Carly Rae Jepsen – Kiss

carly.png
Sometimes I wonder if my dislike for a lot of Pop singers is because of misogyny. Nowadays female singers aren’t docile like they used be. They’re aggressive, can rap, can have a guitar here and there and not shamed of having a lot of sex or of telling someone to fuck off. My manhood is threatened, and thus I cannot enjoy when Lady GaGa tells me about how everything is beautiful and that we should all just be ourselves (That’s because we all have the privilege of being skinny, right?). I can’t stand Rihanna because a sexually assertive woman offends me. Submission is a turn-on, and without it I’m nothing.

Or maybe not. My favorite Pop singers include Lana Del Rey, Tove Lo and Melanie Martinez which are all concept-heavy. As for aggression, I also admire Emilie Autumn who directly attacked her sexual abusers. The problem with the singers in the first paragraph isn’t that they were ‘assertive’. In fact, no one should be scared of Rihanna. She’s so conformist that Chris Brown beating here wasn’t the big deal. The problem with these singers is that they didn’t sell you an image or a concept, but themselves.

Compare Taylor Swift’s “22” – which I actually like – to any song here. Taylor uses the song as a vehicle to inform the listener who utterly cool and fucking awesome she is. It’s about her, not about having fun. She has a lot of exes, she has breakfasts at midnight unlike these lame ‘cool kids’ and they dream instead of sleep. The songs’ music videos even confirm it. In “Good Time”, Carly and Adam Young are surrounded by people who actually look different and don’t seem to be doing anything but having fun. Everyone in Taylor’s video looks perfect and skinny. It’s a song about contrasts, not about partying.

When everyone got taken away by EMOTION – and by ‘everyone’ I mean ‘music nerds’ – the shock was hearing a Pop singer who really didn’t care about seeming cool. She did way before “I Really Like You”. From a distance, this and “Call Me Maybe” sound like an artist with one gimmick that milks it. Listen to a whole album, and it’s a modus operandi. If Carly can’t deviate, it’s because she’s having too much fun, doesn’t need and want to and invites you to join in.

Adam Young asides, who everyone seems to hate, “Good Time” is such an inviting song. “Call Me Maybe” may have generated the shitty parodies but that song tells you more about who Carly is. Most of the songs here work in the same sphere only with slightly weaker drums. All the songs are about the excitement of first love and first crush, about a possible future that may happen and if it does it’ll be awesome. It’s not exactly optimistic. Rather, Carly captures that tiny moment of happiness when you’re sure someone really likes you or may like you, and you’re kind of emberassed and unsure but enjoy it all the same. Song titles like “This Kiss”, “Curiosity”, “Tiny Little Bows” and “Call Me Maybe” all display this range of emotions. Merge these topics with dance tracks and you have great party music that’s happy, not tough. People who don’t jump to “Tiny Little Bows” look like they’re trying too hard to reach the Idea of Coolness.

Carly’s performance is also perfect. Another problem of contemporary Pop singers is how much they love show us their voice. Often, the songs aren’t meant to be enjoyed. Even the performance isn’t meant to be enjoyed. Rather, we’re supposed to be impressed, stand aside and admire all the vocal acrobatics. Adele epitomizes it and Sia is the biggest offender. Imagine if Sia sang these songs. Will “Turn Me Up” sound so cute and confused if Sia howled? Would it even be about confusion, instead of about how awesome Sia is? Carly sings so low and calm. She rarely stretches her voice, trusting instead her character shine through her voice. It also makes the song more listener-friendly, making it sound like anyone can sing them.

At times she does stretch her voice for something more profound, but it’s so rare it leads to a weird effect. On “More Than a Memory”, she stretches her voice just a little to suit the song’s more somber mood, and it makes her seem vulnerable and worried. Since she doesn’t stretch it often, she shows us that this moment is more important than others – the relationship might die! She also loses the tune a bit on “Guitar String/Wedding Ring”, and the result is ridiculously cute. The song’s lyrics are a bit nonsense, but they, along with the sparkling, noisy production and Carly’s messy voice expresses the excitement and thrill of love all the more effectively. Music is, after all, acting. I’m sure many can sing that song better technically, but I doubt if anyone can convince me like Carly does.

Only one song does stick out where she sounds closer to her contemporaries. That’s “Tonight I’m Getting Over You” which includes an actual bass drop. The noises this time are aggressive instead of sparkling and Carly tries to reach to the top of her voice. It’s also a total success because it focuses on this idea, instead of using these tools as a modus operandi. It’s not another generic club banger but a singer who’s full of pain and needs to let it with singing and loud beats. What’s beautiful is that once the chorus hits, she still sounds vulnerable and hurt. The cries of “getting over you!” aren’t triumphant, but sound like she’s trying to convince herself by constantly repeating it. Many said that “Chandelier” by Sia mixed the whole party-and-depression thing well, but that song, like anything else by her, is about how Sia awesome is. Carly outdid everyone else.

It’s interesting how clean this album is. In a world where singers like Rihanna use misogyny and objectification of women to seem powerful – because being approved by wifebeaters like Chris Brown means you’re strong? – it’s refreshing to hear someone who doesn’t need to go on and on about it. Carly is sexy in her way. She’s not afraid of it, she’s just more concerned with love and having fun. “Good Time” works because, unlike other party songs it’s for everyone – not just people who happen to be sexy. Her excitement in “Tiny Little Bows” is way sexier than anything by Rihanna. Carly was actually older than most singers when she recorded this and many called this ‘immature for her age’, but is it really?

Today Kiss sounds more like a prelude to the brilliant EMOTION, and it’s not as all-encompassing as that albums. Still, what it does it does brilliantly. “Call Me Maybe” is actually buried in a sea of highlight, and there’s a consistent mood that shows Carly always believed that Pop is an album genre. Even the acoustic ballad “Beautiful” doesn’t let down the pace. 12 joyous Pop songs about excitement and love that invites everyone are too much to become viral in this age of irony, but really, if you dislike this you may be trying too hard to seem tough.

3.5 kisses out of 5

Fuck That Noise: Bruno Mars, The Weeknd and Ballads By Macho Men

Bruno Mars’ single, “24K Magic”, is badass. Mars doesn’t so much sing as he speaks throughout the song with every line meaning the same thing. He’s cool, he knows how to party and has women. The latter is especially important, because we live in a new feminist world where attractive guys are still allowed to flaunt their women like dollar bills. He’s so confident that, really, why attempt a chorus? The first spin of “24K Magic” makes it sound more like a spoken word track over a Synthfunk backing rather than an actual Pop song. It’s one of the year’s best songs.

It’s also a game-changer for Bruno Mars. From here on out, the only reaction to his ballads is ‘fuck that noise’.

MTQxNzI3MzExMDgxNzc2NjQ4

The Weeknd poses for his philosophy book

Music is acting. I don’t care who you are in real life. What’s important in music is that the character you play in your music is believable, and will somehow makes sense when we connect the songs. Eminem is unconvincing because he’s at one point mocking Pop music, whines about people not liking him and then makes a song with Sia. Ian Watkins is an all-around terrible person, but the sound of “Rooftops” didn’t change just because we discovered he’s a pedophile.

Balancing bragging tracks with ballads is tough. We all experienced the highs and lows of life, but you need to connect these two. If your character is sad, I need to believe this sadness is real and is relevant despite all the parties you had. It’s especially tough to come off as vulnerable or sensitive when a second ago you bragged how much sex you have and how all the women want you.

Screen shot 2016-09-29 at 09.58.34

I don’t think this is what you do with crosses

The Weeknd also released a song with a similar vibe, but “Starboy” is vastly different in demeanor and content. The Weekend also brags about having a lot of sex and a lot of money. He explicitly says he has a girlfriend and a mistress, both of which are out of your league. Along with bragging about cars, it’s obvious Weeknd’s life is overall quite kickin’.

What’s different is the context. Bruno Mars is carefree and happy in “24K Magic”, and only brags about how good his life is. You can understand nothing else about Mars, other than that he’s probably an inconsiderate asshole outside having fun. A line like “Bad bitches and ya ugly ass friends” promises great sex and treating you like dirt. Weeknd, however, is so dark that it’s obvious there’s something wrong with him despie how much he parties.

The Weeknd starts off his song with “I want to put you in the worst mood”. Already, this song is more than just bragging. He wants you to feel bad, he needs others’ jealousy so he could feel good about himself. Instead of the social butterfly who’s inconsiderate, Weeknd’s song is upfront about how pain exists in our world (and he wants to cause it). When he proceeeds in the verse to brag, it’s always about how his good things should make you feel bad. The line about using drugs to kill any pain makes it obvious that Weeknd does have a shitty day and needs to do things about him. The line “We don’t pray for love, we just pray for cars” is quite nihilistic, expressing a dark worldview of retreating to materialism.

Musically, “24K Magic” is a straight-up banger with funky backing, a great bassline and a synth that farts all the way. It only contains happiness. “Starboy”‘s drums are colder and jittery. It’s also more sparse, almost sounding like Joy Division tweeked for the dance floor. By the time drums kick in the chorus, they’re aggressive. You can party to it – it’s even recommended since it’s also brilliant – but it’s not happy-go-lucky and it’s more suitable to planning revenge than celebrating your anniversary with a significant other.

bruno-mars-24k

Ain’t no fun if the guys don’t get naked too

These differences make me react so differently to the ballads. When Bruno Mars put out “Versace on the Floor”, I could think in terms of ‘fuck that noise’ and ‘are women still fooled by this?’. A little before, Mars was a social butterfly who didn’t care about anyone. He was the person you invited to the party, but once everyone had too much to drink and talk about life he gets kicked out. He’s the guy who never holds a conversation but only screams jokes If Mars will be accused of raping a 16-year-old, I wouldn’t be surprised. Okay, I wouldn’t be surprised over any musician, but Mars is definitely in the top of musicians who have the highest chances of doing it.

I can’t connect the two. If “24K Magic” was less aggressive, more akin to Radical Something’s anthems of summer then it’d be different. Mars’ cocky aggression is integral to why his ballads doesn’t work. The line “Bad bitches and ya ugly ass friends” paint a picture of a guy women love so much he can afford to treat them bad without realizing it. Just ask Dessa. Neve in “24K Magic” do we hear a person who’s fun to be around, but a person who has a lot fun. It’s the type of person who fucks women instead of having sex.

When the Weeknd shows up his vulnerable side, it’s believable. He takes the dark side of “Starboy” and expands it, or takes the small cracks and zooms into them. “All I Know” is believable because it’s a direct contrast to “Starboy” instead of being unrelated. It was what he tried to hide so hard by bragging about praying for cars. “Secrets” is the flipside, with Weeknd being the man pining after the woman who has all the guys.

x720-zFW

About as romantic as quoting Gamergate supporters.

They also sing their ballads differently. “Versace on the Floor” is full of vocal acrobatics. Vocal acrobatics are impressive and a great way to terminate your acting abilities. Since they point out you’re actually a singer, you forget about the mood and the content. “Versace” is less about having time with a girl and more about seducing a girl using the promise of romance just to ditch her (Ed Sheeran’s character does it all the time). Shifting singing styles so radically only serves to show you were acting all along. Weeknd always sings as Starboy and never tries to show off. Imagine “Belong to the World” if Weeknd sang it like Mars. Actually, it would probably still be good because of the lyrics.

Perhaps it has something to do with me being a guy, but then again I consider Lostprophets’ “Rooftops” to be a highlight in music history. That song was made by your worst nightmare, a guy so sexy he could do anything he want and have women supporting him. Watkins never did Mars’ vocal acrobatics there. When it explodes, he screams more than sings and that’s crucial. Of course, good actors are also the best at sexual abuse, so maybe Mars isn’t that in person after all. I don’t know. All I know is that, as an actor, he’s horrible. Give me songs like “24k Magic” any day, because, from him, songs like “Just the Way You Are” makes me worry what happens backstage. I shouldn’t, since there’s always a good reason to worry about things happening backstage.

If that’s not enough, listen to “Versace” while watching the video for “24K Magic”. Tell me how different he is from how Nice Guys(tm) describe your boyfriend.

Sundays Without God (Kamisama no Inai Nichiyoubi)

sundays.jpg
This is such a bizarre anime. I’ve seen anime and movies with trippy imagery. I’ve read stories with pages of gibberish, yet few works of fiction left me with a sense of culture shock like this. Such anime are so original it’s hard to make them truly terrible, since the novelty value is there. Creators also tend to be as confused as the viewer, so they rarely reach their full potential.

When you have a unique premise on your hands that doesn’t owe anything to any tradition, there are two ways to go about it. You can either go full retard, mine the premise for anything it has and throw the kitchen sink along with everything. Since you have no idea how your anime is supposed to work, all you can do is try everything and hope something sticks. There’s a famous anime who did this and it’s called Future Diary.

vlcsnap-2017-03-26-00h35m19s127

The other route is the safer one. You let your story flow, but you never try too hard to understand it. You let characters interact and explore your world, but you refrain from anything too attention-grabbing. The anime will narrow its focus. Its structure will become almost RPG-like, giving the protagonist a basic objective to complete and finish it off.

Sundays Without God takes the latter route, but the result isn’t a complete failure. Despite not playing with the structure, its setting and premise are so weird that the feeling of culture shock is persistent. The stories that make up the anime are also good enough on their own and take advantage of the setting. You cannot tell them in any other context. Still, something feels off. It’s not completely weird, not completely normal and leans towards the weird without mining it too much. The result is anime that’s enjoyable like an ordinary anime while feeling weird.

The best thing about the anime is it unique setting and tone. It’s a perfect example of how you don’t need a lot of details to create a unique world. The world here is simple. God is gone, no one can get born and dead people don’t really die. It’s apocalypse in slow motion. We’ve had a lot of stories about what happens after the apocalypse and we tend to imagine it as something swift and fast. Here, the world is in the process of ending.

vlcsnap-2017-03-26-00h34m52s114

Human beings are resilient things, though. Even if the sun will explode, we’ll most likely try to save something. Survival instinct is so strong that it defies rationality and free will. In this case, the world isn’t ending so much as life reaches its epilogue. Life isn’t bad, but it keeps moving in an ordinary pace towards its ending.

What do you do when you’re the last generation? The anime is essentially about this, but it seems so weirded out by its premise it doesn’t really explore it. The first stories deal directly with these themes – one character is about to be the last of the last generation, which is the worst isolation you can have. The city of the dead is an interesting expressions of the Metaphysical Rebellion – how we can rebel against our circumstances and reject them.

The structure doesn’t prevent exploration of these topics, since many shows used shorter length with depth. The method of storytelling gets in the way. There’s an objective to solve, and the characters spend more time trying to solve it. While the pacing isn’t thriller-like, it’s too fast for such a premise. It doesn’t slow down enough to show how characters exist outside the story.

vlcsnap-2017-03-26-00h33m59s96

Characters’ existence outside the story is one of the best ways to convince us they’re real, to make us care about them and see their humanity. Stories are something humans create and we don’t live in just one. A focused storyteller shows snippets of other stories the characters can have, but then goes back to the main one. A master storyteller can imply these side-stories and connect them to the main plotline. The anime doesn’t do this. Its focus is too narrow.

It’s a shame, because the storytelling is quite excellent. The format is familiar – we have a good, well-meaning character visiting people and helping them. Ai isn’t just a vehicle to tell the stories of these people. Her personality and position is directly tied to her role. In a world where everyone’s ready to die or desperately fighting death, she’s a piece of light. She’s the youngest person alive, a possibility that there might be a future.

She’s not a lantern, though. When things go bad, Ai doesn’t say some nice things and the story ends. Often, she gives those pep talks but stumbles. The world is, after all, ending. Problems still exist and are hard to solve. Ai may be an optimist, but she’s a struggling optimist. We see her doubts, how much she tries to cling to her optimism despite everything.

vlcsnap-2017-03-26-00h32m50s177

This is where the anime’s faults lay. Although this is an excellent usage of such a character, they don’t take it far enough. Ai struggles, but the creators put her so much in the role of problem-solver she doesn’t have time to ingest the struggling. There’s no time to see how the possible failures affect Ai’s psych. Stories don’t always end just like she wants them to, and that should influence her worldview. How do you stay optimistic when things don’t go as expected? Do you blind your own eyes? Do you become pessimistic, or do you accept things as they are? The anime never addresses these questions.

The themes of wishing does make its appearance, but the creators aren’t sure what to do with it. People wish for things. Sometimes they come true, sometimes they don’t and sometimes they come true but the result is painful. It speaks volumes when a messy anime like Big Order addresses these themes better. They’re present, but wishing is not a plot device here and there aren’t enough angles to explore this topic from. It’s just there.

The art style continues the weird nature of the quality. The character’s looks are distinct and memorable enough, but the art style itself isn’t. You can put these characters in a school anime and they wouldn’t feel out of place (except for the outfits). There’s variety in how everyone looks and the school arc lets them show off their designs, but nothing connects it. Characters shouldn’t just look distinct but there should be a style that connects them, quirks that make the design memorable and make you wonder what else you can do with it.

On the other hand, the color schemes and backgrounds are beautiful. The anime finally fulfills potential. The colors are balanced. Light and dark tones are mixed. A burning red or a cold blue is are the dominating colors, and they have just enough brightness to make the world seem normal. There’s also a little darkness in them that reminds you that the world is dying. It’s a balance that’s hard to get. You can easily find yourself in bland colors, but here they’re the perfect mix of darkness and lights that fit the weird tone of the series.

Sundays Without God is a flawed anime, but nevertheless an anime like no other. Its failures hold it back from greatness, and but their nature prevents them from being offensive. When it falls, it’s not because it does stupid things. Rather, it’s too afraid to play with its ideas. They stand on their own, and even as basic storytelling it’s good enough. Someone might one day run away with these and render this irrelevant, but until then it’s worth your time.

3.5 sundays out of 5

Laura Weiss – Leftovers

leftovers
This book is angry. Weiss fires off a lot of bullets from a variety of weapons to plenty of targets. Often, the targets contradict each other. Both strict parenting and loose parenting are getting the blowtorch. The education system is mocked in its treatment of violence. Hot popular guys and ugly lonely creeps get the crosshairs. It’s like a literary equivalent of a Slipknot song. Perhaps when parents complain that teens don’t read enough, they should realize what’s their favorite music and act accordingly.

Then again, anger in music and anger in literature are two different things. Music can be senselessly angry. Music isn’t intellectually stimulating. It’s not a presentation of ideas, arguments, conclusions and proof. Music works as emotional release. Slipknot tell you more about what being angry feels like. Literature is an intellectual experience, not sensory. A lot of anger may be affecting, but it can lead to a shallow work. Weiss’ book isn’t completely shallow. It does more good than bad, contains more shades of grey than black’n’white, yet her failure tells us exactly what’s good and what’s bad about anger.

Anger is a good thing. We know when we’re angry that something is wrong, like how the pain from a wound tells us it exists. Anger also drives us to act. It stimulates and awakens your body. I doubt many changes in the world would’ve happened if it wasn’t for anger. So it’s a great thing Weiss is angry and such anger can drive young people to things. It sure did cause Weiss’ heroes to act. Anger also makes us lose empathy for others, though. While Weiss is aware of it, she’s just as guilty.

Something about anger narrows our focus. Depression can connect people or put a wall between them, but anger gets people hostile. Either you’re angry with someone about the same problem, or you’re against them. As an author, you must not fall to this lack of empathy. You created these characters, gave them personalities, backstories, wants and ordered them how to act. If you never bother to understand why they are the way they are, you set up strawman. It’s worse than that, since how can we solve a moral problem if we don’t understand why people do it?

‘Empathy’ doesn’t equal ‘justification’. You can understand why someone does what they do without agreeing. It means you can imagine yourself doing it. That’s why villains that we understand are more horrifying than those we don’t. I can understand why Ian Watkins committed his crimes. I can understand why, in such a position of power with charisma and a busy life I may push my sexuality towards these places. By understanding this, I can also avoid commiting his crimes if I am in a similar situation.

All of Weiss targets lean closer to comically evil than deep portraits. The topics she address are relevant and varied, but all we can understand is why someone would be angry at that. Blair’s mother is a neatfreak who cares so much about appearances she neglects everything else. Weiss tries not to make her too evil, but she lacks a moment of vulnerability, a moment that shows her us reasonable. Sometimes Weiss gets too close to making her sociopathic. She constantly ignores her daughter’s feelings with some hints that she deosn’t mind if Blair has horrible sex with douchebags if it advances her career. Now, if she was supposed to be a ridiculous career freak then fine. Weiss can’t get enough into her character to either make us understand why they’re extreme, or show us their other side.

The hostile world here is also one-dimensional. Often authors who portray a hostile world fail because of a self-centered view. They show how the world is hostile to their characters, but not much how others are a victim to it. It’s important since if your idea is that the world is a cold, unwelcoming place – which is true – then it’s like this for everyone. The situations in Leftovers are mostly us-against-the-world cases. Shy, socially inept guys are rarely present. Ardith’s parents are just alcoholics. The only pain we see is the main character’s, and that’s not a good excuse. Other characters have plenty of lines.

Where the pessimistic worldview does win Weiss victories is in her main character. Oddly, the flaws in the book are the exact flaws the two heroines suffer from. Their flaws were deliberate, too. The big, tell-everything prose says so. The same lack of empathy that made Weiss to write weak antagonists is also the downfall of the heroines. It’s also the best part of the book, the moment where she truly shocks the audience. In truth, the Ardith and Blair don’t commit a crime but only nudge pieces to take revenge. Nevertheless, they used someone’s pain for their own gratification and it’s not glossed over. It’s the one instance of hostility that we can understand, and that makes it more powerful than any description about how Ardith’s brother is an asshole.

The writing is precise, catchy and expressive. It’s also not subtle, which leave you feeling empty at the end. Most of the events don’t have much meaning but build up to the great sin. Still, the climax is powerful enough. Why shower it with explanations? It shows how difficult it is to do a confessional style right. Even when writing in a confessional style, it’s not just what’s being written that’s important. Holden isn’t defined by what he says, but also what he lingers on. The writing doesn’t give any new insight and Weiss doesn’t try. She has some skill, but it’s more like a hardcore band who breaks for a beautiful chorus of 30 seconds at the end of a show. The problem is Weiss doesn’t believe enough in her skill to write without explaining.

Still, it’s a decent book more concerned with exploring teenagers and their messy life, rather than offering a comfortable fantasy. It’s neither propaganda about how the world is actually beautiful nor how teenagers are misunderstood heroes. Perhaps Weiss has a great YA novel in her, because Leftovers shows she can capable of complex thought. It just shows she can do it, not that she does it.

2.5 leftovers out of 5

Ed Sheeran – Divide

ed-sheeran-divide-album-cover-2017-march-1484221917
Reviewing an Ed Sheeran album only takes two sentences. Any song where isn’t trying to lure a girl to sex disguised as a romance is excellent. Any song where he pretends to feel deep, serious emotions is obviously bad. Of course, two sentences isn’t a review and there’s more going on here. Ed Sheeran is a star and his love songs are especially popular, so we need to figure out how exactly this crap works and why cheesyy love songs are still pumping out when he should be putting a backwards baseball cap and collaborate with Eminem.

I said this a thousand times before and it dawned me. It’s hypocritical to claim Ed Sheeran comes off like an asshole, even a dangerous one when Lostprophets is one of my favorite. These guys are a classic case of music as acting, when the front is completely different than the real person. Solution to this conflict is easy. Fist off, acting is all that’s important when judging music. Ed Sheeran can be a fantastic person for all I know, but I review his character here. Second, Watkins never broke character. Sheeran does.

“Shape of You” is the most interesting song here since it merges Sheeran’s two sides, and reveals all I said about him. He courts a lady with soft, sensual singing and sounds romantic. Yet listen to the chorus. It’s all about the girl’s body. Imagine if the song was sung by a heroin junkie homeless in the street or an overly obese dude with glasses and anime dakimakuras. The song is quite creepy in how it goes on and on about how Sheeran desires a body and not the person.

There have been countless songs about sex, but the key is that they sound authentic. When 50 Cent made “Candy Shop”, it was all about having fun sex. He never tried to sound romantic – only more into sex as having fun instead of status symbol. “Shape of You” has a fantastic melody, but it’s equivalent of a hot guy going on a date with a girl and only telling her how beautiful she is. Something about its bluntness and how Sheeran still sings romantically makes him sound like a person trying to lure girls desperate for romance to easy sex.

Everything else here is easy to digest. There are the ballads, and they’re all quite bad. Sheeran can’t seemt to find a bit of vulnerability in him. Every ballad is sung with confidence. A slightly low voice doesn’t equal vulnerability, especially when “Dive” and “Perfect” explodes into choruses. The latter actually has a decent melody that would be good in the hands of a different singer. He can’t even fake sincerity like Coldplay.

It’s too clean. When he sings that hearts don’t break around here, it’s more believable – only it must be Sheeran’s heart since women come back to him anyway (See “New Man”). It’s hard to pinpoint exactly what is it about him that makes his ballads sucks so much. Wisely, he doesn’t do any vocal acrobatics like Adele and his voice is quite beautiful. In style, he’s closer to the Weeknd, who is the model when you want to be both a sex icon and a mess. I guess it’s because Weeknd always lets darkness in, even when he brags. “Perfect” never touches on the possibility of heartbreak. It’s music for the end credits of a bad romantic comedy, as if once a romance starts it never ends and the story’s over.

Previously, he could sound more sincere (if unimaginative) when talking about things other than love and how awesome he is. “Happier” should be his moment to show heartbreak. The guitar strums in a defeated way, not trying to produce a melody and it aims for the warmth of an early Dashboard Confessional. Everything is hushed, the singing is lower and the piano is pushed back. Yet it doesn’t work. You can still see the stage behind him. Where is the bitterness of heartbreak he is so good at showing at “New Man”? The falsetto at the end is a joke, a gorilla beating on its chest, sounding more macho and confident than a Groove Metal band who are hell-bent on beating Pantera.

Then again, even with better acting these songs will most likely suck. They don’t contain a melody, but all lead to an explosion, like Coldplay that’s more readily available to stadiums. It’s not the source of the bad acting since it was present in his earlier songs. When he gets personal, the only reaction to it is ‘why the fuck should I care?’. Many artists wrote songs like “Eraser” (quite good) and “Castle on the Hill” (awful), but none of them sounded so self-centered as he is. Why should anyone of us care about Sheeran’s life, considering he made so much money singing pretty ballads?

‘Privilege’ is a word I didn’t want to use. After all, a lot of my favorite rappers are white dudes whose albums are psychotherapies with the listener. Grieves and Atmosphere come off as humble, sharing their stories with the listener with hopes of relating. “Eraser” has a toughness in it, Sheeran trying to convince us he’s tough because he survives the pain of being famous. Considering on later songs he brags about fucking – and sounds happy about it – I’d say it’s another attempt to impress us. The song is good, though. As for “Castle on the Hill”, it has the same idea as Adema’s “All These Years” without the darkness. Nostalgia is a painful thing. I know that since I spent 3 years in a military home and seeing a distance growing between me and my old self, me and my friends and all I’ve known is quite hard. “Castle on the Hill” paints it like it’s all happy and nice, taking a trip down memory lane. Don’t say ‘privilege’, don’t say ‘privilege’.

So it’s all crap so long as Ed serious. Smack in the middle of the album you get “New Man” and “Galway Girl”, two brilliant songs that will easily rank as among the best of the year. Switching up his demeanor, now he’s a playboy who fucks women and women call him up – despite having boyfriends – to fuck. It’s believable for once, actually has spirits and Sheeran is into it. The latter is about picking up a girl at the club but there’s none of the creepiness of the lead single. Instead, it’s just about how she fell in love and they had sex. The former is a bitter break-up song about how the ex-lover’s new man isn’t that good. The confidence, the venom in that song is fantastic. It’s not a rant or a plea for the lover to return. Condescension is the dominant emotion, with Sheeran sneering all the way to next  one night stand. It’s not a song to sing to convince yourself you’re over the break up, but to celebrate how you moved on. No coincidence that both of these are Hip-Hop driven.

Nothing here is too different than previous albums by him. His sound is expanding a bit and there is more than acoustic balladry now, but overall the man remains the same. He cannot break free of being a performer, he cannot get into the act. The difference between him and the horrible Watkins is that Watkins remained in character. Having “New Man” and “Happier” in the same album is jarring, since they’re opposites but there’s nothing to connect them. Eventually, one side takes over and the most convincing one is the braggadio and macho bullshit. It’s funny how that song take shots an ultramacho new boyfriend, because that’s exactly how Sheeran sounds like. I have no problem with that, since “New Man” is actually brillaint. I only wish he would let go already. “Galway Girl” has more spirit than any song here.

2 new men out of 5

Ernest Hemingway – Men Without Women

men-without-women-9781476770178_hr
Hemingway is a fascinating character. Many tell stories, but Hemingway lived in an epic poem. He traveled the worlds, participated in wars, hunted, fished, went through four marriages only to commit suicide. If I needed source material for an epic tragedy, I wouldn’t need to look further. I wouldn’t even need to add themes – masculinity, romance and war are constant themes in Hemingway’s life. This fascinating Hemingway is the only good thing about Men Without Women.

Nowadays, Hemingway’s prose reads more like a parody of realism. He didn’t understand the purpose of it. When he talks about his Iceberg Theory, he talks about hiding things from the reader. Yet holding back information isn’t good storytelling. It’s how cheap thrillers keep us hooked by hinting that if we invest more time, a revelation will come. The purpose of minimalism is to reveal using few words.

Carver came years later and saw it through. When you read Carver, you don’t need to dig deep to find buried ideas. Rather, Carver’s bare prose makes everything float up to the surface. If something is hidden or implied, it means that the mere fact of it being hidden is important. At the end of “One More Thing”, Carver tells us the man doesn’t know what to say. That’s enough to show us how confused, how broken that man is. If Hemingway wrote that story, it would end with “The Man said.”, as if not telling the reader what he said is somehow more profound than showing the man is at loss for words.

These aren’t stories of beginnings, middles and conclusions. They’re snapshots of life, which is fine. “In Another Country” is a story that goes nowhere, but it’s so lifelike. That story must be close to him since it deals with war wounds. He’s not worried about being obvious there, but just let the images stand on their own. In it, there are machines that are supposed to cure body problems. Despite being the first of their kind, there are images of before-and-after. It’s not a complex image and perhaps not a very subtle one, but it’s more powerful than anything here.

“Hills Like White Elephants”, perhaps the most famous story here both shows where the style works and where it generally fails. It’s routinely praised for only implying it’s about abortion instead of saying it, but what’s the point? If you insert the word ‘abortion’ there, would it change the story drastically? Often that word dies to appear on the page, especially if you read an analysis of it. Hemingway writes it while struggling not to mention it for fear of being obvious. It’s like a band who stumbles upon a great melody, but repeats it only once in fear of being ‘poppy’ or ‘mainstream’.

This isn’t being concerned with literary quality, but with literary image. A story that aims for critically-approved traits like subtlety and depth misses the whole point. Even if you do switch the word ‘operation’ with ‘abortion’, the story would remain excellent. It’s really about a couple who reached a stumbling block in their relationship and don’t know where to go. There’s a reason they spend the whole story in a train station.

If you found his dialogue stiff and repetitive before, it’s even more so here. Some stories have sections like a broken record. “The Killers”, an otherwise excellent expression of fear of organized crime, has at least a page worth of unnecessary dialogue. Whenever Hemingway slips into this, you can feel him dying to say something but too afraid of ruining his image. He’s not completely awful in his style of omission. He said he left out the whole Chicago thing from the story and that’s a wise decision since namedropping the city wouldn’t add anything. Organized crime is scary regardless of where you’re at, but killers who repeat the same words ad nausam just don’t make sense.

Across his books, Hemingway’s flaws are as repetitive as the dialogue. Yet I keep reading because there’s something beating here. Discovering Hemingway lead an epic life isn’t surprising once you read a few pieces of prose by him. There’s distress, a desire for more, an obsession with concepts that fuels great people. It’s also not surprising Hemingway killed himself. Literature was an outlet for his troubles, but he couldn’t let it out.

Again, his Iceberg Theory stabs him in the back. Being a stereotypical man means bottling up your emotions and going fishing. Men are supposed to be tough and invulnerable. A vulnerable man can’t protect your children, after all. The stories try to dig into these masculine troubles, but end up conforming to stereotypes instead of breaking them.

The troubles are distinctly masculine. Violence and heartbreak often plague our characters. The violence is either for glory or for survival. As for women, their role is to provide a respite from this life. Perhaps that’s why the man in “Hills Like White Elephants” is so vague, anxious both to make the abortion and telling her she should choose. He’s afraid of losing her because if she’s gone, all he will have left is bullfighting and war. There’s glory in bullfighting and connection when you’re at war with your buddies, but these things can also be your downfall. Then again, in Hemingway’s stories women can also be the downfall.

Downfall is always around the corner, but the sense of dread which the characters feel never surfaces. Hemingway wants to imply so much that the stories feel like a person opening up about his break-up, only to shut up once he talks about the real reason. You, as a listener, is being teased and your curiosity isn’t satisfied. The person who needs a good talk is too afraid to speak, so he doesn’t get any help. The best stories here are “In Another Country” and “Now I Lay Me”. Hemingway lets himself go in these. There’s a bit more telling, but the emotional punch of them is powerful. Both can slot nicely into a Carver collection without a change in quality. The worst story is “The Undefeated”, where Hemingway flexes his jargon and ruins what could’ve been a beautiful story.

Don’t read Hemingway to say you’re reading the canon. Read Hemingway because you’re interested in his personality. None of his books that I’ve read are truly great (I’m yet to reach Bell though) but they each expand on his unique personality. If you find Hemingway an interesting enough person, read this. It’s not good, but like anything else he wrote it’s an essential piece of the puzzle.

2.5 men out of 5 women