Now, aside from certain misgivings pertaining to the diversity and focus of such events, there’s also a long and likely important discussion as to what degree protest alone can change (see Micah White’s case in The Guardian, citing the relative failure of Occupy). However, there is little doubt that activism is as or more important than it’s been for years. The tricky part will be maintaining this level of enthusiasm and commitment to equality beyond single marches or petitions. As White writes at the end of his piece: “The Women’s March on Washington has a role to play in this unfolding drama, but only if we cultivate a few moments of detachment from the thoughtless excitement to truly take time to consider this question: what happens on the day after the women march?”

The answer, I think, should be a doubling down on listening to women, non-binary folks and people of colour. Like, truly listening. Allowing them not only a voice but also the respect/power/position that will enable such a voice to enact social and political change. This can and should start at the smallest levels, equating to nothing more than a commitment to seeking out non-male/white opinions and voices and considering them with equal weight. Look for female journalists and authors and thinkers, PoC musicians and artists and film-makers. Heck, even just read The Le Sigh and Swell Tone and The Grey Estates, anything to shift your perspective away from the dominant voices. Do this until your bookshelf and record collection and Twitter feed look a little different, and the worldview that’s being beamed to you will look a little different too.

We’re under no illusion that our blog posts and mixtapes will solve anything, or that we’re preaching to the converted in this cool little echo chamber. So consider this as us shutting up for a few minutes, both to give space to voices that need it and a reminder that we’re standing by, on your side. You’ve lit the match, it’s time the void went flash. Never think that what you are doing is too small, and never assume that you are doing enough.

Tracklisting:

1. Jenny Hval – Untamed Region
2. Oh Rose – Running
3. Camp Cope – Jet Fuel Can’t Melt Steel Beams
4. The Breeders – Hag
5. Screaming Females – Mothership
6. BB Cream – Heroine
7. Shannen Moser – A Funeral, A Friend, My Sanity
8. Tanukichan – Enough
9. Noname – Reality Check
10. Patti Smith – Kimberly
11. Sammus – Perfect, Dark
12. Vagabon – Fear & Force
13. Diet Cig – Tummy Ache
14. Jay Som – The Bus Song
15. Haybaby – Her
16. Betty Becky – Telegraph Ave
17. Suburban Lawns – Janitor
18. Heavens to Betsy – Nothing Can Stop Me
19. Tacocat – Dana Katherine Scully
20. Colour Me Wednesday – Two Fifty For You Girls
21. Allison Crutchfield – Dean’s Song
22. Cherry Glazerr – Nuclear Bomb
23. Mal Devisa – Dominatrix
24. Nicole Dollanganger – American Tradition
25. Angel Olsen – Sister

P.S. This seems a good time to remind you that Nancy Kells of Spartan Jet-Plex recently put out Friends For Equality, a compilation in support of the Southern Poverty Law Center, ACLU and Planned Parenthood. In addition, she has arranged a benefit show in Richmond, VA in support of Forward Together and Sister Song (full details here).

There have also been similarly great releases like Wren & Shark and Friends, Don’t Stop Now (featuring covers by the likes of Lisa Prank and Augusta Koch of Cayetana) and Our First 100 Days. Oh, and some specially written songs by Hip Hatchet and Adeem the Artist.

Photo by Benjamin Lovell

The post Lit a Match, the Void Went Flash: A Playlist for Moving Forward appeared first on Various Small Flames.

Whether Garth Risk Hallberg lived up to the hype is up for debate. I’d suggest there is a certain ‘hype threshold’ past which people will ensure you get a fair share of criticism regardless of what’s between the covers. What is not up for discussion is the beauty of the writing on show, nor is the sheer scope of the world it brings to life. Here we find a network of characters linked by blood or love or sheer chance which grows through schizophrenic POV changes and creative interludes. To give you some idea: There’s Mercer, a man struggling with being gay and black in 1970s New York and his relationship with punk musician/artist William, heir to the Hamilton-Sweeney fortune who’s music with the now-defunct Ex Post Facto “seemed to promise complete freedom, on the condition of complete surrender”. Then there’s William’s estranged sister Regan and her troubled relationship with husband Keith, who are themselves caught up in the Hamilton-Sweeney machine, plus loser-loner Charlie and his friendship with punk cool-kid Sam, and their link to the Post-Humanist Phalanx. That’s not to mention the police detective, the art dealer, the shock jock radio presenter. The investigative journalist, the firework-setter, the transvestite keyboard player. The anarchistic, arsonist cult leader.

So… yeah, it’s all too detailed to review properly, though the key plot is strangely simple. Packed with the sort of suspense/drama you might expect from a film or television show, the book is not as challenging (difficult, ‘literary’) as you might expect. What Hallberg does achieve is to conjure New York at a specific time. The web of characters produce a panoramic snapshot of a generation, palpable nostalgia and a good sprinkling of well-used topics (troubled artists, drug addicts, traumatised and/or damaged lovers) creating a view of the seventies perhaps as we’d like to remember them. The spirit of the book is captured nicely near the beginning, when the clock strikes midnight on New Year’s Day :

“For a second the city seemed to lean forward and make contact with a future self: ruined, de-peopled, and nearly still. In a sealed hanger, forensic economists move around numbered lots with scales and callipers. Believing themselves to have evolved beyond delusion and loneliness, beyond illness and longing and sex, they hum distractedly and wonder what it all meant”

As books go, City on Fire is pretty easy to soundtrack, so this playlist could have been a hundred songs. But anyway, here are twenty songs which go some way to capturing the time/place/mood Hallberg created. I’ve included a mix of classics and newer stuff to keep things interesting, and the order isn’t important.

Tracklisting:

1. Blank Generation – Richard Hell and the Voidoids
2. Art is Hard – Cursive
3. To Hell With Good Intentions – Japandroids
4. Kimberly – Patti Smith
5. Chinese Rocks – The Heartbreakers
6. Roar of Nothingness – Sun Organ
7. Docking Guard – Northern Primitive
8. Today, More Than Any Other Day – Ought
9. Aloha Steve and Danno – Radio Birdman
10. The Kids – Lou Reed
11. Orphans – Teenage Jesus and the Jerks
12. Stevie Nix – The Hold Steady
13. Who Do You Belong To? – The Spirit of The Beehive
14. You Can’t Hold The Hand of a Rock and Roll Man – Okkervil River
15. Our Lives Would Make a Sad, Boring Movie – The Hotel Year
16. Using – Sorority Noise
17. Fireworks – Radiator Hospital
18. Your Own Place To Ruin – Rivulets
19. New York Hardcore – Talons’
20. This Heart’s on Fire – Wolf Parade

City on Fire is out now via Knopf Doubleday (US) and Jonathan Cape and is available from all good book shops. Quiet, Constant Friends is available digitally and on cassette via the Wake The Deaf Bandcamp page.

The post Garth Risk Hallberg – City on Fire appeared first on Various Small Flames.

Today we are delighted to unveil ‘King of Crumbs’ by Ben Seretan. The song is taken from his album In Two, recorded as Ben Seretan & The Early in 2012, and is inspired, at least in part, by the writing of Patti Smith. As Ben explains:

“I wrote the lyrics to this song on a cocktail napkin on an airplane to Portland, Oregon after reading Patti Smith’s description of Jim Carroll in Just Kids – in writing about their romance, she describes him as a mix of Rimbaud and Parsifal, the holy fool, who in Wagner’s last opera, wanders a magical kingdom where “time becomes space.”

The track is a strange one, the instrumentation dischordant and unsettling, Seretan’s vocals delivered in a detached murmur. Things grow increasingly ominous right up to the noisy finale, where the music comes together in a clattering collision of percussion and guitars and the snarled mantra of “let slip the dogs of war”. Check out the full lyrics below and see how much of Parsifal and Patti Smith you can glean from them:

“The brass ring fell from my grip
Trip to the moon
Sleep in the daytime
Tennessee fell in the ocean
Our drugstore home under a shipwreck

Call me the fool, wander the kingdom
I broke my bow over my knee
Honey the lids, hang by the ankles
The king of crumbs biting his thumb

Let slip the dogs of war”

The artwork is by the excellent Nottingham-based artist Mouni Feddag. You can check out her work here, buy some lovely things here, or follow her on Twitter, Facebook, Tumblr and Instagram.You can pre-order Quiet, Constant Friends now from the Wake The Deaf Bandcamp page. Remember that the tapes comes with extremely limited edition art prints, so if you like the work of Mouni and Co. then be sure to get your order in.

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The post Quiet, Constant Friends: Ben Seretan – King of Crumbs appeared first on Various Small Flames.

Producer Stewart Lerman and Boardwalk Empire music supervisor Randall Poster have put together a collection of prohibition-era hits with instrumentation from Vince Giordano and the Nighthawks. This record, which is actually the second volume (with the first winning a Grammy no less), features a wide range of guest vocals from well known faces – from The National and St. Vincent to Neko Case, Elvis Costello and Liza Minnelli. Members of the show’s cast also contribute, including Stephen DeRosa and Margot Bingham.

Poster, who has worked for a number of the top directors including Martin Scorsese, Wes Anderson and Sam Mendes, says,

“Boardwalk Empire provides an incredible back drop for music.  It’s been a steady treat to mark the passing of time in song over the course of four seasons.

Terry Winters, Martin Scorsese and the entire Boardwalk Empire team inspire the sound of the episodes as we move from the streets and alleys of Atlantic City to the smoky rooms of Al Capone’s Chicago and on down into the tropics of Florida. This compilation celebrates the mastery of all the artists involved.”

You don’t have to be a fan of the show to appreciate this album. Where else are you going to find such a collection of heavyweight acts all in one place? I am by no means a connoisseur of 1920s music, but it sounds good to me. Check out The National covering Isham Jones below.

The soundtrack is out now on ABKCO Records

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