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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It’s up for debate whether Alexandra Kleeman’s début novel You Too Can Have a Body Like Mine is dystopian. I mean, it’s too familiar and life-like to be truly dystopian, although that’s exactly what makes it so terrifying. The world seems to be functioning pretty much as normal, as people go about their days with the aimless sense of duty we are all accustomed to, a far cry from the visions of Orwell or Burgess or Dick. But the definition of dystopia is “a community or society that is undesirable or frightening”, so who’s to say “normal” can’t also be dystopic?

Kleeman’s narrator ‘A’ is blank, mostly faceless with few discernible personality traits. Her job feels temporary and is barely mentioned. Many of her scenes involve her doing very little inside her apartment. Instead she is fleshed out through her exposure to-/interaction with her room-mate (‘B’), boyfriend (‘C’) and the vivid stream of entertainment and advertising (or entertaining advertisement) which seems part of the world’s very fabric. Obvious comparisons are Pynchon and Foster Wallace, plus George Saunders in his being-clever mode (as opposed to his sentimental one), although the focus is very much away from the large-scale political/societal systems in favour of personal, A-centric explorations. All background occurrences (the mystery of disappearing dads, an anti-veal activist who ends up marketing it, even B and C) are filtered through A’s experience.

As the story is told in first person this might seem obvious, but (to me at least) it goes much deeper than that. In most postmodern books the main character is subject to/lost amongst a world of disinformation, whereas in You Too… it’s A herself who feels like the disinformation. The question here isn’t “is the world as the media says it is?” but rather “am I who the media says I am? Who I think I am?” Whether this is an emerging trend in post-postmodern millennial literature, a natural reaction to a world in which identity is unsettled and fluctuating, or just a new, gender-based perspective on things traditionally written about by men is unclear. One thing is for certain, Kleeman is a name to watch among the new generation of writers building upon the work of the aforementioned greats.Here’s a collection of songs that I think are relevant or related to the novel. If you like a particular band, just click the artist name in the tracklisting to be whisked away for more information. Enjoy:

Tracklisting:

1. Too Dark – Frankie Cosmos
2. Sucks Hanging Out With You (It Sucks Even More When You Leave) – Free Cake For Every Creature
3. Slumber Party – Mommy Long Legs
4. What’s Another Lipstick Mark – Adult Mom
5. Unholy Faces – Florist
6. Bedroom – Alanna McArdle
7. TV – Oh, Rose & Sawtooth
8. Death Cult Paradise – Trace Mountains
9. I Saw My Twin – Hop Along
10. Nashville Parthenon – Casiotone For The Painfully Alone
11. Dear Sons and Daughters of Hungry Ghosts – Wolf Parade
12. Oranges – Young Jesus
13. 1994 – PWR BTTM
14. Washing Machine – SPORTS
15. Lookalike / I Lost My Mind – Titus Andronicus

You Too Can Have a Body Like Mine is out now on HarperCollins. Quiet, Constant Friends is still available as a download or on cassette via the Wake The Deaf Bandcamp page. You can read the other Lit Links posts here. If you have a book in mind and fancy a go yourself, just get in touch!

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This self-titled release is Island Eyes’ first album, and fans of Janzen’s previous work will be pleased to find that he is still crafting exciting, experimental pop/rock music that incorporates a range of instruments and electronics. An obvious comparison is Spencer Krug’s Moonface output, especially earlier releases like Organ Music and Heartbreaking Bravery, although both acts are distinctive and unusual and probably share less in common than the majority of conventional bands.

The artwork goes some way to describing the themes and atmosphere on offer on Island Eyes, a mystical blend of nature and obscure, mythological imagery packed onto an island surrounded by sea. The narrative across the album has the feel of a classic quest – a pursuit of love, noble or otherwise, which begins on the very opening track:

“There’s a wind in my heart
There’s a sword in the air, on the ocean
I lay down, waiting for someone to love”

The entire album could be interpreted from this perspective, an epic captured in the protagonist’s poetic words or thoughts as he’s propelled across land and life by the voice and hands of his love (“As the morning sun wakes the sleeping wolves / I’ll be in your room; I’ll be in your home” continues ‘Pale Moon’). However, the odyssey is not a Hollywood movie with heroic deeds and happy endings. Instead it’s littered with confusion and menace, ominous imagery invoking random violence of nature and other forces, clear narrative replaced by the intuitive jumble of a dream. ‘Every House Is On Fire’ opens with a drum machine reminiscent of Handsome Furs and dives straight into the aforementioned unsettling imagery:

“I heard your voice inside the room
As all your storming clouds came in for you
I called your name, I called on high
But everybody’s houses are on fire

I won’t run, I won’t hide
In the dark of the night
Now I know, you were right
I’ll remain in the light of the sun”

If the first half of the album channelled a weird fantasy world then the second becomes dreamier still, as titles such as ‘You Had a Dream About Love’ and ‘October Mirage’ suggest. The latter again returns to the imagery of islands and swords, all shrouded in an oneiric fog like some fever dream of a would-be hero:

“To dream of the sea
Where I’m washed to the shore
With the clouds coming in
Like the waters before
I lift up my voice
To the ruinous waves
For the lights that once shone
Are beginning to fade”

The strange thing is that as things get weirder, you get the impression that the album is not really an epic at all. Or rather, it is an epic metaphor, an extended attempt to convey the modern-day feelings of the narrator through grand, legendary means. And the narrator could very well be Janzen himself – maybe the island in question Vancouver Island, the sea the Pacific ocean or the Strait of Georgia? What once seemed an interesting and magical tale becomes something more meaningful and unsettling: ‘Throw My Ashes Off the Pier’ deals with the admittedly morbid yet very real/common musings on how you want your loved ones to continue after your death (“O will you wait for me after I disappear? Or will you throw, will you throw all my ashes off of this pier, O my dear?”), while ‘Over Waves’ ends the release on an uncomfortable but cathartic note. “O I’m afraid of this heart,” Janzen sings, the track relatively bare in comparison to the electronic layers of the others, “I’m afraid of your ghost, I’m afraid of your love”. Here he confronts the uncertainty of every life, admitting his fear about pretty much every possible scenario while finding solace in the fact that this uncertainty binds us all.

Whether you want to listen to a fantasy, or a reality that can only be conveyed through the fantastic, this album will not disappoint. Island Eyes is out now via Legwarmer Records. You can grab a rather fetching cassette (see below) from the Island Eyes Bandcamp page.

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That’s all very exciting for American fans or those braving the trip to Texas, but why should the rest of us take notice? The answer lies in the ingenious method of fundraising that the band used along with the good folks over at Song, by Toad Records. The basic premise was that anyone who pledged support to the Kickstarter campaign was asked to vote for up to five songs that they would like to hear the band play on a specially produced album. And they weren’t limited to Meursault songs, suggestions of covers were welcomed.

The result is a pseudo-covers album (pseudo as there are a couple of re-imagined Meursault tracks thrown in too, such as the re-worked version of ‘Dearly Distracted’ in the player below), which has been wonderfully captured and produced. It must also be said that Meursault fans have great taste, with some of my all-time favourite songs making it onto the album (see ‘No Children’ by Mountain Goats and Wolf Parade’s ‘I’ll Believe In Anything’ in particular).

Each track has its merits, and I really don’t think there’s a dud amongst the fourteen strong collection. A personal favourite is the cover of Chad VanGaalen’s ‘Rabid Bits of Time’, which is perfectly suited to Neil Pennycook’s emotive vocals.

You can get the album now via Song, by Toad Records.

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This really is a must for fans of Swan Lake or Wolf Parade.

Grab the album over at the Frog Eyes Bandcamp page.

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Walha is what Wolf Parade would sound like if they traded in their punk influences and played around campfires. There is the rhythmic drumming and the ominous dual vocals and ‘ohhs’ and ‘laas’ of Krug et al., but there is also guitar strumming and piano tinkling and all sorts of clicks and rattles that invoke thoughts of wild spirits wandering ancient spaces.

The experimental flavour isn’t just restricted to the sounds, with the lyrics exploring some pretty weird themes. Soles says the songs are about ‘beach spirits, lakes, the ocean, water and stuff, lethargy, aching bodies, memory, myths, real lives, war, visions, and delusions.’ The lyrics, which are available to read in full on Bandcamp (something i always like), are poetic and dark and encourage not only repeated listens but further reading. Do you know who Bucephalus was? Or what Atrophos is? Neither did I.

You can buy Walha on Bandcamp now on a limited edition CD.

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Tracklisting:

1. Heroes (David Bowie Cover) – TV On The Radio
2. Shame (PJ Harvey Cover) – Japandroids
3. Close To Me (The Cure Cover) – WHY?
4. Float On (Modest Mouse Cover) – Blackbird Blackbird
5. The House That Heaven Built (Japandroids Cover) – Beat Radio
6. Going To Georgia (Mountain Goats Cover) – Sledding With Tigers
7. Still Life Blues (Elephant Micah Cover) – Small Sur
8. Runaway (Kanye West Cover) – Parts & Labor
9. Flume (Bon Iver Cover) – Emily Sprague
10. Lovely Allen (Holy Fuck Cover) – Shugo Tokumaru
11. Oh! Sweet Nuthin’ (The Velvet Underground Cover) – Bry Webb & Casey Mecija (of Ohbijou)
12. Whirring (Arms Cover) – Windmill
13. Wonderful (The Way I Feel) (My Morning Jacket Cover) – Trampled By Turtles
14. End Of The Line (Travelling Wilburys Cover) – GSJF
15. Constructive Summer (The Hold Steady Cover) – Kelly Hogan
16. Texas In A Drawer (Heidi Spencer Cover) – Conrad Plymouth (Now Field Report)
17. Red Candle Bulb (Withered Hand Cover) – Meursault
18. Yulia (Wolf Parade Cover) – Dan Griffin
19. Kettering (The Antlers Cover) – Sean Atkins
20. Golden Age (Beck Cover) – Strand Of Oaks

As usual if you like what you hear then go out to shows and buy stuff.

(P.S. Be sure to check out Volumes I and II if you haven’t already)

The Covers Mix: Volume #3 from Wake The Deaf on 8tracks Radio.

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Dan Boeckner’s Handsome Furs (who I wrote about briefly back in April) have produced a strong contender for my album of the year in Sound Kapital. They have taken their work onto a new level and seem to have found their perfect niche – somewhere between indie rock and industrial music. This may sound a curious mix but rest assured, it works, both on record and live. I was lucky to catch the couple on tour back in April and was blown away by their ability to combine thumping keyboards with the familiar vocals of Boeckner, neither was required to be subdued to allow the other to be heard.

Sound Kapital is out now, available on Sub Pop and from all the usual outlets.

___

Moonface is the latest of an ever increasing list of works involving Spencer Krug. If you are unfamiliar then all are worth checking out: Sunset Rubdown, Canadian ‘supergroup’ Swan Lake, Frog Eyes (now ‘Krug-less’) and the instrumental Fifths of Seven. Sunset Rubdown, originally used to release solo recordings, have formed into a fully fleged band so Krug has established Moonface as his solo moniker.

Organ Music not Vibraphone Like I’d Hoped is only six songs long but seeing as the shortest track is over 6 minutes long you don’t feel it is too short. Experimental is the obvious blanket term for the album but this doesn’t really explain the sound very well. High tempo electronic sounds are interspersed with Krug’s characteristic vocals (prehaps not at their yelping best but unmistakable nonetheless), producing what a few other reviewers have described as reminiscent of late 70s experimental music with the retro sounding drum machines. It’s probably best you just have a listen and decide for yourself, the highlight of the album ‘Fast Peter’ is available to download here.

Organ Music not Vibraphone Like I’d Hoped is available from Jagjaguwar.

Both Moonface and Handsome Furs are on Spotify for you to sample if you so wish.

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The new album follows on from Face Control, continuing the band’s interest in Russian music and culture. The album is written entirely on keyboards (apparently) and is inspired by Russian electronic and industrial music from the 1980s.

They set off on a tour soon, starting in the US and stopping off in various places in Eastern Europe (even Albania and Bosnia!) before reaching the UK in May:

05-13 Brighton, England – Great Escape Festival
05-14 Cardiff, Wales – Buffalo Bar
05-16 London, England – Lexington
05-17 Glasgow, Scotland – Captain’s Rest
05-18 Birmingham, England – Rainbow
05-19 Liverpool, England – Sound City Festival

Sound Kapital will be released on Sub Pop in June.

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