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30Hz Bl-g

30Hz Glossary of Music Writing Nonsense Words

When writing about music the goal is to inspire some feeling of Frankenstein viscerality in the reader. Especially regarding a band you’ve probably never heard of. I assemble descriptive words and band names and familiar song titles in such a way that my reader(s) hopefully have some sense of the sound without having actually heard it.

“Writing about music is like dancing about architecture.”

That quote has been sometimes attributed to Steve Martin, sometimes Martin Mull, sometimes Frank Zappa, Elvis Costello… and so on and so forth… but nobody really seems to know from whence it came. No matter. There’s as much fallacy as truth embedded within that famous line. On one hand you’re not attempting to recreate the music itself, but a potential reaction to the music, thereby writing about music by using familiar emotional attachment and response to similar bands and objects. I process the music as I hear it using my own sensibilities. I then translate what I hear into concretizations and regurgitate those concretizations so that the reader might then process the words and related bands and recreate the music in their own mind. In other words, writing about music is a whole heap of bullshit. But I love it. Because as a writer, I can say just about anything. Failure at writing about music is only the inability to elicit any kind of visceral response.

That said, as I write these rumbles I tend to make up and bastardize words. If it sounds like something, you’ll still understand, perhaps more so than if I stuck to that ever-so-limiting Dictionary. I’m trying to describe something that does not actually exist and therefore using words that don’t exactly exist seems rather apropos. Wouldn’t you say?

I thought about this as I wrote about The Jezabels in my recent “30Hz Recommended” feature. I resisted using a word. But that word has stuck with me. It has inspired me to write this bit. And continue to update the 30Hz Glossary of Music Writing Nonsense Words. Not only will I include my own but any others that I find in my reading and internet travel. If you have suggestions (and I like them!), please tweet them to me (@30hertzrumble) with the hashtag #30hzglossary or leave them in the comments. You’ll get credit and everything.

Leon Theremin

Concretizations (con-kret-I-za-shuns)
n. Abstractions made real and palpable, but not so palpable that you can actually touch them. So not palpable at all. Like playing a theremin.

the Joy Formidable

Melodrama Rock (mel-o-DRA-ma rawk)
n. Alt-rock subgenre. A sound relying primarily on earnest, sweeping sonic swells and plateaus. Songs tend to trend longer and start more slowly. These bands likely play their instruments very seriously, with little outward emotion because what they are playing is serious goddamn music. See: the Joy Formidable

Pinch (pinch)
n. An individual song that is so terrible as to have the power to suck the life out of an entire album. Pertains especially to vinyl records where there is no such thing as skip track or fast forward. A pinch is an inexplicable inclusion on an otherwise standout or legendary album. See: “The Girl is Mine” on Michael Jackson’s Thriller.

The Jezabels

Protomelodrama Rock (pro-toe-mel-o-DRA-ma rawk)
n. Alt-rock sub-subgenre. Melodrama rock with an added texture: the use of distinct and palpable nostalgia, most probably that for the 80’s. God help us if 90’s nostalgia bands ever hit it big. See: the Jezabels

Shoegaze (shew-GAYZ)
n. Alt-rock subgenre. An overused descriptor that has been saturated to the point of meaninglessness. A style of music characterized by the “WALL OF SOUND” which is generally comprised of prolonged and loud guitar and reverb that render lyrics incomprehensible. Applied to bands as varied as the School of Seven Bells, the Twilight Sad and Spacemen 3. Originally applied to UK bands in the 1990s and inspired by a band’s demeanor on stage: the guitarists spend much of their time staring at effects pedals, apparently deeply lost in thought and overly concerned about their shoes.

Synesthesia Nostalgia (sin-es-THEEZYA no-STAL-juh)
n. The synthesis of music and image and/or action. For example, a scene from a movie that is inextricably linked to a particular song. The song immediately recalls the movie and vice versa, thereby inspiring a wellspring of longing for a more utopian past, i.e. the 1980’s. See 30Hz Top 11 Synesthesia Nostalgia Moments of the 1980s.

Fanfarlo

Trifle Theory (try-FULL THEER-ee)
n. A seemingly incompatible combination of influences that result in a sound that is not unwelcome to the ears. Refers to a Friends episode where Rachel makes a Trifle dessert out of fruit and meat and Joey, predictably, loves the heck out of it. Used in reference to bands that wear three or more influences on their sleeve, especially when one really doesn’t seem to belong. See: Fanfarlo.

Viscerality (viss-er-AL-ity)
n. A state of feeling emotions that might be deemed visceral. Swelling emotions and shit.

 

Categories
Fiction Writing

Teeter

(originally published by Bartleby Snopes)

a short story by James David Patrick

Teeter Totter

When the snow melted in February, a teeter-totter appeared where there had previously been nothing but a pile of vines, pried from the rosebushes and left there through the change of seasons. I’d willed it to appear, having closed my eyes so tight my stomach clenched up like when Peter Dumbrowski threatened to punch me in the nose during recess. I asked my mom how this could have happened. She said she didn’t really know and that I should ask my dad. My dad, who was clearly much smarter than my mom because he had an answer for everything, said it was because things have a way of showing up when you need them the most. I disagreed because last Sunday I really needed the Vikings to beat the Packers and they just embarrassed themselves. My sister and I went up, we went down, but after the immediate thrill the teeter-totter lost its appeal. Not because the teeter (or is it the totter?) wasn’t inherently fun, but because this was during Alexis’s “heavy” phase. I was up far more often than I was down. We forgot that initial joy of discovery. Weeds grew tall around its sturdy base without our feet (especially Alexis’s) to trample them. Then one day in August the Totter was just gone. Perhaps I’d willed it away by forgetting about it, just as I’d willed it into existence. I asked my mom what had happened to the teeter-totter, and she said she couldn’t really say. I asked if Alexis ate the teeter-totter having mistaken it for a tater tot in a fit of summer lunchroom-tot-withdrawal. Dad laughed as he read the paper. Mom told me the conversation had ended.

I started to fear that the teeter-totter had never happened at all; after the disappearance no one spoke of it. I couldn’t know for sure until I needed something the most again. Months passed. I’d wanted a lot. A new baseball glove and a trampoline, for example, but I couldn’t say I’d needed them the most. I rode the pine on my Little League team and the trampoline was only a necessity because I wanted to impress a girl named Cathy who ignored me. A trampoline would change that.

By next winter, Alexis had lost the weight. She kept on losing weight until she felt sick, all the time. And she turned orange from using so much fake tanner. I told her that she needed a burger and to cut it out with the tanner, but she insisted otherwise. She said I’d understand when I grew up. She was only six years older than me so I couldn’t have needed all that much growing up. With dad away on business again, I felt I needed to take matters into my own hands. When I went to bed that night I closed my eyes and wanted so badly for her to eat, not to want a juicy burger for dinner tomorrow. One of those half-pound Canadian Angus burgers we got when we drove to Winnipeg on holiday with the melted cheese and grilled onions and sometimes the mayonnaise, but I didn’t want to push it because mayo spoils if it’s left out too long. I knew nobody could resist one of those burgers. The next day, mom called me down the stairs, I thought to dinner, but the table was bare. I heard Alexis puking in the bathroom. Mom stood outside the door, pointing to the table. She asked if I’d done that. I noted the half-pound burger on the table, minus one bite, and then nodded. A smile crept across my face. Mom sent me back to my room and told me to take the burger with me. She’d been crying. Of course I took the burger; you couldn’t resist the Winnipeg burger. Dad took half before I could make it up the stairs. One bite. I didn’t even know he’d come home. He must have come when he heard about the burger. I checked for mayo. No danger of spoilage.

 

I visited Alexis in the hospital. Mom said she’d been feeling better and wanted to see me. She asked about school. She asked if that Peter kid was still picking on me at recess and if I’d talked to Cathy yet. Last week I’d willed Peter into another school district and the next day Miss Stapleton said he’d moved to North Dakota. If anyone deserved a Dakota it was that prick. Not so much progress with Cathy. Alexis asked if I was taking care of mom. I didn’t understand how I’d be the one taking care of mom so I just said yes, of course. Alexis didn’t really sound like herself but before she came here you’d have needed a Geiger counter to get a good reading on her moods.

A nurse appeared and replaced the tube in Alexis’s arm with another one. After the nurse left I pulled Alexis’s bottle of fake tanning lotion from my pocket, placed it in the bedside drawer next to a bible and closed the drawer. Contrabrand. Without her lotion she’d gotten so pale, if less orange. Apropos of nothing I said that dad had been working a lot and hadn’t been home much. She asked where I’d learned the term “apropos.” I shrugged. Then she got angry. She said dad’s gone. Then she repeated it. I reminded her that dad came to visit her in the hospital the same day that he took me to the zoo. That’s different, she said. I didn’t see how. I explained that I’d closed my eyes and wished to see the penguins. The next day dad took me to see the penguins. She sat forward in bed and said, he left and he’s not coming back. Not like you need. You don’t understand anything, she said. A nurse suggested I should meet my mom in the waiting room. I agreed.

I’d begun to notice that nobody talked about dad always being on business anymore. No more talk about trips to Madison or Calgary or Eugene, which I’d just realized was a place and not our Uncle Gene in Michigan that bred Brittany spaniels. When Alexis came home from the hospital she wasn’t allowed to shut her door. I took this opportunity to bother her more than usual, asking to borrow this or that, usually CDs or sparkly writing utensils. She said yes to everything I asked, which took most of the fun out of it. She just kept saying yes, except the time she grabbed my hand and said “I didn’t think I would but I really miss dad.” If it meant getting my old sister back, the one that would bounce me out of the room, throw her magic 8-ball at me to keep me from reading her diary, I needed to try something. Later that night, I thought and thought about how I needed to will my dad back home. The next morning a man named Will appeared in the kitchen and asked me to call him dad. He made blueberry waffles and served them to each of us on the nice plates, the ones we weren’t allowed to use. He kissed my mom on the cheek. I guess something got scrambled in the communications.

October brought our first snowfall of the year. Late November blanketed the North Country. This meant tunnel season had begun. Alexis didn’t join me as she always had. She still kept her door open, except at night, when it was only open a crack. She rarely came out. I spent more time with the Feuchtwanger twins across the street, but their mom wouldn’t let them tunnel because they’d probably catch a bug. The way she accused them of bringing these things into their home you’d expect them to catch raccoons rather than pneumonia. I grew bored with the Feuchtwangers and the empty tunnels. I grew bored with Will. He’d moved in permanently and made us blueberry waffles every Sunday. Mom was happier. She kept telling us that since she was finally happy we should be happy too. I wasn’t so sure since I’d just started doing the reflexive property in math class and that just didn’t fit, but then again, Miss Emerson kept telling us that this was advanced math and we shouldn’t get too upset if we didn’t get it yet. We still saw dad once in a while, but he wasn’t himself. He’d stopped shaving and he moved out to Little Falls where he said rent was “more economical.” I begged him to come home because things just weren’t the same. Alexis never said anything when we saw him so I did the talking for both of us. I told him that we needed him at home the most we’d ever needed him. Will was fine, but he needed to learn how to make something else besides blueberry waffles.  I asked dad if he remembered when he said that things have a way of appearing when you need them the most. He nodded. He said he might have been mistaken.

 

Alexis never left her room except to go to school or the bathroom. She’d put on weight again, but she wasn’t nearly as heavy as she had been last spring. Mom seemed to think everything was okay. I wasn’t okay. It was winter in Minnesota and without fellow tunnelers and snow fort constructors, there really wasn’t anything left to do except sit inside and play Nintendo but I was limited to only thirty minutes a day. Mom said it was bad for my eyes and Will did nothing to disagree with her. Dad would have bought me some more time because he knew more about that kind of stuff than mom. I’d gotten sent to my room for breaking a vase with a Nerf ball after I’d been told repeatedly not to play with the ball inside. I argued that no one had bothered to offer a reasonable alternative to not playing with the Nerf. Will called me a smartass. I could come out, my mom said, when she wasn’t mad at me anymore. That seemed arbitrary. I pulled the covers up over my head to block out the last of the daylight and closed my eyes. I closed my eyes so tight that I made my stomach ache and my eyes sore. It worked once so it would work again. I begged and begged no one in particular. I said “I will the teeter-totter into the backyard.” I said it over and over until I got so hot I had to pull the blankets down to breathe. Maybe, if the teeter-totter came back Alexis would come outside again and dad would come home. Maybe then everything could go back to normal.

Every so often I’d stick the shovel into the snow where the teeter-totter had been, just to see if I struck anything hard beneath the snow. I never did. But then again the snow was dense and there was a lot of it. Mom said we’d reached our seasonal average by the end of January. I couldn’t remember anymore if I wanted more snow or less. One morning I made the mistake of suggesting that I missed the teeter-totter. It just fell out. Will served me a waffle and said how those things were childish and kind of unsafe. He added bananas to waffles now. We had options. Mom nodded and said she was so happy to hear that he felt that way about the teeter-totter. Will kissed her on the cheek. Alexis pointed down her throat. I had to laugh. I wonder if Will also thought pancakes were dangerous and that’s why we never had any.

When the temperature reached the mid-thirties in late February I began watching out my window into the backyard. Sun reflected off the snow, melting the top layer each day so that it could freeze again at night. A layer of epoxy, like the finish dad put on Alexis’s craft table that now lay beneath a mountain of magazines, including the occasional Vogue that she’d smuggled in. We weren’t allowed to read those adult magazines because mom said we weren’t old enough to digest them. Alexis came in my room and sat down on my bed. She seemed so out of place.

The jagged icicles that had once blocked my backyard view had shrunk down to rounded nubs. Water dripped onto the windowsill in unpredictable patterns. Just when I thought I had a handle on the pattern everything would change. I told Alexis to watch, that I could stick my head out the window and catch the drops in my mouth. “You know dad bought you that teeter-totter,” she said. I shook my head. I said I willed it there because I wanted it so badly it hurt. I told her to wait. Wait and see because last year I didn’t want it nearly as much as I wanted it now. She said nothing. I made her promise that if it appeared she’d come outside and play with me, just as soon as the snow melted. I watched through the window. I waited and wanted. She said, “Sure,” and walked back into her room. I could tell she didn’t mean it. She didn’t believe. But I knew better. I knew that one morning, when the snow gave up its hold, the teeter-totter would appear, just as I said it would. I’d wake Alexis to tell her. She’d actually beat me down the stairs, through the kitchen and out the back door saying “No way, no way, no fucking way.” Mom and Will wouldn’t have made it downstairs yet because if they had they certainly would have told us not to go outside, there wasn’t enough time, you’ll just get your clothes muddy. Alexis and I would sit on opposite ends of the teeter-totter and I’d start on the high end, as I always did, waiting for Alexis to push up off the ground. In another moment I’d fall back down to earth and watch Alexis rise into the air, her waxen frown taken over by a smile. And even there, cemented in my dream, her smile looked so unnatural, so out of place, like I’d willed it there out of thin air.


BIO: James David Patrick has an MFA from the Stonecoast program at the University of Southern Maine and lives in Pittsburgh where he can often be found sifting through stacks of vinyl at Attic Records or begging his daughter for new story inspiration. He has previously published with Monkeybicycle, PANK and Spectre Literary Magazine; tweets at @30hertzrumble and blogs at www.thirtyhertzrumble.com.

Categories
30Hz Bl-g Live Music Music

The Twilight Sad @ the Empty Bottle, Chicago 3/2

The Twilight Sad @ the Empty Bottle, Chicago
March 2, 2012

The Empty Bottle bar

If I hadn’t been riding in a cab to the show I would have had to double check my directions. After arriving at the Empty Bottle in Chicago’s Ukrainian Village I couldn’t believe that a band like The Twilight Sad would venture from Kilsyth to Chicago to play in a corner dive bar. If I hadn’t seen the band’s bassist lingering around the swag table (which flanked a Ms. Pacman cabinet) I’d have called the whole operation into question. No punches pulled, the place is a dive, though a dive in the best possible sense – a local joint where you’d go to see your cousin’s band play a set of Ramones’ covers but only because of the $3 Shiner Bocks. The walls held together by thousands of staples, the wallpaper comprised of the impressive shards of posters documenting past acts.  Tattoo-sleeves on the bartender. Multi-colored Christmas bulbs dangled above the stage. Chiaroscuro spots at the side of the stage, that would in due time, obscure all of my attempts at in-concert photography.

Micah P. Hinson warmed up the early crowd with some standard-fare singer-songwriter angst, albeit wearing white Buddy Holly specs which at least provided a topic of conversation while my party warmed up the back end of the bar.

Young Prisms

The penultimate band, a Bay Area export by the name of Young Prisms, provided a pleasant smattering of Jesus and Mary Chain covers, which actually turned out to be their original material. The perfect opening act – familiar and unmemorable but with some potential to become an “I-saw-them-way-back-when” band. The curious footnote about the Young Prisms’ set, which proved to be a harbinger of things to come: we couldn’t tell if the supposed lead singer was actually singing. I changed my viewing angle of the stage so that the microphone wasn’t blocking the lead singer’s mouth. Yes, indeed, she’d been singing. News to us.

More about the venue. Imagine an L. Place the bar along the long upright and a two-tiered riser for concerts in the short end. The stage at the crux and a brick column flanked by doorways directly in front with room for about two dozen spectators between the stage and the column in a crowded mass. With Stella in hand I pushed near the front end of the bar in anticipation of the Twilight Sad. Though it wasn’t really anticipation per se since they were already on stage testing and honing levels without much fanfare. And then they paused. James Graham huddled over the microphone, wilting inside himself. A pause before synth and haunting distorted bass reverb commandeered the Empty Bottle. Graham’s body seethed with intensity as he brooded the opening of “Kill It in the Morning,” the concluding track on their latest No One Can Ever Know. No translation necessary. Not that deciphering his thick Scottish accent proves necessary to getting lost in the music or understanding Graham’s cryptic lyrics – but because it was almost like he wasn’t singing at all, despite the clear intent and focus on consuming the microphone. The swell of synth and percussion near the end of the song resonated with the largely idle crowd, causing the first head widespread lost-in-the-music head nods and air drumming. With the vocals drowned out by a wall of reverb, I relocated to the two-tier risers, figuring on improved sonic fidelity.

The Twilight Sad (not at the Empty Bottle)

“Don’t Move” followed but instead of reverb distorting their sound, percussion overshadowed the mix. Only when drummer Mark Devine launched the recognizable opening drum cadence for “That Summer, at Home I Became the Invisible Boy” did a song resemble an album recording. Graham belted the repeated chorus “Kids are on fire in the bedroom” clearly and intentionally, the minimal reverb finally allowing an aural connection to the singer but these connections seemed localized to songs from their prior albums. Fan favorite “Cold Days from the Birdhouse” and “Reflection on the Television” succeeded due to a more minimal, precise mix of vocals, drums and guitar. “Cold Days” in particular offered Graham’s voice a chance to come into focus. He lingered on particular passages, slowed the tempo, played with our expectations and highlighted a sadness in the song’s chorus that isn’t wholly apparent on the album version.

But this highlight came too late in the show, perhaps, to hook anyone unfamiliar with the bands catalog. Those already familiar with The Twilight Sad and their music would have reveled in the chance to witness Graham, in the way the prior music generation witnessed Ian Curtis’ localized intensity, his ability to command a two foot space on a stage and thereby an entire room. The orchestration sustaining his performance on stage, eyes closed, lost in the synth and reverb. Songs from the “No One Can Ever Know” album, as great as they are on the album, amplified too large for the space and drowned even Graham’s confident vocals. Poor Stephanie Hodapp of the Young Prisms’ never stood a chance.

Still trying to find that sweet spot, that spot that allowed each component of music to flourish, I nestled into the small crux of the “L” next to the brick column directly in front of the stage and located a semblance of fidelity just as “And She Would Darken the Memory,” a favorite track from Fourteen Autumns and Fifteen Winters, concluded. Even the accent-clouded lyrics of the chorus “And their friendly faces with put on smiles” emerged through the din with a measure of intelligibility. Sigh. Once the Twilight Sad left the stage after their curious closer, “At the Burnside” – a song noted for its notorious “wall of sound” comprised of wailing guitar, piano and percussion – I reported my finding to my party, now nursing their final drinks at the rear of the bar. They shrugged and we wandered out into the snowy Chicago evening. We caught a cab and I spent the entire time questioning what went wrong, my voice too loud for the silent cab. I began the process of turning down the volume on the synth and reverb still echoing in my head. I questioned the choice of venue and the sound engineers but never the band. Not even once. The performance was there and showcased brilliantly in fits and spurts. But in the end, I decided that maybe this venue, this corner dive, was precisely the place that the Twilight Sad could be precisely themselves, baring their damaged souls but still hiding among the reverb and causing everyone else to question, exactly, what it all means.