What He's Poised to Do: Stories, Ben Greenman (2010)

When was the last time you wrote a letter and sent it through the mail? Or, mailed a postcard while away on vacation? These are such extinct thoughts to many of us. Instead, we just email or text our friends and families. Everyone is a phone call or a click away. It seems so timely I would come across this collection of short stories as I find myself made more and more afraid by the future of technology. In a world where a generation is growing up with Kindles (aka Robot Books) and other forms of not having to really read a book, it was nice to find a book lost in an idea or concept that is still so close to our fingertips. But, very far behind us.

Ben Greenman writes a beautiful short story. Greenman knows the importance of word choice. Greenman knows how to edit his sentences to be just as precise as someone would want them to be. In fact, there is something almost dated to the prose of Greenman. Can a contemporary really write with such distance while still maintaining an element of emotion with the characters? It always feels as thought authors are picking one or the other. I am not suggesting Greenman is an incredible short story write. What Greenman is though, is a talented short story builder. Greenman knows what is expected and how to structure.

Of the fourteen stories from the collection, I only found myself really drawn to the three of them. The opening story, 'What He's Poised to Do' is beautiful in how simple and confusing the emotion of falling in love with the idea of another life and another woman. The idea of escape without revenge being a motive. This is one of the shortest stories of the collection, but certainly the strongest.

The second story I adored, 'The Hunter & the Hunted' follows a similar idea as the first story. This is the story of an affair. There is something so charming about the affairs in these stories. And, that they are lived on the other sides of these postcards and letters. This sense of diary and revelation. This sense of secret and exposure. I can't fully form the words to explain what I want to say.

The closing story, 'Her Hand' starts out as a history of the events of a woman's hand. What a truly fresh and welcomed concept for a story. By the stories end, we realize this woman is wife to the man from the first story. We see her sadness from both sides- the cheating husband's view and her own aftermath of the affair. How smart of Greenman to make us wait until the final story. How wise to connect these two stories and give the readers a small sense of closure in a collection with very little closure.

Overall, there may be too much distance in these stories. The one sided aspect of the postcards and the personal journeys we are reading about sort of made me feel too cut off from ever really feeling completely lost into the character. Certainly a very strong collection, but not always the type of fiction I am looking to read.

B-

Dynamite Steps, The Twilight Singers (2011)

I first heard The Twilight Singers around 2005 or 2006. A friend and I had spent the evening at the record store and she had heard good things about the band. She purchased She Loves You. An album of covers, songs ranging from Bjork, Fleetwood Mac, and John Coltrane. The album was meant as background for an evening of conversation. But, somehow, the album became a mood for the conversation. Something about lead singer Greg Dulli's voice will always haunt.

Dulli's voice is a mix of Randy Newman's balloon throated sounds and Tom Waits' whiskey ripped voice. A more radio friendly vocalist, but not quite radio friendly enough. Dulli is the man you find at the same bar stool. Nightly. The same dive bar. Nightly. His songs are the lost souls of the late night. Men and women unable to really hold onto themselves or one another. Every Dulli album is pretty similar to the next. Lyrically, vocally, musically... Dulli doesn't really change. But, I like him for all of these reasons.

On Dynamite Steps, Dulli stays on track throughout the entire album. On previous albums, Dulli would occasionally try for a louder sound. A song featuring few guitars and more of a pop-mix sound. The opening track, 'Last Night in Town,' is the only track on the album that attempts this change from the guitar heavy songs. Since it is the opening track, it doesn't stand out as awkward. In fact, it's a great way to begin the album. A little something different.

The fourth track, 'Get Lucky,' has probably been played about thirty times since I heard the album at the start of the week. The song is a perfect Dulli song. The vocals, the music, the lyrics... this is the heart of The Twilight Singers. Following this song, two of the other best songs from the album: 'On the Corner' and 'Gunshots.'

The album doesn't shake or falter following these three great songs. It might mellow out a bit, but it doesn't break its pace. On 'Blackbird and the Fox,' Dulli sings alongside Ani Difranco. While Difranco hasn't been a strong presence in music in the past decade, her voice floats so perfectly alongside Dulli.

Dulli isn't always the great lyricist ("shut your legs and open your alibi"), but only moments later... in the same song, Dulli will surprise you with great lyrics. He's a dark, bar stool poet. He doesn't always sing in tune. At times, it may seem more drunken sing along than well produced album. That is what Dulli does. He creates an atmosphere. Few albums can really change a mood.

Dynamite Steps leaves me introspective and hopeful, but a little bit bitter. The best way to be.

A-

The Mechanics of Homosexual Intercours, Lonely Christopher (2011)

It is sad that so few people will enjoy the stories in Lonely Christopher's debut collection of short stories. For one, the author's name is a bit distracting. Secondly, with a title like The Mechanics of Homosexual Intercourse, how many people will be willing to pick up the book? While the book does deal with homosexual themes from time to time, I wouldn't go so far as to call it queer lit solely. Sadly, Mr. Christopher has placed himself into a small fan base. I have to find peace with this decision.

The Mechanics of Homosexual Intercourse is one of two titles released through Dennis Cooper's "Little House on the Bowery" series. I am not always a fan of the selections Dennis Cooper makes. But, I am always interested. I was happy to find Lonely Christopher may be Cooper's greatest release since the series started. Christopher chooses his words like a poet would choose his words. This isn't surprising, as Christopher has previously released a handful of poetry chapbooks. A poet always makes a great short story writer because they know how to be exact. The specific is the realm they write in.

Lonely Christopher is a humorous writer with a dark streak. Most of the characters throughout the stories have strange names (Dumb, Right, Orange, Thorny, etc). Most of these, I was able to understand their naming. In the dark and honest story 'Nobody Understands Thorny When,' the main character's name is Thorny. How funny that this character would grow to be a thorn in the side of both his parents and his child molester? Also, the abductor/molester's name is Normal Chapter. Sadly, the time Thorny spends with this man is the most normal chapter in Thorny's life. And, what about the other boy... the final captor being named Timmy Victim (how often does a little Timmy fall down the well?). This is all very funny. In a very dark, and uncomfortable way.

A couple of the stories take place or make mention of a location called White Dog. In the short story 'Nobody Understands Thorny When' and 'Game Belly,' the reader is made aware of a location called White Dog. So, I was excited to see the final story called 'White Dog.' In hopes of making sense of the town's name and purpose within these stories. But, the final story is about a shopping trip. The strange habit and behavior of the grocery store shopper. It is funny. But, mostly, it is a great experiment in creative writing- make the mundane interesting. So, how does the town of White Dog play into this story? It doesn't. The woman only imagines a white dog inside the store. And, for her, it is the most beautiful and incredible experience of her life. Is this Lonely Christopher's way of making us understand the town of White Dog is really just this piece of fiction created for us to look at things differently?

My two favorite stories in the collection, the title story and 'Milk,' are the most interesting in the collection. They rise above the others. They make use of all the elements Christopher uses throughout the collection, but they felt more complete and complex. In 'Milk,' a horse is found in the family kitchen. And the way Christopher writes these chain of events is truly delightful. Almost like something I have never experienced before. It is strange to explain how the story of a horse in a kitchen could turn into so much, but Christopher does it. 'The Mechanics of Homosexual Intercourse' is a lovely tale of young love and the way we dissect the hell out of our relationships. A very playful, and touching examination of love.

The only stories I did not enjoy in the collection were 'The Pokemon Movie' (which I didn't complete) and 'Game Belly' (which I didn't understand). This is a collection I plan to revisit. A collection I plan to tell others about. This is the work of fiction to beat this year.

A

Let England Shake, PJ Harvey (2011)

I have long admired the work of PJ Harvey. Few female artists have constantly moved forward in their vocals, lyrics, and musical sound. Harvey started out with an alternative sound. A screaming, lo-fi feminist. Over time, she found a voice that didn't need to be hidden under static and crashing guitar. Harvey found a middle ground. For a few years, she experimented with this sound. Then, it was time for another change. Harvey went for a piano driven record. From there, where was Harvey to go? It seems she has answered these questions this year. With the release of Let England Shake, Harvey is showing she is restless, angry, and still knows where her voice is located.

Let England Shake is meant to be viewed as a song cycle. I discovered this from reading a few interviews and reviews. I listened to Let England Shake for about two weeks before posting this review. After two weeks, I'm still not entirely sure where I stand on this album. In fact, I don't imagine this review will end with a grade. How does one rate something they still aren't totally comfortable with? And, does Harvey want me to be comfortable? My guess... she has never been comfortable and sees no reason why any of her listeners should be.

Harvey's 2000 release, Stories From the City Stories From the Sea, will always remain my favorite of her albums. This is an album about location, New York City. Every track is an anthem to a night, an afternoon, a dream, a certain spot Harvey experienced in New York City. The album makes you forget Harvey isn't American. In many ways, it may be the best album about the city. Does it take an outsider to really see a place for what it is? Harvey doesn't think so. She is no longer singing as an outsider. On Let England Shake, Harvey has written her most (and only?) British album. An album about war. Mostly focused on the Great War. A song cycle about World War I? I know, doesn't sound right for Harvey. This is where all the trouble starts.

Harvey has never been one to shy away from dark, heavy lyrics. On Let England Shake, Harvey continues to throw violence at our ears. Images of soldiers dying, protests, and battles litter this album. Harvey isn't just singing about World War I, she's responding to today's war. She's responding to the way war doesn't change and doesn't change anything. But, at the same time, it isn't this simple. Harvey understands it is much more complicated. Almost an impossible concept to understand.

The album sounds like a collage. Many of the lyrics are overtop music that feels cut and paste. Music that doesn't always feel in the right place. At one point in the album, a war trumpet is heard a few times. It is out of place. Totally distracting. There is something so Dadaist about this album. I thought this after my first few listens. Then reading the Pitchfork review this evening, I was intrigued to see the reviewer mention surrealism and Dadaism as movements in response to World War I. I'm not sure they were pushing this theory far enough to suggest the album borrows from these movements. But, I believe Harvey was very much aware of what she was doing.

Let England Shake isn't one of those albums you sing along to. It isn't one of those albums you tell your friends about. It is one of those albums you respect. The type of album that sticks in your head longer than most albums. Harvey can be funny, serious, and dark. Harvey is an artist on a mission. She wants us to wake up. She wants to shake us. Music isn't always meant to be light. Music has a place alongside the masterpieces hanging in museums. Let England Shake is very much a composition depicting the scene of a battle.

Harvey is working with a war photographer to create a video for each song from the album. As of now, three of these videos have been released. They're sparse. Again, Harvey is letting the music do all the talking. But, this album wants to be noticed. Harvey wants to be heard.

Zonoscope, Cut Copy (2011)

Whenever I encounter a new Cut Copy album, it takes me a while to grow comfortable with the sound. On their first album, Bright Like Neon Love, I was hesitant about the sound because it sounded so middle of the road '80s. I love '80s music, and I love music that aims to sound like '80s music. But, something about Bright Like Neon Love sounded so familiar, it wasn't until I had the album for a few months that I really discovered my love for Cut Copy. On their second album, In Ghost Colours, I was taken back by the dance tracks. Most of the tracks on the album have such a great dance sound and was a little bit removed from the sounds I came to expect. It's great for a band to show growth. Cut Copy certainly shows growth.

Of course, I have grown to completely love In Ghost Colours. I find most tracks on the album to be perfect for summer. When I saw their brief,but fulfilling set at Lollapalooza... I knew they were a band to respect. They knew how to get the crowd jumping. They knew how to reel you in.

Now, their third release. I have given myself a couple of week with the tracks before deciding to form an opinion. Maybe this is still too soon. For now, I'm not as in love with this album as the previous album. On Zonoscope, Cut Copy seems to be creating perfect little pop gems. Not the kind of pop gems your cousins, aunts, and neighbors are going to be familiar with a la Britney Spears. But, the type of pop gem that would not feel out of place on a popular radio station. Or, in the background of a restaurant or club.

If I could sum up Zonoscope in one way, it would have to be Passion Pit's "The Reeling." I am not a fan of Passion Pit. There are a handful of songs I enjoy. For the most part, they're just kind of there. But, their track "The Reeling" is a really great track. And, I feel most of the songs on Zonoscope capture that free spirited, playful, party atmosphere of "The Reeling."

"Need You Now" is the albums opening track and feels like a remainder from In Ghost Colours. The track makes you want to dance and feels full of a lot more energy than the following tracks.

"Take Me Over" starts out sounding like a Men at Work song. The music borrowing heavily from "Land Down Under." At first, this distracts a bit from the song. But, by the tracks end... this need for the humorous reference is forgotten.

"Where I'm Going" feels out of place on the album. The music at the tracks opening reminds me of a Velvet Underground song. I half expect Lou Reed's nasal voice or Nico's too cool for you vocals to come swaying through.

"Pharaohs & Pyramids" is most likely to be the albums successful track. It isn't my favorite track on the album, but it feels as though it has that certain touch that would make for a great radio hit.

All in all, an enjoyable album. Not their best. And, to be honest, I don't think I was finished with In Ghost Colours. I am probably not quite ready for the new album. Maybe by the summer I'll be ready to blare these tracks from open car windows.

B

S/T, James Blake (2011)

What exactly is dubstep? How is it defined? Personally, I'm not fully sure. I read the definitions, I've listened to dubstep artists... but, in the end, it sounds a lot like a garage band doing remixes. There is something lo-fi to the mixing of the track. Maybe this is dubstep. Or, maybe I'm way off. But, a lot of reviewers are referring to James Blake as an singer/songwriter using dubstep. And, I feel lo-fi remixing is a lot of what James Blake has to offer.

If I had to compare James Blake's voice to someone, I'd have to say Antony Hagerty (of Antony and the Johnsons) meets Justin Vernon (of Bon Iver). There is something feminine, soft, and emotional to their sound. If I had to compare the music of James Blake to another artist, I would have to jump straight to How to Dress Well. Both bands deal with emotional lyrics in an R&B style with a bit of a remix. In the case of Blake, the remix is a lot more prominent. In fact, the remix is a lot of the point.

One could easily say James Blake is doing nothing new. He is singing sad songs in a very singer/songwriter style. All he is doing is adding something more to the music and lyrics. This could be the music of the sad white boy sitting in his basement trying to create something a little bit different. Something to get a little more attention. I think I'd take Blake either way. With the dubstep elements or without. There is something genuine in his act.

On Blake's debut album, Blake covers Feist's "Limit to Your Love." The track appears about halfway through the album. It was a nice surprise to hear something so familiar. For the most part, the track starts out sounding like a straight forward remix. But, as Blake shows throughout this record, he likes to add textures and layers to his tracks.

The albums second track, "Wilhelms Screams," is the most beautiful track on the album. Quite possibly the most haunting song I've heard in quite a while. Blake's voice is downright pained and heartbreaking. I can't make it through the song without finding myself ready to cry.

"I Never Learnt to Share" sounds like an attempt at a Marvin Gaye-esque "What's Going On?" The R&B influence of the album is most noticeable during this track (and the final track, "Measurements"). The song only has one line: 'my brother and sister don't speak to me, but I don't blame them.' Has anyone every said so much by saying so little? The repetition doesn't grow boring. As I said before, Blake likes to mature his songs, add more sound as the song moves along. The music Blake continues to add to the track keeps one distracted enough from the repetition.

I can't say I adore this album the same way so many other people claim to love this album. There is something about the music that keeps me at a distance from the lyrics and the voice. The album has a lot of really strong moments, but contains its fill of weaker moments. Not an unpleasant experience, but not always even.

B

Blue Songs, Hercules & Love Affair (2011)

I knew going into Hercules & Love Affair's second album that it was never going to compare to their self titled first album. The recycled, but fresh disco sounds of the first album were something to cherish. The album knew how to take itself seriously, but have a hell of a lot of doing so. And, no Hercules & Love Affair song will ever come close to their hit "Blind." "Blind" is sung by Antony of Antony & the Johnsons and sounds like a remix from one of their albums. It's just so perfect. So, where do you go from there?

Have you ever listened to an entire album the first time and thought "not bad?" Then, on your second listen been so shocked at how much you hate the album? This was my situation with Blue Songs. To make matters worse, it was the only CD in my car for three days (as I continued to forget to bring my iPod or another CD with me). By the end of those three days, I found myself removing the disc and throwing it to the other end of my car. It now rests somewhere in the trunk space.

The album starts out pretty perfect. The first twenty seconds of "Painted Houses" sounds like an opener to a song off Depeche Mode's Violator. And, the song sounds less like Depeche Mode as it continues, but it still remains an enjoyable song. Actually, maybe the only really enjoyable song on the album. Although, the second track, "My House," is a pretty nice follow up to the opening track.

Honestly, that is where this ends. The fun lasts for two tracks and then Hercules & Love Affair decides to try something... new? "Blue Boy," the albums fifth track, is filled with enough softcore sounds to make you want to scream. Are they trying to sound adult contemporary christian rock on this track? That is all I can hear. Just because a song is sung in a high voice, softly does not mean it is beautiful or deep (ie any Celine Dion song proves softly sung still leads to meaningless music). The following song, "Blue Song," is pretty mediocre. Not as bad as "Blue Boy," but this means very little.

The albums only other saving grace is the slightly above average "Step Up." The song features Kele Okereke of Bloc Party. The lyrics are repetitive. And, nothing special. But, Kele's voice is always welcomed.

The album ends with "It's Alright." I swear to shit this song is trying to be the next "We Are the World." The lyrics are so forced. The voice is so obnoxious. The music is simple minded. What happened to Hercules & Love Affair?

I can't imagine I'll hate any other album this year as much as I hate Blue Songs.

D