Зусім хутка выходзіць мая другая кніга, "Цягнік да Познаня". Гэта пяцьдзесят польскіх партрэтаў, гісторый, эсэ. Месца дзеяння ўвесь час мяняецца, але рэдка выходзіць за межы Польшчы. Прынамсі, геаграфічна.
Гэта вельмі эмігранцкая, вельмі асабістая кніга, дзе з дробных эпізодаў і маленькіх дэталяў я паспрабаваў стварыць свет рэальных людзей. Бо я сапраўды сустракаў кожнага з іх. Польскую піяністку, якая ў старым памяшканні грала музыку Баха. Хлопчыка, які апантана чытаў кнігу на бруднай падлозе варшаўскага аўтобуса. Маладую дзяўчыну, якая стаяла на каленях у касцёле св. Роха ў Беластоку.
"Цягнік да Познаня" перамог у літаратурным конкурсе "Шуфлядка" ў намінацыі "нон-фікшн". Перадзамову кнігі можна зрабіць на сайце выдавецтва Gutenberg: https://gutenbergpublisher.eu/shop/ciahnik/
У продажы яна з'явіцца напрыканцы месяца. 26 ліпеня кніга будзе прадстаўлена на літаратурным фестывалі ў Кракаве.
It would be true to say that if Sandinista! was a single album, it would be the best album of all time. It would also be true to say that if Sandinista! was a double album, it would still be my favourite album ever. What I have finally realised, 20 years into listening to Sandinista! in all its patchy messed-up glory, is that even as a triple album featuring no less than 36 songs - it is still the single greatest musical experience I have ever had.
People often say that about The White Album, but I've beaten that horse to death too many times now. The chorus of "The Continuing Story Of Bungalow Bill" is abysmal. "Why Don't We Do It In The Road?" is a waste of tape. "Don't Pass Me By" is just weak. There is simply too much filler. Besides, The Beatles were not even functioning as a full unit at that point (which, come to think of it, is why "Dig It" and "Maggie Mae" work and "Wild Honey Pie" does not).
When it comes to Sandinista!, even the filler works. Every dub remix sung backwards by a kids' choir (loosely speaking) feels engaging, feels like it belongs. This was The Clash operating at the height of their songwriting / arranging / playing powers, and it certainly helps that this may well be the most stylistically diverse album ever recorded.
Side one.
1. "The Magnificent Seven".
Disco-funk with strong shades of hip-hop to Joe Strummer's vocals. Propelled by Paul Simonon's massive bass line, "The Magnificent Seven" is, of course, an absolute classic. All through its five and a half minutes, the groove is unrelenting.
2. "Hitsville UK".
Mick Jones's classic pop song with gospel overtones. This was released as a single, but stalled at number 56. The whole thing is so engaging and feels so genuine that in an ideal world it would top any decent chart.
3. "Junco Partner".
A reggae cover! This is where we start to lose people as this might not have been something many Clash listeners signed up for when they purchased Sandinista! back in 1980. But never mind that. This is groovy and fun (full of all kinds of quirky sounds) and I have always loved that relentless violin in the background. Joe Strummer is clearly enjoying himself on the vocals.
4. "Ivan Meets G.I. Joe".
This is, essentially, a disco tune filled with some bizarre space invaders sounds in the background - as everything else on here, this is intense and totally addictive. Killer violins, too.
5. "The Leader".
Oddly, this was the first song from Sandinista! that I heard. A short (1:41) rockabilly tune that was probably recorded in one take. Catchy and smart.
6. "Something About England".
This one is among the greatest songs ever written. In the midst of a lovely wall of sound (pianos, strings, trumpets, backing vocals) this is Mick Jones exercising his great pop sensibilities. So good, in fact, that it would appear again on the album - albeit in a totally deranged version. But we will get to it later.
Side two.
1. "Rebel Waltz".
The Clash doing a cold, downbeat, dirge-like waltz that has always been among my absolute favourites on the album. My only complaint is that I wish it could go on for a couple of minutes longer. That subtle guitar line is gorgeous.
2. "Look Hear".
This is a fast-paced jazz number filled with hip pianos, vibraphones, harmonicas and God knows what else. Very cool.
3. "The Crooked Beat".
Another groovy reggae song, this time sung by Paul Simonon in that inimitable menace-inducing voice of his. Dig those crazy sound effects in the background.
4. "Somebody Got Murdered".
God I love the way this one starts - like we are in for an epic pop classic. And we are. Once again, Mick Jones on the vocals, which means that we are in pop rock heaven yet again. Oddly, many people think that the man's highest point was "Lost In The Supermarket" and that he lost it after The Clash. Not true. Even his Big Audio Dynamite days are filled with occasional brilliance ("Medicine Show", "Applecart", "Innocent Child").
5. "One More Time".
This could be my favourite reggae song on the whole album. I love those dark, classy 15 seconds that open the song, but even when the song settles into its main groove - I'm all for it.
6. One More Dub".
Hilariously and (somewhat) ridiculously, they chose to follow "One More Time" with its dub remix. I still have a lot of fun listening to it (the percussion, the groove), though. Think of it as an extended coda.
Side three.
1. "Lightning Strikes (Not Once But Twice)".
The second LP opens in a very similar way to the first one, and I mean that quite literally. "Lightning Strikes" is built on pretty much the same disco/funk rhythm as "The Magnificent Seven". But with the musicianship this astounding - why not?
2. "Up In Heaven (Not Only Here").
And... we are back in Mick Jones' territory. Terrific power chords and the sort of propulsive yet lovely vocal melody the man has always been so good at. Beautiful ringing guitar hook guiding the song forward, until the very end.
3. "Corner Soul".
Imagine reggae mixed with gospel and sounding out-of-this-world gorgeous. Soulful, gentle, deeply affecting with a brilliant vocal hook ("Is the music calling for a river of blood?") from Strummer and the female backing vocalists. Topper Headon's drumming is exceptional, too. This is a big personal favourite.
4. "Let's Go Crazy".
Christ this side three is incredible. "Let's Go Crazy" is, what, calypso music? Well, whatever it is, I find the groove totally infectious.
5. "If Music Could Talk".
Lots of people tend to have a problem with this sax-driven light jazz instrumental (well, technically, it has Joe Strummer saying something or other in the background - but the voice is here merely for the vibes), but I am okay with a little tasteful respite. All the more so because at this point I would trust them with dubstep or nu metal (not).
6. "The Sound Of Sinners".
Well, this one is straight-up gospel: sincere, full-blown, unforgettable. If I was Catholic, I would totally sing this one after my next sermon. Yet another highlight.
Side four.
1. "Police On My Back".
Is this the best song on the album? I can no longer tell, honestly, but play this right now and tell me what you think. This is a punk song by a band who has long outgrown the genre. The siren-like guitars, the power chords, Mick Jones's vocals, the anthemic melody. Surprisingly, this was a cover, but they totally reinvented what was originally a fairly inconspicuous mid-tempo little rock song.
2. "Midnight Log".
Two-minute boogie? Why not. This is playful and catchy, with a memorable harmonica hook.
3. "The Equaliser".
This is the first true reggae song in a while - except that it isn't. It is sparse, psychedelic and rather demented. Downbeat, too. Those bizarre violin insertions are mesmerising - as is the rest of the song.
4. "The Call Up".
Oddly, this was the biggest single from the album - oddly because I've always believed that there were a lot more options here with a much higher commercial potential. Still, it is wonderfully creepy (lyrically in particular) and the groove just never lets up. Maddening and melancholic.
5. "Washington Bullets".
Caribbean music. Just yesterday I was walking through a small Polish town reenacting that rhythm inside my head, time and time again. One of the most infectious songs on the album, and its lyrics actually feature the word "Sandinista" (the name of the Socialist party in Nicaragua that was fighting against the US occupation). A classic, of course.
6. "Broadway".
Well, try to decipher what this is. A dark, nocturnal groove with a rather downbeat and rambling performance from Strummer. Classy piano, laidback vibes. Listen to this while walking home on a Saturday night. Also, the song ends, quite inexplicably, with a little girl (Maria Gallagher, daughter of one of the musicians on the album) singing "Guns Of Brixton". Lovely!
Side five.
1. "Lose This Skin".
The third LP starts with an intense, incessant, ridiculously brilliant violin groove and features vocals from Tymon Dogg (silly me, I always thought this was a woman singing). The passionate chorus always gets under my skin (no pun intended). An absolute delight, and one of the album's greatest highlights.
2. "Charlie Don't Surf".
I have only recently rewatched Apocalypse Now for another time, and it was of course in Coppola's classic film where these words first appeared (spoken by Bill Kilgore in one of the cinema's most iconic scenes). Here, The Clash take these words and record a surf rock classic.
3. "Mensforth Hill".
It is worth noting that this is song number 27 on the album, so if you've made it thus far, you might as well go all the way. "Mensforth Hill" is the return of "Something About England", only recorded backwards and with crazy overdubs. I enjoy it freely, against my better judgement.
4. "Junkie Slip".
Hardly a classic by any stretch of the imagination, this jerky little tune is still enjoyable. Remember, Sandinista! is a journey, and "Junkie Slip" is an essential part of it.
5. "Kingston Advice".
Another overlooked highlight - particularly good are those guitar-led parts with Mick Jones on vocals. Really catchy, and I love that "liiiife" hook.
6. "The Street Parade".
Again, I don't know what this is - but I love the downbeat nature of the verse. Plus, the brassy chorus is a subtle delight. Inessential, but I'm happy it is here.
Side six.
1. "Version City".
The 'difficult' last side opens with this soulful, gospel-tinged groove that is as memorable as anything else on the album. But buckle up! This is the last relatively normal song on Sandinista!
2. "Living In Fame".
The truly rough patch starts here, but, again, just stick with it and get lost in the grooves. "Living In Fame" is a dub version of "If Music Could Talk". Which means: bigger bass, more reggae-fied, even groovier.
3. "Silicone on Sapphire".
Dub version of "Washington Bullets"! Even if The Clash did it to fulfil their contractual obligations, I still love it. Not least because "Washington Bullets" was so good.
4. "Version Pardner".
Dub version of "Junco Partner"! Five-plus minutes might be stretching it a little, but all that percussion and all those bizarre sound effects are so addictive, I find myself enjoying it every time I get this far (which is always).
5. "Career Opportunities".
This is a version of the punk classic sung by two little children: Luke Gallagher and Ben Gallagher. I once read a long article in Uncut about the making of this album, and as far as I remember, the kids got toy guns for doing this. Well worth it, I guess. Love this to bits.
6. "Shepherds Delight".
We end, quite fittingly, with a percussion-driven reggae instrumental.
P.S. Do yourself a favour. Next time you go on a long trip, take this album with you. Live with it a little. Let it breathe. Get lost in it. It will soundtrack your experience, and it will deliver new wonders every time you will listen to it in the future. It is THAT good.
I never thought I would ever say it, but Pulp are back. Fucking hell. And while More could hardly beat that perfect three-album run they had in the 1990s, it still met my highest expectations. The album never feels tired or laboured. It is clever, groovy, totally engaging. And it has, in the relentless "Grown Ups", one of their best songs ever.
All things considered, Patrick Wolf's comeback felt just as unlikely. His previous album, the unashamedly poppy Lupercalia, was released back in 2011 when the world was a much different place. And, after all these years of oblivion, Crying The Neck feels like both a healing process and a rebirth. I'm delighted to report that Patrick has not lost any of his songwriting powers: the songs may at first appear somewhat meandering, but further listens reveal strong hooks. He does romantic balladry ("The Last Of England", "Hymn Of The Haar"), he does romantic pop music ("Limbo", "Dies Irae"), and it all amounts to a career peak.
Also, new albums by two unfading rock stars of the 60s. Neil Young's Talkin' To The Trees is the usual ragged affair that teases but never quite delivers (it's been a while since I last loved a new original Neil Young album). Still, the disarmingly gorgeous "First Fire Of Winter" almost makes it all worth it. Van Morrison, for his part, has recorded his best album in years. In fact, if there is anything frustrating about Remembering Now, it's that with a little editing it could have been even better. As it is, 68 minutes is taking things a little too far. But damn it if there isn't an eight song classic in here.
Finally, my review of the new record by Comet Gain can be found here (short version: it is excellent).
P.S. I still haven't heard the new Half Man Half Biscuit album in its entirety - but I certainly will at some point.
Songs of the month:
"Grown-Ups" by Pulp
"Down To Joy" by Van Morrison
"First Fire Of Winter" by Neil Young
"Jupiter" by Patrick Wolf
"The Ballad Of The Lives We Led" by Comet Gain
"56 Nervous Breakdowns" by Luke Haines & Peter Buck
"Jack's Been To The National" by Half Man Half Biscuit
Once in a while, out of tiredness or sheer frustration, I switch on the first episode of Veep to put things right. It is, of course, absolute perfection, all 29 minutes of it. But then I know, two or three jokes into this thing: I have to watch the whole series yet again. From start to finish, from pilot to finale. All seven seasons of it.
Which is what I have just done, all the way down to that unforgettable final footage that so beautifully brings the show full circle. Needless to say, I enjoyed it as much as ever (how many times have I done this now - five, six?). Except that this time there was one significant thing that was different. Because in the past, you see, I used to root for Selina Meyer. That's right. All through those five or six times that I had watched Veep previously, I could see what a monster she was becoming and yet through the thick and through the thin - I just wanted her to win. However many fuck-ups and betrayals, however much backstabbing and hypocrisy it took, I just wanted her to pull it off.
Well, not this time. And it is not even because I have lost all my sense of humour all of a sudden (if anything, this time I chuckled and snickered and guffawed more than ever; that croissant joke is still one of the best things ever). It is because this latest rewatch took that old "hitting too close to home" cliché to a whole new level. I can probably even pinpoint the exact moment that it happened: when during her campaign Selina Meyer sits in her office and decides who she holds the biggest grudge against and who will fall first the moment she becomes president. And all of a sudden, I could no longer get the image of that revengeful little clown who is currently running the US out of my head.
But so much has changed. A few days ago I watched the interview with the Veep cast that was recorded during Trump's first term, and at the start of the talk all of the actors and creators of the series could not stop talking about how much they despised him. Again, that was a different time. In fact, not voicing your contempt back in 2019 or so would have appeared embarrassing. These days, most people just refuse to say anything. Interviewers don't ask the questions, artists do not give the answers. Few are willing to run the risk of alienating a huge portion of the audience. Bruce Springsteen has recently expressed his disdain for the orange cookie monster and see what fucking happened: his concert was cancelled due to the outrage of some of his supporters. Many of whom, obviously, do not go out without their red caps.
This is all too easy to explain, of course. In these times when the levels of human intelligence are falling and populism is on the rise, Trump has his support. That the guy's vocabulary is maybe a hundred words and he has no idea what he is talking about half the time, is irrelevant. He has charisma (of the lowest kind), he has the appeal. In the current climate, if the cast of the Veep gave an interview like that, we would not get such unanimity. In fact, we might just get nothing (which, admittedly, is better than the disingenuous mental gymnastics currently practiced by the likes of Douglas Murray, Ben Shapiro, Jordan Peterson et al).
So coming back to where we started... I love Veep as much as ever (still in my top 5 favourite TV shows of all time). It is so good, in fact, that the monster it created has started to mess up with the reality a little too much.
Comet Gain have always been a special band. I first heard them around fifteen years ago, and I believe it was "Some Of Us Don't Want To Be Saved" that sealed the deal for me. I simply refused to believe that obscurity could be this glorious, but there it was: the anthemic melody, the yearning and the desperation of David Christian's voice. I was hooked, and over the years I would listen to "Long After Tonite's Candles Are Blown" every summer morning in 2014 as I would be walking through the streets of Rome. I would make it a habit to listen to the adrenaline rush of "Just One More Summer Before I Go" at the end of May. And I sure as hell would often find myself singing "Movies" to myself at various points in my life (is there a chorus more infectious than that one?).
There are currently six ratings for the band's new album, Letters To Ordinary Outsiders (the most Comet Gain album title imaginable), on the RateYourMusic website. Not even reviews - ratings. Which is a shame, because it is another great addition to their catalogue that now encompasses 30 years. Literate, romantic, wistful indie rock music, tuneful to the point of delirium.
Very little distinguishes this album from their previous LP, Fireraisers Forever! (2019), or from most of their work prior to that. David Christian says this is more pop and accessible but you would have to take it with a grain of salt. Comet Gain have very rarely been inaccessible (despite the dodgy sound quality on those early records and a number of self-consciously abrasive pieces like "The Punk Got Fucked"). Even when they tried to rock out (think of all that distortion on Howl Of The Lonely Crowd), there was always something inherently sweet about them. And it terms of the actual sound, Letters is as warm and and charming as Paperback Ghosts.
There is no point in talking about individual songs. To a casual listener they would all sound either poor or amazing. Since I would definitely go for the latter, I find endless charm in this latest batch of melodies that manage to sound like twee pop without being twee. There are some timely female vocals. A couple of heady anthems. A little rock and roll. Even some fairly unexpected sonic jam towards the end of "Threads!". Essentially, though, there are twelve great songs with some of the best melodies you will hear all year. Nothing earth-shattering, nothing ground-breaking - just beautiful music all around.
Letters To Ordinary Outsiders is not Comet Gain's best album (What is the best Comet Gain album, though? My pick would probably be City Fallen Leaves but they have been really consistent since 2002's Réalistes), but what a lovely reminder that some of the best things in life exist entirely out of time. Sometimes I think that might be the only way to be truly timeless.
I have to confess that the moment that I heard the first single from the album ("Strawberries", released in early March), I was extremely underwhelmed. It was a decent Lovin' Spoonful pastiche, charming and inoffensive, but was it not just a piece of prime good-time filler? Did Karin (Robert's wife and also musician in her own right) not overdo the playfulness bit with her vocal performance? (And just to make sure: I'm a huge Lovin' Spoonful fan, and could extol the virtues of songs like "Coconut Grove" for days on end.)
My apprehension, though, was crushed seconds after the first riff of "Tell It Back To Me" started playing. Christ what a relief. And what an absolute classic of an opening song. Forster has always been so good at them, especially of late: "Crazy Jane On A Judgement Day". "If It Rains". "Learn To Burn". "She's A Fighter". And "Tell It Back To Me" is among his very best. It is a narrative song (one of several), with an optimistic lyrical twist, timeless vocal melody and blissful guitar hookline.
The second song, "Good To Cry" is an effective rock'n'roll throwback that he still likes to do on occasion (think "121" from Calling From A Country Phone), but to be honest songs like that are not the reason why I love the man. It is the charismatic lyricism ('they made love quickly once, they made love slowly twice') and the tough, intelligent melodicism that does it, and it can all be found on the eight-minute epic "Breakfast On A Train" which is the centrepiece of this album and also the longest song he has ever done. The whole thing flows quite masterfully, with tension and intrigue bubbling underneath.
In a recent video interview Forster mentioned that it had always been a dream of his, to make his own eight song album (think of something as stylish and pure as Astral Weeks and Marquee Moon). And it is a beautiful idea, beautifully realised. Strawberries is split evenly, with four songs on each side. The second one features the upbeat "All Of The Time" (think of "Learn To Burn" from 2015, but with shades of Leonard Cohen in the vocal melody), the wistful piano-based "Such A Shame", the stark, striking ballad "Foolish I Know" (with a surprising lyrical twist) and the free-flowing "Diamonds" that starts with a "For What It's Worth"-like guitar hook and erupts at the end with a great saxophone-led explosion.
All through the album, he is backed by what he calls his 'Swedish band'. They are fantastic, and they also going to perform with him during the European tour later this year. But coming back to Strawberries for a second... It is not his strongest album (I would go for The Evangelist or Danger In The Past), but his melodies and his lyrics still sparkle. Plus, the album features what may well be the best use of the word "fuck" in a song in recent memory.
It would be hard for me now to explain what a shock to the senses The Seer was 13 years ago. I remember playing "Lunacy" to my Celtic folk-loving sister back in 2012, and even she was impressed. The sound was brutal, hypnotic, truly monumental. And according to Michael Gira, the two-hour-long Birthing is supposed to be the end of that run. From the minimalist cover to the gruesome drama of the first few seconds of "The Merge", this is of course classic Swans. The final "(Rope) Away", where Gira recounts the name of friends who have passed away over the years, could be the most moving thing the man has ever done. No, this is not as good as The Seer, but then very few things are. Birthing is a fitting finale.
I have probably said or written a lot of negative things about The National over the years, but the odd thing is that I quite enjoy Matt Berninger's solo stuff. Serpentine Prison in particular helped me get through the harrowing events of 2020. Back in October and November that year, I probably played that album every day. Get Sunk is not as good - but only because it lacks the killer songs like "One More Second" and especially "Loved So Little". The overall feel is much the same, though, that of sentimental chamber pop introspection in a late night cocktail bar.
Peter Doherty's latest is not among his best, and I must have heard everything the man has ever done - be that as part of The Libertines, Babyshambles or in his solo career. The latter has generally been rather low-key and inessential, but I'm always curious. I still rate him as a great songwriter, and 2022's The Fantasy Life of Poetry & Crime, for example, was an understated and unjustly ignored gem. Not so much Felt Better Alive, though, which is charming but also extremely throwawayish in nature. In between the minor delights "Calvados" and "Empty Room", there are a lot of decent folk tunes you will forget as soon as they stop playing.
Since I have already talked about Arcade Fire's new album, Pink Elephant (rather unjustly slammed, I should say, but then try writing about it and not slamming it - full review here), so let's talk about the comeback of Stereolab instead. While it would be true to say that I have never been a huge fan, I have utmost respect for albums like Emperor Tomato Ketchup and particularly Dots and Loops (my personal favourite). Their new album, and the first in 15 years, is titled Instant Holograms on Metal Film. It is tasteful, addictive music full of beautiful guitar grooves and electronic undertones. The album won't set the world on fire, but it has a lot of warmth and style and real melodic substance. You just want to get lost in its rich textures.
Blondshell's new album is getting good reviews from almost everywhere, and it is easy to see why: she plays solid indie rock music with hooks and melodies and attitude. The problem of If You Asked For A Picture is that I still find it all very derivative, and wouldn't pay much attention to these overly familiar power chords if I heard them played in a public place. Consistent, moderately catchy (annoyingly so on "23's a Baby"), but there's just not enough oomph. The last minute of "Change" is great, though.
Ezra Furman remains an excellent songwriter, but I just can't get excited about Goodbye Small Head to the extent that I was excited about Twelve Nudes or those brilliantly unhinged Harpoons albums. I am still a fan, though, and the strings-drenched screamer "Jump Out" and the gorgeous ballad "Veil Song" are worthy of Furman's previous work. I just need a little more catharsis, I guess.
There's certainly some catharsis on the new LP by Sparks, but out of all their 21st century output and excluding the soundtracks, I would only rate Balls and A Steady Drip, Drip, Drip as less interesting. I could of course come up with some clever reasons for that (and mention the messy production, which I actually don't have a problem with), but I guess it is quite straightforward: the songs are slightly less good. I mean, doesn't "My Devotion" have a little too much cheese in its melody (and lyrics)? Still, the highlights are numerous ("Hit Me, Baby", "I-405 Rules", "Drowned In A Sea Of Tears", "Love Have Mercy"), and even the silly and repetitive "JanSport Backpack" features some beautiful sections. MAD! is excellent, mind you, just a little below their lofty standards.
Finally, I've always been all for loving These New Puritans, but their brand of intellectual art rock has never really grabbed me. Crooked Wing is a good album but I just can't find enough substance here. Sorry, but Talk Talk they are not.
Songs of the month:
"Tell It Back To Me" by Robert Forster
"Drowned In A Sea Of Tears" by Sparks
"Aerial Troubles" by Stereolab
"Veil Song" by Ezra Furman
"The Pink Floyd Research Group" by Luke Haines & Peter Buck
