Swollen Members – Dagger Mouth

DAGGER

This can’t help but feel like an apology for their previous, atrocious album. For an album that’s so apologetic it also sounds like a roaring comeback that threatens to be their defining work. It’s an odd contrast that doesn’t really make sense and makes you wonder what Armed to the Teeth was all about anyway if they’re doing the complete opposite here.

Swollen Members are about classic Boom Bap only with more charisma. Instead of mumbling about New York and other such cliches, they flirt with horrorcore while never becoming as obnoxious as Necro. This versatility let them either slide completely into the genre, take it into more personal places (“Bad Dreams”) or to just expand beyond the typical boundaries of Hip-Hop. That’s why Black Magic is so good and why it received such a lukewarm reception. Before Kanye West’s new found fame, the only way to make an acclaimed album was to imitate crappy New York rappers I won’t bother to name.

So when they dropped Armed to the Teeth, it made no sense except that the people at Subnoize used it as a device to spread their misogyny. While the addition of guitars were cool, tracks like “Porn Star” were not. It’s exactly what I feared and what we got. For some reason they think that if they hate women, then every artist on Subnoize must sing about hating women. Even beyond the occasional misogyny the album lacked spirit. The only time it did, it’s because it had song titles like “Reclaim the Throne”. Clearly, they weren’t over the whole D&D thing.

From the beginning there is a suicidal fatal darkness to this album that never lets go. The opening track goes off about emotions and fear. “The Shining” talks about a spinning world that makes you feel lost. Just look at the song titles from that track on – “Devil”, “The Predator”, “Chemical Imbalance”. Swollen aim for a balance between the murder raps of Necro and the depressive introspection of Sadistik – self-harm as a sign of strength.

The result is absolutely badass and fun. It’s over-the-top, yes, but its darkness doesn’t mean a lack of fun. Swollen just trade in being warriors to being creepy dudes. “Night Vision” and “Chemical Imbalance” are the pumping heart of the album, where Mad Child swings from self-hating to bragging, often in the same line. You can hear his passion, too. He repeats the same rhymes a few times, but its his fury, his anger, how it’s directed at everyone (including himself) and no one at the same that makes the verse of “Night Vision” one of the best verses in Hip-Hop ever. Some rappers may have written more clever rhymes, but such passion is rare, especially in Boom Bap.

You can also look at this album as not just Swollen taking their style to the extreme, but also pushing the Boom Bap genre to actual darkness. Rob the Viking also shines here, knowing that the lyrics would be nothing without creepy sounds. While they don’t really go the danceable route – “Fire”, “Sound of the Drum” and “Devil” are the only times they raise the tempo and let the drums kick hard – he creates great soundscapes. Odd, unclear sounds surround these songs. A generator-like hum makes “Night Vision” way creepier. Rob knows that if the drums don’t take a central place, something else must. His atmospheric is actually atmospheric and enveloping. Calling it ‘camp’ is just silly. There was no other way of achieving this besides piling the odd noises.

Mad Child is the star here, which can sometimes be sad. All of the struggles he talked about in Armed to the Teeth are here out in the open. It might as well be an exorcism of his demons. Some songs are solo, like “Chemical Imbalance”. That leaves Prevail a bit in the dust, since his lyrics don’t have that personal nature but just cool imagery of satanic rituals, killing people, the undead and general darkness. He can never capture Mad Child’s fury who raps like a man possessed. It’s most apparent in “Night Vision” where his verse is almost useless. That said, he’s still an integral part. Without him this would become an incoherent and self-centered work. Prevail’s slightly more lighthearted approach is necessary.

The best thing about this album is how it manages to be unique, a whole piece without straying too far. Traditional Hip-Hop is an extremely minimalist genre so you get a lot of rappers saying nothing over white noise. It’s almost frightening how similar most of the canon is. Swollen Members don’t pull any tricks here, it’s just they got a more interesting concept and more passion. In the end Hip-Hop is sound art, and no matter how clever your lyrics are you need passion and to rap with conviction. Dagger Mouth is a strong contender for the best Boom Bap rap album ever. It actually takes advantage of the genre’s style and limits. It uses the minimalist beats to let the rappers go crazy, so the rappers actually go crazy. At the same time the beats remain important, providing odd sounds that change the tone of the songs – whether it’s the aggressive “Night Vision”, the moody “Chemical Imbalance” or the self-congratulating “Mr. Impossible”. I want to blame Subnoize for this album’s lack of success, but then again if they didn’t shat out Armed to the Teeth they wouldn’t feel the need to apologize and make a glorious comeback.

4 daggers out of 5

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Ministry – AmeriKKKant

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Ministry is extremely stupid. Al, if you’re reading this, I think you’re insanely talented. You crafted one of the most unique sounds in Industrial and left most Metal bands in the dust. At their average, they captured the rusty, nihilistic, borderline satirical tone that Industrial music always aimed for. You don’t need their best tracks to hear metal that does sound dangerous and threatening to destroy the world along with itself.

The Bush trilogy is stupid, but it was powerful. The lack of insight into politics or the stupidity didn’t stop tracks like “Gangreen” to have power in how much bile and hatred they express. “Worm”, a fantastic display of depression could only come from a political record that’s full of fear and paranoia. The last album in that trilogy was surprisingly good. If the Bush triloy lacked any insight, it was powerful in capturing the emotions of living in such constant fear and hatred of the government.

Oh, but how stupid is Ministry! They can’t write songs. They create loops which beat you over the head for five minutes. That’s why Ministry were always a Dance act more than a Metal act. Verses and choruses are alien creatures to their music. It’s all about the loop that can keep people dancing, but often that loop didn’t change. So Ministry’s songs tend to exhaust themselves after 2 minutes. Exhaustion is another central theme of Ministry’s later works, so overall perhaps it fits.

Seriously, though, how stupid can you get? How stupid can you get with such a fantastic talent and sound design? AmeriKKKant is a moronic album. I mean, look at the title. It still thinks it’s clever to spell ‘AmeriKKKa’. Al is definitely late to identity politics, but hey it might sell records! The songs still consist of endless loops of the same thing. This time, it works a little better – thanks to turning to sludge – only there are so many terrible ideas in between it’s easy to forget that pretty awesome guitar solo that closes the album.

Why oh why did we need “I Know Words”, which is Trump’s vocals scratched and chopped to some fiddling in the background? It sounds like a Nurse With Wound B-side, or at best a stolen section from one of his songs. As an intro, it’s too long. As a 3-minute experimental piece, it goes nowhere and has no reason to take up so much space. Later on we get another interlude with the wasted title of “TV 5/4Chan”, which juxtaposes right-wing vocals with some noise. What does it mean? I don’t know. Right-wingers are pretty bad and are on 4chan. Ministry writing a song about the idiots of 4chan would’ve been actually nice. Maybe someone should take an axe to that meme culture, but sadly Ministry missed their change.

As for songs, the first singles are the worst. “Antifa” has been beaten to the ground and it will never get old. The song chugs along with indifferent riffs. The chorus is Al roaring “We’re not snowflakes, we are the antifa” without any hint of passion or anger or fury or anything. Even in terms of pure sound the song is bad with how dry and hollow the production sounds. “Wargasm” isn’t as stupid and it has a chorus – rare in Ministry’s catalogue. Sadly the song also chugs along with little passion or fury. Al sounds tired. At least at their dumbest, Ministry was furious. “Wargasm” lacks all that. Shouldn’t he be excited to make something other than Thrash metal?

What makes all this more frustrating is that there are hints of a bright future for this band. Although the highlights don’t have Ministry’s fury in the Bush era, “Twilight Zone”, “Game Over” and the title-track are all borderline excellent. Moving to more sludgy metal, sampling like hell and DJ scratches all help to create a suffocating sense of apocalypse, paranoia and general depression from the end of the world. It separates itself from the Bush trilogy by having zero hope. If the Bush trilogy had a warlike spirit, a character to direct anger at this has none.

“Twilight Zone” would’ve been a closing track in past Ministry albums. Now it’s the first actual song. It doesn’t even have a proper riff, but a slow, crumbling sound design that plays like the apocalypse. Sure, Trump is sampled and make fun of, but it’s no longe the direct hatred of past albums. Everything is bad and there is no light. It is a direct sequel in spirit to “Worm” and “End of Days”, combining the depression and the apocalypse. Time will tell how strong it will stand, but it just might enter into Ministry’s greatest hits. “Game Over” and the title-track aren’t too different, but they do the job right and added some much-needed melody.

These are only 3 tracks out of 9. Then again, 2 of the 9 tracks are just interludes. So we’re left with an odd feeling of a very short album that runs for too long that has few ideas and not enough time to work on them. “Victims of a Clown” is a 4-minute catchy rocker that’s stretched for no reason for 8 minutes. The most telling track is “We’re Tired of It”, a return to Thrash that really does sound tired with a horrible, toothless production job. The walls of sound in “Rio Grande Bloode” were enough. This one has none.

People continue to beat Ministry for their stupidity and perhaps we should continue. Stupid ideas flood this album, from stretching “Victims of a Clown” to the interludes, to the first singles and the overall production job. Yet the solo at the end of the title-track and “Twilight Zone” prove Al still has talent in him and it’s a talent no one can capture. Most Industrial Metal bands either replicated KMFDM or Marilyn Manson and Ministry could continue with all the changing members because Al does have a unique vision. I only want him to finally be able to realize it without all the stupidity clogging up their albums. At least this gave me 3 tracks to add to the Industrial playlist.

2 k’s out of 5 k’s

Rag’n’Bone Man – Wolves

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It seems fans of Soul music have annoying purists. I know, it sounds weird. Soul music at its best is so warm and welcoming. Whether you’re bumping the aimless, hook-free stuff of Marvine Gaye or Stevie’s more melodic works, Soul is never high brow, never patronizing the listener. In complete opposition to the rock of the 70’s, Soul music is just an ordinary man with a prettier voice. Clearly, in listening to it nothing should matter much besides having good melodies, a good voice and an all-around charm.

This is too much to ask apparently, so we’re back to questions of ‘authenticity’ and ‘real Soul’. Since Rag’n’Bone Man – the most Bluesy name you can come up with since Seasick Steve – doesn’t have a Funk track going on for 10 minutes and endless falsetto without a tune, this is ‘bland Soul’. Come to think of it, Marvin Gaye was just showing off his vocal acrobatics over lightweight Funk. If that is ‘real Soul’, I’ll take Rag’n’Bone’s version any day. He has better hooks and his music is something more besides beating you over the head with how wonderful the world is because you’re a singer with a pretty voice.

Speaking of beautiful voice, writing off Rag’n’Bone as generic is odd. The last time such a gloomy, pessimistic artist hit the chart was, well, the Weeknd or Melanie Martinez. His music is actually not that close to Charlie Puth. He’s not a revivalist, churning out the old love songs with some horns and a more coherent song structure. His roots go way back, to the earliest of Folk music back when all there was to sing about was death.

This album is such a gloomy, death-obsessed thing. Rag’n’Bone sounds either at a funeral, on the verge of dying, after killing someone or before killing someone. Of course his low voice is the main attraction but it’s also how he uses it. His style of singing is the opposite of vocal acrobatics. That’s why comparing him to Soul singers is a bit odd, since he rarely takes those flights Marvin Gaye is famous for. Althoug falsetto occasionally leaks, it’s never dominant. What is dominant is how low his voice is, so low it might as well be buried.

The best expression of that is in the title track where he truly sounds dangerous. On the verses he’s frantic and almost loses the melody, but on the chorus the voice is so low you can imagine him trying really, really hard to contain himself form whatever danger is inside of him. It’s obviously about something inside of him that’s he’s scared of. The da-da-da voices in the backgrounds aren’t helpful. They are the voices in your head encouraging you to hurt or to cause mayhem. To think such a song will top the charts is uncanny. Such a song is too gloomy, too dangerous and too scared of itself to be comfortable. All the brutal screams Death Metal bands come up with, and they can’t reach the fear of the self in that song.

On the other side you get “Guilty”, which is a breakbeat-laden Blues thing where Rag’n’Bone claims he’s not guilty for feeling about hurting the lover he just woke up next to. Already in the opening lines we get death, because somewhere in this ‘million ways to hurt’ there must be an element of violence. Two lines later he writes the lover off completely. Although the rest of the song is simply about leaving a person, the first lines and those hard drums did their thing. Again, his low voice contributes a lot. It adds a layer of toughness and darkness to it all. Any other singer couldn’t evoke the image of death.

Death includes the loss of others, and “Life in Her Yet” is a more subdued number where he tries desperately to cling to someone who’s dead or lost all their memory. The repetition of the title is him trying desperately to convince himself you can defeat death, but saying that he ‘can’t let go’ isn’t a sign of strength but of weakness. He needs her. He cannot live with someone dying. In this song there is no incredibly low voice, but soft and defeated singing.

These are the main attratctions, but every song has the spectre of death hunting them. After all there’s a song called “Lay My Body Down”. Whatever “Reuben’s Train” is about, he sings it like a dirge at a funeral. From the singing alone, low and stretching into infinity you can deduce that the subject of the song must be dead. “No Mother” transforms the stomping work songs (that were all about death) with bass wobbles. Despite the EDM influence, it doens’t add any joy to the song.

He achieves this atmosphere successfuly because he understands how old Folk music works. He’s closer to Dock Boggs than anyone contemporary. The brand of ‘serious music’ he’s been grouped with, the bland wailing of Adele and Ed Sheeran are nowhere to be found. Always he’s a slave to the melody, but in the old days where all you had was a pickaxe and a banjo you couldn’t wail like you’re on the X-Factor. Sure, his voice is more polished and he has a greater variety in tone. Most Folk singers couldn’t pull off both “Guilty” and “Life in Her Yet” since they’re completely opposite characters. Now this may seem inauthentic, but by being aware of the overall theme of death he connects these two. They become two different expressions of the same theme.

3.5 wolves out of 5

Halsey – Badlands

halsey

We seem to live in the comedown from Nicki Minaj and Lady Gaga. A few years ago, a lot of women got on TV with weird outfits and bragged about how much sex they have and how much they drink. The parties didn’t have to look fun. Mostly, it looked like a bunch of cool people trying hard to impress you. What’s important is that you’ll find them profound, strong, going against the norm. As we know, nothing is more rebellious than drinking alcohol and having sex.

Only your mom is actually against partying, and even that population of anti-partying moms is dwindling. Pretty soon a new type of female Pop rose, one that was still about lots of sex and partying but acknowledged the fact that made your Mom despise those parties. Where there are people, there are feelings and getting hurt. People sometimes get hurt before, during or after the party. Sex is fine and all, but it’s not as easy doing vocal acrobatics and calling it a song.

Halsey is a latecomer to this scene, and it shows. Lana Del Rey may have kicked it off, but singers who came later didn’t stick to the formula. For all of the ‘alt girl’ posing on Tumblr, these singers did show there was room for personal expression in Pop music. Compared to what came before, these singers gave a voice to all the kinds of experiences you go through when young.

Halsey may be considered ‘generic’ in that movement, but it’s a movement that’s defined by not sticking only to bragging about sex. In fact, her personality is actually more solid than it first seems. If she seems like a stereotype of the dyed hair, feminist teenager that’s on Tumblr posting better content than you it’s only because she throws herself fully at it.

True enough, we need it. I’m not one to complain about how there aren’t enough Black people in a certain field, or how there are too many males in a different one (As we know, all males are exactly the same). There is something different about these lyrics of youth though, something that’s far from the rage and angst of the male-dominated rock genre.

Instead of tales of hatred, rage, and heartbreak we get tales of confused and confusing sexuality, of drugs that are fun and wrecking at the same. Overall, life is a huge set of contradictions. Now that’s emotional depth for you. In contrast to bands where sex was always a bad thing, where romance lead directly to agony here it’s unclear and blurry. “Strange Love” is about a relationship so messy we don’t even bother to define it. On “Hurricane” she manages to overcome the guy all the girls can’t overcome. All that confidence is gone on “Drive”, a contemplative, atmospheric song that’s soaked in the amorphous and somewhat profound thoughts of an over-intelligent youth.

I know it’s fun to assume young people are idiots – that’s why we got such a moronic educational system. They experience things, though. The best music of youth captures this spark and more. Halsey is at once a young girl who lets herself get carried away by her sexuality, is totally in control of it, utterly confused by it and has the wisdom of a sage – sometimes in the same song. “Hurricane” isn’t the best song here, but it’s the best example of when it all collides at once.

Can these lyrics be anything less than ridiculous? Actually, they’re quite excellent. They aren’t a bunch of vague lines about sex and pain strung together, but there’s a coherent idea connecting them each. The distinct subject matter is what helps the songs stand out. True, “New Americana” is awful, but that’s because it’s the only song where Halsey pretends to be important. Name-dropping Nirvana and Biggie especially sounds stupid. Isn’t she younger than me? Did she feel comfortable listening to “One More Chance”? Statement-making was far more convincing in “Castle”, a slow-grinding song where Halsey sounds like an overconfident youth with all the good that it implies.

She’s actually at her best when she throws herself at an idea. The more contemplative songs, where she sounds too grown for her age can blur together – “Hurricane” and “Roman Holiday” are cute, but “Gasoline” contains lyrics that in any other context would stupid. “Are you deranged like me?” is as attention-wanting as it gets, but it nails the feeling of being misunderstood with others on the internet. “Colors” is the big highlight about loving a guy who’s on the road to self-destruction. The lyrics may be sappy, but being young is about being sappy. If you got the bonus tracks then “Control” is another highlight. I have no idea how it didn’t end up on the album.

People talked about how Halsey is constructed, artificial and is ‘not real’. Is Lady Gaga real? Sure, she flaunted how her imagery was fake but we were supposed to take seriously the idea she’s not real – or whatever postmodern hullabaloo went over there. Music is performance, and what matters is how the performance goes. Halsey is dead-on in what she’s trying to achieve. I met the type of girls who are into this music and heard their stories. Halsey’s lyrics match their stories, if not in precise details but in vibe. In the end music is more about capturing a certain essence of feeling or of experience, rather than the exact details. While it’s true Halsey doesn’t have too many quotables – her peers are much better than her, as a whole her lyrics are fantastic. Few songs get what loving a dangerous and self-destructive guy is like “Colors”.

Badlands is overall a fantastic Pop albm with everything you’d want – great hooks, great production and enough personality to make it memorable. That personality can annoy people, especially if you’re too busy with authenticity or getting angry over weirdos on Tumblr. It’s also possible you’re too busy looking for things to make fun of rathe than experiencing the world. Irony culture has yet to produce something as fun as “Colors”.

3.5 sexy boys out of 5

 

Autechre – Tri Repetae

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Autechre finally comes to resemble their form. Considering how long their career has lasted, there is no ‘final form’ to Autechre but this is one of the essential steps, one that sounds less like progression more like a discovery of a new way of making and listening to music. It must’ve been impressive when it was released, helping to define IDM. Nowadays it still sounds important, but importance doesn’t equal good music. Important records are good for a spin. Good music is still good after you’re dead.

That’s the big problem with this album. Most of the good things about it is how it helps you understand the genre IDM better, yet not much here stands on its own. IDM is a useful term for music that’s all over the place. Some of it consists of drums without rhythm clashing against one another. Some of it is pure, fragile melody. Some of it is both of these at the same time, yet the label is still useful. Yes, how you listen to music defines how you judge it. A lot of Brostep tracks sounded much better once I went to a club.

At its best, this album helps you see a vision of IDM that’s not purely ambient and not purely experimental, but somewhere in between. Autechre use both melodies and steady beats to create something else, only what this ‘something else’ is supposed to be, and what good is it, isn’t clear.

They seem to try to paint a picture of a cold universe, one where there are only machines who can only calculate and produce. Imagine a technological utopia only without humans. Cars drive from place to place. Assembly lines move. Listen to “Clipper”, and you can see the office opening up in front of you. Printers print and calculations are being made, yet there are no humans.

It’s not a cold, hostile universe. It’s not a utopia either, but something in between, a weird middle ground. If people say the music is emotion-less and for machines, they use it in a very specific meaning. Autechre aren’t without passion, but rather music expresses a character of a machine with no emotions and no hostility. While Electro-Industrial bands painted the machine as directly connected to humanity, either stomping on it or a result of our flaws, Autechre imagine the machines without the human observer.

Why would anyone want to listen to such a thing though, especially for around an hour? I remember a specific moment where “Clipper” hit me, a moment where that song was perfect for. Such moments are rare. I was young and had trouble with the new found emotions of love towards women – who would’ve known – and that song felt like an escape. It was a world so far from the human experience that it gave me a respite from this annoying and all-too-human emotional turmoil.

Moments like these are rare. Rarely did it happen that I needed or could disconnect completely from the human experience. Even if I wanted to, most of this album doesn’t have this effect. “Clipper” rarely does, even if it still remains a beautiful piece. The vibe of this album is too distant from human experience, too robotic for it to be interesting.

Such complains have been raised against later Autechre albums, but these are at least weird. Here Autechre are so perfectly ordered there is nothing to look at. It’s the aural equivalent of looking at your fax machine. Translating it to music is interesting for the sake of experimentation, but not much beyond that. The old cliche of elements colliding and erasing each other appears here yet again. The beats are too hard for the melodies to shine, but the beats aren’t hard enough to dance to. Everything about this album is middle-of-the-road.

Still, it’s Autechre we’re talking about and there are roots of their brilliant sound design they’ll develop later. There’s also the charm of knowing that they never made something like this. Everything else is either too ambient or too glitchy. “Clipper” has been mentioned already, but it’s the highlight – capturing the album’s aim so perfectly, it’s partly the reason why everything else sounds pointless. “C/Pach” and “Eutow” are more danceable and sound like they might fit in a DJ set, although you may need to adjust the bass a little. “Overand” is the purely melodic one of the bunch and stands out without the concept. Everything else is impressive technically, but is interesting only at the beginning and the end.

Listen to this once to understand IDM and Autechre. They deserve all the praise they get. Autechre are truly one of a kind and are worth putting effort to understand them. Yet this record is only worth a single spin or so. Spend the rest of your time on later records, where the ordinary world of clanging machines became an adventure.

2 repetitions out of 5

Tom Waits – Closing Time

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The sound of this album isn’t as surprising as how good it is, and what it actually is. You’ve heard it before. Before Waits was an ashtray given a singing voice, before he unleashed an Industrial-Blues masterpiece that was more horrifying than any Death Metal album cover he made Closing Time. In a way, this is the antithesis of his later career, with zero wild theatrics. Before Waits was the bizarro man reporting from the bizarro world, he was too ordinary to do anything but sing about heartbreak.

Even if Waits never made Bone Machine, this record would still be spectacular. I’m amazed this was even made and praised. As we know, males are supposed to be tough in society. No one goes out with a failure. The only time men are allowed to cry on stage is if they turn their wounds into theater of noise and anger. The whole rock’n’roll thing, especially in the depressed 90’s was about that.

So Reznor and that dude from Alice in Chains still sounded like tough males, somewhat. Nothing against them – Nine Inch Nails are my favorite band after all. It’s just that male vulnerability is so interesting, feels so hidden in real life yet here it is in music. The final song here lets go of words.

If the whole album is a concept album about singing in a bar hoping that it might attract that girl on the corner to like you, then the final instrumental is defeat. “Ol’ 55” opens with some happiness, the sound of you going to the bar hoping there’ll be a good show. “I Hope” comes right after when you spot the girl, and after that it’s constant swinging from one extreme to the next. On “Ice Cream Man”, you have confidence and you’re sure it’s going to work. “Lonely” is when it feels like a death sentence, you’ll never have the girl and nothing else ever. Eventually, there’s no point in singing – it’s closing time, the band plays a few more chords and melodies and you’re back home alone.

It’s such a lonely record. “Martha” is heartbreaking, a song I still find it difficult to hear. Although Waits mentions he got a lover, possibly a wife, it’s not convincing that he’s okay with it. Defeat is in his tone when he sings of poetry and prose, singing with the knowledge that no relationship will ever be that good. “Martha” is painful not because it’s about meeting with someone you used to be deeply in love with. All over it is the realization that nothing will ever be like this again, that all love afterwards is just an attempt to re-capture it. There’s a sense of doom there that’s just sad.

“I Hope That I Don’t Fall in Love With You” is the second big highlight there. There are a lot of songs about love and heartbreak, but not enough about disliking being in love. Finally we have a song that admits it, falling in love is no fun and sometimes it’s just better not to experience the whole thing. This song sets the stage and gives everything here the context. On this album, Waits isn’t someone who goes through the pain and joy of heartbreak. Love is, overall, bad for Waits. Few songs here are actually about being in the relationship – perhaps only “Little Trip” and by the time it arrives it sounds more like fantasy. Remember that “Ice Cream Man” is courting, not love actually working out. Although “Lonely” isn’t the best song here, it eventually becomes its centerpiece. It’s an album of loneliness, of heartbreak with no way out. In this album heartbreak isn’t something you go through but a state you’re trapped in – either hoping it won’t happen, to clinging to a girl, to being stuck in your memories and eventually admitting to yourself how lonely you are.

“Martha” and “I Hope” are the highlights, with most things providing good transition to flesh out the concept idea. While everything here is pretty good, these songs are knock-outs and everything else mostly sounds good in context. It’s an album you reach out to when you’re in a specific mood, but when the night is dark, long and lonely everything here is great. Outside this context, these songs can lack personality. “Rosie” is pretty good, but I doubt anyone would remember it outside the album. Bring the aforementioned context again and the song becomes essential. This is an album to hear in one sitting when heartbreak makes it feel like nothing good will ever happen. I’m sure there are many albums like it, but Waits is so specific in how he captures this hopeless loneliness. It’s unique because of how well it understands its genre and that’s why it remains a shocking record. Even if Waits never became the morbid blues man, this record would remain just as great.

3.5 empty bottles out of 5

Joking About Ariana Grande’s Terror Attack: A Few Scattered Thoughts

Irony culture is polluting the internet. Everywhere you go you see its tentacles, taking every good thing and getting ironic over it. As if saying something ironically is automatically a joke. Anyone remember those eyes when everyone was sarcastic all the time, as if that meant they were ‘tough’ or you were stupid for not reading between the lines? The internet’s irony culture of ‘shitposting’ is its heir. Like any major event, the terror attack on Ariana Grande’s concert became a canvas for these people to launch their jokes from. Actually, events like these – horrible, traumatic, death-filled – tend to be their favorite events.

Now, gallows humor is fine and all. Humor is important. It helps us keep a distance from things and break the ring of sacredness. If we can laugh at something, it’s not holy and we can criticize it and improve on it. Nothing should be beyond humor, but nothing is also beyond criticism. So now I’m about to explain why all these jokes about the terror attack are bad. Some people from the Irony Culture will call me ‘oversensitive’. I will call them ‘oversensitive’ for not being able to present a claim of their own.

I don’t know how to make this any clearer. A terror attack is traumatic. Many people will never be the same after this. It changed their lives forever. The songs and the artist will forever be connected in their heads to an attack whose purpose is to install fear and dread in them. 22 people have died, and that means at least 88 – and I’m being extremely minimal here – will live with a permanent loss nothing can replace.

Just to show you how trauma works, I live in Israel. Many here live under constant thread of rockets and are always afraid of the sound of the alarm. Some time ago there was a Post-Apoc LARP (Live-Action Roleplaying) called Sunburn. The organizers didn’t tell the players that there will be alarms. Not only the fictional alarms triggered these people, many also thought they were real. It wrecked their whole experience.

If you still don’t get what ‘trauma’ means, just ask someone to violently beat you up.

As I said, humor about anything is fine. However, we need to be careful when and where we post our gallows humor. Right now, when we’re still suffering from the fallout of that attack is not the time. That attack is fresh in people’s minds. They still need to truly realize that, yes, this happened and they are mortal and someone can blow them.

The internet is an unregulated mass communication tool that must not be censored, but that’s not a reason to spread it all over. We control the content we see only halfway. If I enter a meme site with hoping to manage my stress thanks to surviving a terror attack and I see memes about a terror attack and all the trauma rises up – who’s to blame? Why must it be this way?

Some did get that perhaps it’s nicer to wait a bit before making fun of other people’s trauma, so even that became a joke:

Another important element of gallows humor is that you need a joke. Without saying something actually funny about the subject, all you do is make fun of dark topics which cause pain and suffering to everyone – including you. There is no joke in this picture, unless the joke is about how memesters don’t have anything else to do but produce worthless memes. Then again, I think they’re too sensitive to actually joke about themselves.

I don’t know. I get it that you don’t like Pop music. Some of us are still stuck in the days of ‘real music’ where only Foo Fighters were considered good. Still, where’s the joke here? You found a pseudo-clever way of telling people you dislike Ariana Grande by making fun of a terrible event. I’m not sure how else to classify this behavior other than being an asshole and inconsiderate.

Oh man, I can’t help it. This is Dr. Strangelove-level of funny. Get it? The joke is, Grande is a horrible singer (Pop music isn’t real music, remember) and people dying – especially in terror attacks – is funny! Death is so funny, in fact, that we make sure everyone can experience it if they want to using assisted suicide! Aren’t funerals only second to the Holocaust in their funny-ness?

It’s kind of odd. Someone would actively take an image and write a semi-ironic text about how someone not dying is a bad thing. I’m trying to understand the psyche of doing this, of finding the bummer over someone not-dying a sentiment worth showing the world. Better yet, contextualize it in a meme so you could laugh about it and be ironic. There are so many layers of irony here I’m not sure what the joke is. Yes, some memes’ source of funny is only because they reference a pattern. Lord knows I find the ‘cracking open a cold one’ meme hilarious, but that’s only because I really like beer. Besides, the joke is rarely something cruel. Since there is no funny here, what is the joke?

“Oh, lighten up!” they say and I wish I could – or I wish I wouldn’t, since my ways of having include more than finding terror attacks funny. Every act of communication has a purpose. The nature of being is communicative. We communicate humor, emotions and ideas. By understanding what and why we communicate we can communicate better and face the communication of others better.

So I’m trying to get underneath all this humor. Since its surface is incredibly unfunny, maybe by getting down to it I can find insight into an alien culture. Sadly I face an empty well devoid of funny and full of laughter at the theatre of tragedy and the carnival of carnage that is terror and violence. If terror and violence were that funny, they wouldn’t be staples in horror films. Moreover, if you didn’t view this post as an attack – and this post claims you’re insensitive, unethical and that your sense of humor is dead like Nietzsche’s horse – you wouldn’t get all defensive over it.

The funeral of the irony culture will be a celebration. Bring your own stereo.