Waxahatchee – Out in the Storm
I originally felt that what was good about Waxahatchee was the arrangements – that is, the basic hyper-raw stuff was, like, fine, but it wasn’t all that compelling until it was formed into interesting songs. Then I saw her do a solo set that was totally amazing, and it completely reversed my viewpoint – the most basic aspects of her songs are what really weave the magic. So hearing this album after that was kind of A Thing, on account of a) it’s a polished and professional rock album, so it’s both highly stylized and completely straightforward, b) the demos were all released alongside the album, so you also have all the songs in their elemental forms, and c) it’s actually about changing perspectives.
The thing about the demos is that they make it very clear that the whole of each song is already there at that point. With rock in particular you’d think that you don’t have it unless you have the big sound, but the demos clearly have it. The two notes and the vocals on “Recite Remorse” actually are the whole thing. Of course, the importance of the vocals is far from trivial – they don’t have any particular gimmick or even complexity to them, but Katie Crutchfield’s plain-sounding voice is deceptively powerful. But it’s also the majesty of structure, the way that, when you have things organized in just the right way, you barely need anything at all. So this is almost like a white paper on songwriting; you can see the whole thing being built from the ground up.
And yet, as much as it all sounds like everything coming together, it’s actually about things falling apart. It’s a calm and dignified act of coughing up blood. With the extreme amount of polish and professionalism, as well as rock being particularly suited to expressing confidence, the heavy self-abnegation and even shame in the lyrics comes across very strangely. The singer here is someone committed to her own smallness and vulnerability, while the foil she sets up for herself consists of overbearing self-assurance. The album opens with “Never Been Wrong” as a criticism of the kind of person who promotes “narcissistic injury disguised as masterpiece,” and the singer’s complete admission of her failure here (“I got lost in your rendition of reality”) ends up being her active defense. Recognizing that “I could have fought with you forever and never break through,” she chooses to quit the war for order and let go of comfort. The album’s straightforward and even placid nature ultimately forms a commitment to chaos: “I went out in the storm, and I’m never returning.” This decision isn’t made in resignation, as grim acceptance of an unalterable reality, but as a positive choice, as the actual right thing.
“Sparks Fly” is the center from which the rest of the album grows out. The fact that the song doesn’t sound at all live-wire-y physicalizes the conclusion that things aren’t just how they feel to one individual. Electricity is a potential difference; it doesn’t arise by itself from one particular type of material, it happens when wires cross, or when things strike together. It’s by changing her perspective, by “seeing myself through my sister’s eyes,” that the singer is finally able to make the choice to stay unreconciled – which includes the irreconcilability of other perspectives, the absolute inability to get through to some people, and the necessity of dropping dead weight. “I know you don’t recognize me, but I’m a live wire, finally.”
Austra – Future Politics
I’m putting this on here because I’m completely conflicted about it. I’ve tried, but I can’t bring myself to like it. The vocals are still killer, but the music here is chill in the worst sense to the term: neither energetic enough to be exciting nor unpleasant enough to be interesting. It’s dull and unevocative, and all the more so for the blatant provocativeness of the titles. It completely goes to sleep halfway through and never really wakes up. None of the lyrics add enough context to compel attention (again despite the titles; for the record, this was written before the bottom fell out of the world, so it’s not explicitly about that, but as you know, everything happening now has a cause and was foreseeable and is understandable, so addressing anything in this vicinity bears on that endeavor. Not that that matters right now).
But despite all this, I don’t actually think it’s bad. I mean, it’s clearly not a “mistake”; it’s clearly exactly the album it’s supposed to be. But I don’t feel like any of the available options here really add up. One is that it’s a good album in the service of evil – obviously not, like, in the Leni Riefenstahl sense, but nonetheless a bad idea that happens to be expertly executed. This is putting the line in entirely the wrong place, though; if you actually accepted this proposition the amount of aesthetic culling you would have to do would be totally untenable. So the alternative (the one that most people accept implicitly and that you’re probably rolling your eyes at me for not just assuming) is that this is a perfectly salutary work that just happens not to be to my taste. That’s certainly the easy answer, but I’m pretty sure it’s too easy. I’m pretty sure my objections here are substantive. I’m not personally against chillness; I’m actually low-energy to the point of immorality. Rather, chillness is rationally harmful in ways that can be elucidated in technical philosophical terms. So I’m intellectually obligated not to close this case. I feel a very strong gap here, and I don’t know where it is, and I’ll admit that right now that’s all I have, and that my only claim on your time here is that I think this issue is worth highlighting. I guess this is the sense in which this album really did make an impact on me. It’s something I can’t understand yet, but which I’m forced to acknowledge right now.
The Dollyrots – Whiplash Splash
One time when I saw these guys somebody called out one of their super old songs, and Kelly was like “Hmm, I don’t think our drummer knows that one. She could probably do it though, it’s just like the dumbest possible punk song,” and Luis goes “Well, yeah, that’s all our songs.” It’s certainly true that, from a modern perspective, where every random asshole is a classically-trained historically-informed avant-garde revolutionary, The Dollyrots are an extraordinarily dumb-sounding band. The naive fervor of their devotion to the most mundane and trivial aspects of their genre make it difficult to understand them as anything other than a joke. Which is exactly what they said about the Ramones.
The truth is that looking dumb and being dumb are not the same thing, and “Just Because I’m Blonde” directly addresses this very topic. The song is indeed a broadside against “dumb blonde” stereotypes, which initially seems ridiculous. No one actually thinks that blonde people are dumb; the entire thing about blonde jokes is that they’re a parody of stereotype-based humor. Except that isn’t really the case; the reason tropes like this endure is precisely because people really do adhere to them on a deep ideological level, despite how ludicrous they appear on the surface. The fact that people say they’re “joking” about things like this belies the fact that they care enough to bother in the first place. More importantly, I lied when I said “blonde people“; what these jokes actually are is sexism dressed up as triviality. The presumption of good faith is based on the assumption that no one is “really” sexist, that everyone “means well” in spite of their actual behavior. Superficiality – pointing out that “it’s just hair, don’t be dumb” – is not a retreat, but an accurate defense against this. (Also, I’m not overinterpreting this; if you require corroboration, there’s a non-album B-side called “Get Radical” that proves it.)
So the fact that the song also sounds dumb, that its rambly lyrics and singsong chorus make the singer come across as an actual ditz, reveals the true nature of the opposition: looking like a moron while making an incontrovertibly true point is preferable to play-acting depth while being, on the merits, a dumbfuck. This resolved contradiction defines the band’s entire body of work (their previous album has a hardcore song about being pregnant, which sounds completely silly, until you realize that pregnancy really is the most hardcore thing), and it’s on its fullest display here. There’s actually a fair diversity of emotional states, anchored in sentiments as simple as “I Do” and “Squeeze Me” (and of course “Dance Like a Maniac”), rendered all the more faithfully for being cartoonishly blown up and garishly colored. It’s pretty fast, but it’s actually propelled forward by complex and thoughtful production, layered with precisely applied backing vocals and stabbed through with shouts and breaks. It sticks to its guns, but also fully explores its possibility space – in other contexts this is called “minimalism,” which reminds us that complexity and nuance, while assumed to be indicators of underlying intelligence, can just as easily be used to disguise the fact that you have no idea what you’re talking about.
Hence why the album ends with a joke song and a joke cover, neither of which is a joke: because joking is the most serious thing you can do. The mermaid, which would appear to be an arbitrary reference, is in fact central to the point. It’s a creature of two worlds that registers as a single entity, a living reconciled contradiction. Mermaid mythology continues to resonate because it’s immediately comprehensible even in the face of making no sense. Just so, this album is a mess of goofiness and also exactly what it says on the label: a message in a bottle that is also a molotov.
Ursula K. Le Guin is dead. I’m not totally okay with this.
Le Guin is usually glossed as a “big ideas” writer, with a focus on concepts and worldbuilding rather than memorable characters or dramatic scenes, and while this isn’t exactly wrong, it’s misleading in an important way. What continues to impress me about her work is her unflinching focus on the texture of life. She develops ideas by making people live through them, and she explores principles by creating physical locations and functioning institutions that embody them (or don’t). I’ve actually been going through some of her short stories recently and a lot of them aren’t even about anything. They’re just particular but unremarkable people living in particular but unremarkable circumstances and getting along with it, one way or another. Even “The Ones Who Walk Away From Omelas,” which is an explicit philosophical treatise, is told exclusively by describing a real society and then the actions of the people who live in it, in response to the way it is. She’s able to make stories like these not only compelling on a technical level (one of the downsides to her writing is the way that its effortless grace makes it painfully clear that you are never going to be good enough at anything to matter) but meaningful not despite but because of their complete lack of anything that would normally register as “meaning.”
Maybe this sounds like faint praise, like I’m just outlining the basic qualities that make someone a competent writer, but it’s not. It’s the most important thing. The only thing any of us actually has, ever, is the experience of lived reality (there’s nothing less “lived” about hearing about other people’s experiences or reading philosophical treatises). Fiction whose only purpose is to supplant this reality with a different one is properly called “escapist,” but so is fiction whose only purpose is to congeal reality into a nondescript mush of Ideas and Statements. In both cases you are ignoring the only thing that there actually is. Le Guin’s great achievement was the creation of worlds unlike our own that show us what our world is really like – unreality that makes the world more real. This is more than merely compelling or thought-provoking writing. It’s one of the secret keys to the truth.
This is also an important point about genre fiction in general. If Le Guin’s work counts as “genre fiction,” which it does, then the term doesn’t mean anything, which it doesn’t. Genre is not a property of a work but an after-the-fact critical appellation; it’s potential use is only as a tool, not a definition. Genre work often falls into the traps of getting lost in minutia or reverting to Big Moral Statements, but literary fiction has exactly the same problem: it’s often nothing but status-signalling lifestyle details coupled with half-baked pretension. The categorization isn’t the thing that matters; in fact, focusing on categorization is precisely a way of avoiding what actually matters, of pretending to do criticism when you’re really just doing bookkeeping. Nor is there anything wrong with the categorization itself; there certainly are comment elements and things that you can use to accurately (assuming you’re being honest about the endeavor and not just parroting received value statements) classify a story as “literary fiction” or “magic realism” or what have you. But if you’re doing this to say that literary fiction is “real” and genre fiction is “just for fun,” then you’re factually wrong, and Le Guin proves it.
Her feminism, for example, is significant not because of any particular big ideas or provocative analyses, but because she actually portrays the lived experiences of women, both in terms of their inner lives and the ways they navigate the social structures they exist in. This particular version of the double bind is that focusing only on “oppression” turns women into a homogeneous class of “oppressed people” who do nothing but reflect the pressures of their oppression, i.e. it makes women not people in exactly the way that patriarchy says they’re not. Whereas insisting on “agency” and “strong female characters” implicitly denies that oppression is a real thing: if overcoming oppression makes women superhuman, then oppression is actually a good thing, because it improves women. (Overgeneralization was the great failing of second-wave feminism, which was then overcorrected for in the third wave, and we’re still dealing with the fallout of that mistake.) These are the problems you run into when you try to talk about things abstractly, but the truth is pretty obvious: people are all kinds of fucked up in all different ways, and that includes social structures, which are made of people, but there are nevertheless recognizable patterns that recur in certain areas, and the combination of these things is what creates real-world behavior.
Le Guin transcends the dilemma by mastering both worlds: she puts believable people in understandable societies and lets us watch what happens. A simple example of how this works is the story “Semley’s Necklace,” where a fallen noble goes to ultimately self-destructive lengths to retrieve a priceless family heirloom. We understand this decision both in terms of who this person is and the pressures of the structure they inhabit (also, we understand who she is both as a product of and a reaction to the social structure she inhabits), and not in terms of handwaving ideological abstraction, a.k.a. magic. (I haven’t read a lot of her fantasy, but she understood that if magic were real, it would be rule-bound in the same way that everything else is; what she says about this is that, in fantasy writing, “you get to make it all up, even the rules of how things work, and then follow your rules absolutely.”)
This aspect of her work is why The Dispossessed is such an important book. The problem that all varieties of revolutionary politics share is that, because they are talking about a world that has never existed, they are necessarily completely abstract. The common complaint that they “only work on paper” is simply a failure of imagination; after all, actually-existing capitalism is precisely a system which sounds good in theory and is destroying the world in practice. The Dispossessed creates a believable anarchist society, and it does so by portraying the way that people actually live in such a society. The point isn’t that the book makes any particular political argument; the point is that reading it grants you the ability to imagine the world other than as it is, in practical terms.
In fact, the novel even has an explicit hero-character, Odo, the original leader of the anarchist revolution, who is revered and referenced as a source of wisdom and insight, but even in this case, her work is portrayed through people’s use of it in their own lives. That is, we see them reference and quote her as part of real-world in-the-moment arguments – we see how even explicit idolization unavoidably manifests itself as just another part of practical reality. Indeed, there’s even a separate story about Odo that portrays her as a confused old woman, puttering about and embarrassing herself and not accomplishing much of anything. Even when she creates explicit heroes, Le Guin insists on making them people. She denies everyone, including the reader, the ability to in any way “get out of” ordinary life.
And, of course, including herself. I don’t really know how she pulled this off, but she managed to become a famous writer without becoming a Famous Writer. She’s revered, sure, but not in the sense that people “praise but don’t read” her; she’s revered because people read the hell out of her. (On second thought, genre fiction might be more than categorization – it might be a mask. Maybe you have to embrace trivialization in order to avoid the greater danger of idolization.) Part of this can be ascribed to simple intellectual modesty. The Left Hand of Darkness, which is set on a planet whose inhabitants have only one gender that performs both human reproductive functions as needed, uses masculine pronouns to refer to them. At the time, Le Guin judged this to be the least bad of the available choices – as explained in the novel, “he” is, while not actually neutral, more neutral than “she” or any other alternative. But she didn’t insist on this choice as a matter of dogma; quite the opposite, she knowingly walked into one branch of a trap. For a later republication of “Winter’s King,” a short story set in the same world, she switched gears and used feminine pronouns, while preserving gendered titles, so the story features “Kings” and “Princes” who are referred to as “she.” This isn’t necessarily the “right” choice, either, but it gives the story a different subconscious color that reveals different aspects of it. So she ultimately did better than making the right choice; making both choices gave us both things to think about. And it also prevents her from being anyone’s hero on the subject. She was nowhere near dumb enough to think it was possible to be “neutral,” or to “just ask questions,” but the stands she took were impossible to piggyback off of, so the only available action was to take your own stand in response.
So the problem I’m having is that we really need this right now, because we’re falling into both holes. We’re suffocating in a flood of daily minutia that doesn’t connect to anything and vanishes as soon as it’s done stealing our oxygen, and we’re also falling back on vague generalizations and unexamined principles without instantiating them in real-world actions. We’re creating as many heroes and villains as we possibly can in attempt to understand the world, yet in every case we use them as an escape from understanding, as a simplistic substitute for reality. We need to make the connection the Le Guin was capable of; without her key, we’re locked in this room.
And yet, it is precisely here that she bequeaths us her final gift. Because she was never a hero, we always had to get along without her anyway. Nothing has changed. There’s really nothing to even complain about; we haven’t missed out on anything. She gave everything she had to the world, and she left what she didn’t have up to us. So now that we finally have to accept that we aren’t getting anything more from her, we have no remaining choice but to do what we should have been doing all along: we have to take what we’ve got and figure out what we’re going to do with it. We have always been on our own, and now, at the end, she forces us to confront that fact anew.
Still, on this particular subject it’s only polite to let her have the last word, so here’s a not entirely random passage from the story I happen to be reading at the moment:
Our daily life in the auntring was repetitive. On the ship, later, I learned that people who live in artificially complicated situations call such a life “simple.” I never knew anybody, anywhere I have been, who found life simple. I think a life or a time looks simple when you leave out the details, the way a planet looks smooth, from orbit.
Trebuchet – Volte-Face
This one’s kind of a problem for me. In theory, I hate it. It’s all slow strings and churchy harmonies and soft compassion. Like, it’s pleasant. It sounds nice. Give me a fucking break. The problem is that, actually listening to it, I have exactly zero negative feelings about it. It’s obviously great. I’m capable of objectively appreciating things that aren’t my thing, but that’s not what this. I really like this on a personal level, and that fact contradicts things that I’m pretty sure I know about myself. I mean, it’s not really that confusing. It opens with a literal hymn, but it inverts the meaning: not eating the fruit – failing to act recklessly enough to push the world out of its state of grace – is framed as the act requiring forgiveness. The rhythms are pretty hot; they’re not emphasized, but they do a lot to mitigate the austerity and get a little bit of blood flowing. And it’s not actually deniable that the singing is great, the songwriting is elegant and the whole thing is emotionally affecting on a very basic level. So it’s not like I have to renounce my faith here, but I still feel unreconciled. I suppose that has its own value, though. The world’s a complicated place. You’re definitely wrong about a bunch of stuff, and you’re never going to figure most of it out, so, if not caution, at least a little bit of magnanimity is called for. It’s parochiality that truly numbers among the greatest sins.
Kristeen Young – Live at the Witch’s Tit
The implication that this is an opera set in hell is pretty much accurate – it’s theatrically intimate, as clear as it is confusing. The furiousness of this album is not the shallow shoutiness that characterizes typically “negative” music but is rather a deep and abiding bitterness distilled into paralyzing venom. It’s a serious work whose depth merits its execution (even on the joke song). The vocals are a complete tour de force, screeching, thrashing, and soaring in all directions with precision insanity, huge basslines bulk the songs up to a monstrous amount of presence, and the way the drums snake together the disparate parts of each song, maneuvering through transitions and holding on to misshapen rhythms without relinquishing their own thundering intensity is beyond impressive. Even the production, which is often a strong presence (uh, this isn’t actually a live album, if you missed that) is extremely smart and well-deployed, substantive while also respectful towards and in service of the personality and emotion that constitute the core of each song. So it has the advantage of sounding great (Young really is a hellaciously powerful singer), but it’s extremely resolute about not letting you get comfortable. The songs don’t have tempo shifts so much as a completely alien sense of pacing that supports the off-message biliousness of the lyrics. It’s the perfect inverse of go-nowhere empowerment bullshit: it’s productive hatred, a flashing claw backed by tense muscle, coalescing around the one actual source of victory, shining in plain sight through the darkness: “You always win everything, but you lost me.”