I live on a curious diet of nostalgia and novelty. Yesterday, the morning was broken by the words of Binary Star’s “Reality Check” (previously mentioned for its sample of Al Kooper’s “Great American Marriage/Nothing”) interspersed with the words of Reubens Accomplice’s “What You Want Gets You”, and a reading about Doomsday (the Superman villain, I mean) and the mention of character “Doomslayer” dropped Darkest Hour’s “Doomsayer (The Beginning of the End)” into my brain.
None of that makes a lot of sense: Binary Star is well-respected, underground hip-hop. Reubens Accomplice is barely-known indie rock that is simultaneously stripped-down and flowery with instrumentation and curious production choices. And Darkest Hour is Swedish-influenced metal(/core).
I listened to Binary Star here on my desktop, went out listening to Darkest Hour’s Deliver Us and Undoing Ruin, then came home to listen to I Blame the Scenery on vinyl.¹ It was all tone and mood and all kinds of stupid personality quirks: Binary Star was sating that mentally-inspired craving, Darkest Hour was, too, but was positioned for both driving and the immature desire to blare metal and related genres while doing so. Reubens Accomplice was via needle because of the forlorn tone of so much of their stuff, and the way my music room looks out on trees (even if there’s a school on the other side of them…) and can be rainy-day lit with just the one open window to stare out.
Watching episodes of The Trophy Wife today (I have no idea how I stumbled into it, but watch it regularly, sort of), I definitely heard a voice I knew–it was definitely Rod Argent’s “Zombies” voice. Indeed: it was “This Will Be Our Year” from Odessey and Oracle (of course!), which I thought might be the OK Go cover (but Argent’s voice is too distinctive–it was definitely the original). I put the track on, and proceeded to be dragged by “Friends of Mine” (covered by Of Montreal at one point) and “Time of the Season” (come on!) into “Care of Cell 44” (which I got into whilst dating someone who made that track a good pun source), and thus the entire album beginning-to-end in mono (having started it from the stereo versions of those two tracks). I finally corrected the source of “She’s Not There” (to the UK title Begin Here and track 7, rather than the front-loaded track 1 of the US-released The Zombies). Nostalgia.
Last night, it was Joe Lally of Fugazi’s first two solo records–because they’re subdued in the right way, even if not all dreamy and softened. This morning a nap was led in by Jets to Brazil, after seeing a copy of Orange Rhyming Dictionary on vinyl appear (and disappear before I could vacillate on purchasing it at $75 when I still have no income–so probably for the best). I’ve barely listened to Perfecting Loneliness and Four Cornered Night, but there they were, a kind of novelty, and I intend to spend some time with the records I’ve yet to listen to at all today, which I’ve actually been reasonably successful at lately.
So it goes, I suppose.
¹Actually, “What You Want Gets You” is on The Bull, The Balloon and The Family, but I couldn’t place the sounds for the life of me, and I think they were kind of swirling around with some other Reubens Accomplice tracks.