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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.

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Tracklisting:

1. Red Coat – Adeline Hotel (Interview)
   2. S.O.B. – Nathaniel Rateliff & The Night Sweats
   3. Daughter of the Sea – House of Wolves (Interview)
   4. Monarchy – Table People
   5. Ruin – Doomking
   6. Lonely Boy – Titus Andronicus
   7. New York Hardcore – talons’
   8. Roar of Nothingness – Sun Organ
   9. Slow Dark Water – Furnsss
   10. You Are Arrived (But You’ve Been Cheated) – The Spirit of the Beehive
   11. It Was Gone – Orchid Mantis
   12. Big Sis – SALES
   13. No Comprende – Low
   14. The Washing Machine – SPORTS
   15. Shark? – Shark? (Everything Is Teeth by Evie Wyld and Joe Sumner)
   16. Christmas in Milwaukee – Advance Base
   17. Only Friend – Valley Maker
   18. My Track ’92 – Pet Cemetery
   19. Dusk; Falling Asleep, Know That You Are Loved – Sabbatical Wilderness
   20. Theremin Demonstration – Leon Theremin (Us Conductors by Sean Michaels)
   21. The Lemon’s Cousin – Boy Scouts
   22. Audrey Horne – Teen Love
   23. Mia – Spencer Radcliffe
   24. Return To The Moon – EL VY
   25. Bug – Alex G
   26. Wild Hearts – Kodiak Deathbeds
   27. Waves – Abby Gundersen
   28. UR = UO – No Touching
   29. Sparrow & Stone – Eva Foote
   30. What Can Be Taken – ÒOR

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The band are rather mysterious, with very few details available online beyond the music (which is cool with us). First two tracks are reminiscent of LVL UP, teaming a rumbly lo-fi rock aesthetic with deadpan, apathetic vocals to create something both fun and dark. Opener ‘Other People’ sets the tone of the record right away, with the repeated refrain declaring “Hell is other people who care about you”, while ‘Old Tuscon’ is an introspective tale of old emotions no longer felt, memories no longer cared about, framed in a sneery sort of way as if the narrator is making fun of his past self.

“Laying on a skateboard in the yard,
I was crying because she left me,
bless my little heart”

As the name might suggest, ‘Roar of Nothingness’ ups the sinister vibe. A noise rock song in the mould of Krill, the track has a distorted air, as if viewed through funhouse mirrors. This breaks down with thirty seconds left, leading on into ‘Gods of Summer’, which builds slowly with the ominous restraint of early Wintersleep. ‘Nona Fell’ has slinky summer vibes, like the heavy summer air before an electrical storm, and ‘Darker Later’ is (surprisingly) lighter though still bummed out, sounding like The Stone Roses weird cousin who practises in his mom’s garage.

“And in the schoolyard
like they always do,
that motherfucker told me
I’d never be as cool,
as you”

‘Brother Shame’ feels almost triumphant, or at least carefree, like the result of R.E.M. and The Smiths ganging together to form a noise/shoegaze outfit, and closer ‘Ass Kickin’ Rock’n’Roll’ follows suit. These tracks are not happy per se, rather free from worries because the narrator has stopped giving a shit. “I stopped remembering my dreams some time ago,” he sings, and you have no reason to doubt it. Check out the video below, complete with answering machine opening:

You can get Wooden Brain on cassette tape via Ranch Records, or as a pay-what-you-want download via Bandcamp. 

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