releasing techno records on Kompakt is akin to releasing rock records on Interscope.

Based on the quality of the Mixtape album (named 'Adaptations'), she's earned the prestige bump. These 12 tracks all seamlessly flow from song to song, much like a DJ set, but the common theme here is that Ada the artist or Ada the producer is involved in some way throughout. There are Ada original tracks (like 'Lovestoned,' which also appears on the new Kompakt Total 10 collection) remixes of her own work (DJ Koze, Dee Pulse, and Michael Mayer all appear), or even Ada-produced remixes for other artists (Booka Shade, Alex Smoke and Anda Teichmann). All this put together makes for a very entertaining and compelling sixty-odd minutes of listening.

Ada sings on some of her tracks (her voice is somewhere in the Karin Dreijer-Andersson meets Annie school of Pop), while on others we get layered, playful instrumentals that resonate well beyond the dance floor. This record has accompanied me on long running jaunts, but also works well for home listening and party starting. This is definitely one of my favorite albums of the year and I give it a strong recommendation.

That's it for today - be careful out there.

jD