Tag Archives: Margo Price

The Final Omnibus

“As we all know, there is a kind of lazy pleasure in useless and out-of-the-way erudition.” — Jorge Luis Borges

Some years ago — never mind how long precisely — having no steady job, and nothing particular to interest me in empirical reality, I thought I would begin writing reviews of everything I watched, read and listened to. It is a decision I have lived by relentlessly ever since.

Now it’s time to stop.

To the dozen or so of you who constitute my core audience, thank you. And don’t fret — there will be plenty more nonsense for you to read here on matthewjrparsons.com in the future. But the exhaustive reviewing project that’s currently called Omnibus (still known to its friends primarily as Omnireviewer) is over, as of this post.

But as longtime readers will attest, if Omnibus is to vanish it is only appropriate that it should vanish up its own ass. And so, I present the last missive of the Omnireviewer. Strap in. In all my years of blogging I have never been as self-indulgent as this.

One review.

Literature, etc.

Matthew Parsons: Omnireviewer/Omnibus — Some things are so self-explanatory that you can review them just by describing what they are. “A prog rock album with only one 44-minute long song,” for example. Or, “a graphic novel that intertwines a gay coming-of-age memoir with a character study of the author’s father by way of the literature that fascinates them both.” Some readers will look at these descriptions and say “yes, please,” and others are philistines. Regardless, the point is that these particular works are so obviously the thing that they are, which nothing else is, that to say more would be almost superfluous. Surely there has never been a clearer example of this than the present one: “A blogger writes reviews of everything he watches, reads, and listens to for nearly three years.” You’re no philistine if that premise makes you run for the hills. But even if it doesn’t, if you’ve spent any amount of time at all on the internet — better still, any amount of time at all around me — you know precisely what you are getting into. To say more would be pointless. STILL, I PERSIST.

Before we go any further, let’s dispense with the no-paragraph-breaks schtick. That’s a policy I instituted early on to prevent myself from writing too much. It never really worked.

So. Was Omnireviewer any good? No, not really. I believe it’s the home of some of my worst writing, in terms of the actual quality and readability of the prose. But assessing the quality of things was never quite the point of the enterprise, nor should it necessarily be the point of reviewing in general — except in cases so superlatively brilliant or awful that there’s little else to say. Generally, I prefer a more rhapsodic approach — drawing connections, parsing out meaning, converting subtext to text. And if in my explorations I should happen to touch on the success of a given thing, fine. Quality vs. success is a subtle but useful distinction. To me, the former implies that there’s an objective standard to which everything can be held. And while I do half-heartedly believe that, I don’t trust myself to be the arbiter of such things. Neither does anybody else.

But success is different. Success, to paraphrase the great British avant-gardist Cornelius Cardew, exists in relation to goals. To determine the success of a venture, you need to know something of the intention of the venturer.

So, if we’re going to establish whether Omnireviewer has been a success, we need to explore why I started writing it in the first place.

***

Of all the various magical accoutrements in the Harry Potter books, my favourite one as a kid was the Pensieve — Albus Dumbledore’s magical basin full of thoughts. “One simply siphons the excess thoughts from one’s mind, pours them into the basin, and examines them at one’s leisure,” Dumbledore explains in my nostalgic fave, Harry Potter and the Goblet of Fire. “It becomes easier to spot patterns and links, you understand, when they are in this form.” I have often described Omnireviewer as my Pensieve: the technique I use to evacuate my brain of all the swirling observations and analyses of trifling pop culture matters that threaten to crowd out what’s actually important. It’s an easily avoidable place where those observations and analyses can live permanently, so I don’t feel compelled to annoy my friends with them in bars. At least, not when they don’t ask me to.

All of this is true, and it is a large reason why I’ve continued to write Omnireviewer for nearly three years. But it isn’t the whole story. And the Pensieve isn’t the only valid pop culture analogue for this weird project. For a more honest one, we’ll have to look back a whole generation to another totemic childhood text:

Lucy_Blanket

Omnireviewer entered the world on November 1, 2015, but the context for it dates back more than a year prior to that. The circumstances that enabled this blog emerged in the summer of 2014. That summer, two extremely ordinary things happened. Firstly, I finished grad school, marking the end of twenty consecutive cycles of school/summer/school/summer etc. Suddenly, I was all too aware that my life was now FREE JAZZ — structure be damned. Exacerbating this anxiety was the small matter that I had graduated with a masters degree in journalism, and the universe was laughing at me. ONE SINGLE DAY after I turned in my thesis — in the form of a radio documentary — the Canadian Broadcasting Company cut 600 jobs. “Screw you, Parsons,” said the universe, “and everybody who shares your ludicrous ideas about how to make a living.” Just as all this was going on, a relationship I’d been in for seven years came to an end as well. Like every breakup, it seems inevitable in retrospect. But at the time it seemed impossible.

Unemployment; breakup. I bring up these two extremely ordinary things only because they are the first two misfortunes in my life that I couldn’t just smile my way through. I’m not sure why. Unemployment and a breakup are empirically no worse than things I’d been through previously. Maybe there just comes a time in a person’s life when the emotional warp drive has to give out and you’ve got to rely on just a regular engine. I dunno. But prior to 2014, I always prided myself on my ability to be happy in spite of things. Losing that was like falling out of the sky.

What helped me was work. In the uncomfortable grey zone between graduation and the start of my first contract, some friends of mine tried to start a magazine. They brought me into the fold as a writer, and even though it wasn’t really my project, I contributed as much writing to its embryonic form as anybody. What else was I going to do with my time? The magazine never properly launched. But if nothing else, it kept me from going off the deep end during the worst few weeks of my life.

And since the experience of writing for that vapourizing magazine was such a lifesaver, I proceeded to try that method ONE HUNDRED MORE TIMES. Even when my work situation started to pick up, I had to be constantly doing things to distract myself from the swirly void. A friend proposed an epistolary project where we assigned each other albums to listen to. I eagerly accepted. I took up cooking with the vigor of Hannibal Lecter. I started running. At work, I built a huge interactive story about dead composers, cheerfully spending twice as many hours on it as I got paid for. (It has since vanished into the digital wastes, mourned by no one, least of all me.)

Over the next three years, I would start, and swiftly abandon, a history of progressive rock. I would write 20,000 words about Jethro Tull in a single week. I would put together, and never submit, a book proposal. I would take a class about writing for comics. I would begin and struggle to complete a set of annotations for Moby-Dick. I would make two comedy podcasts with one of the guys who started the vapourizing magazine. I would make podcasts on my own, which reside on my hard drive to this day, waiting for their moment.

Yeah, I’ve been busy.

But as of November, 2015, I was not busy enough. So I filled my time the way we all do. I watched TV. I went to movies. And since I’m me, I also read voraciously, listened attentively to my favourite records dozens of times in a row, and listened to 30 or 40 podcast episodes per week. And the more time I spent on that, the more aware I had to become of how little time I was spending in gainful employment or meaningful social exchange. So I made up a game to put it out of my mind. The game was Omnireviewer. Every Sunday since then, I have released a report on the game, with the week’s score tallied up at the top of the post. 17 reviews. 23 reviews. 35 reviews. Here was a game I could win.

linus

***

Since keeping score was always such a big part of what this blog has been about, let’s look at some final statistics:

Total instalments of Omnireviewer/Omnibus: 143

Total reviews: 2,822
Average reviews per week: 20
Largest number of reviews in a single week: 38

Total words: 441,637
Average words per week: 3,088
Highest word count in a single week: 8,493

A few notes on these numbers:

  • Bear in mind that I sometimes clumped together whole seasons of television in one review. A large number of the reviews I have written on this blog have been for more than one episode of a show or podcast. So, as impressive as the number 2,822 may look, it is still deflated somewhat.
  • A cursory Google indicated that novels tend to range from 60,000 to 100,000 words, on average. If we split the difference and go with 80,000, my reviewing habit has stretched to the length of five-and-a-half novels in less than three years’ time.
  • In spite of everything I’ve written here so far, I am intensely proud of both of these stats.

Speaking of pride, shall we move on to the set of statistics that make me the proudest of all?

Ttotal page views: 2,146
Average page views per week: 15
Highest page views for a single post: 117
Lowest page views for a single post: 3

They say that if you do any one thing on the internet for long enough, you’ll eventually find an audience. I am just pleased as punch to have disproved that rule. The post that got 117 views — still paltry, by any reasonable standard — accidentally demonstrated the real way to find an audience on the internet. It only received such a substantially above average number of readers because I got retweeted by one of the post’s subjects, the food scientist and cookbook author J. Kenji Lopez-Alt.

By the way, the post that got only three views was 3,000 words long. That’s one reader per thousand words.

“Really don’t mind if you sit this one out.” — Jethro Tull

When I started this project, I started it for myself. I made it public only for the sake of accountability. The thing that makes me proudest of all is that I kept writing Omnireviewer for as long as I did in spite of the fact that nobody read it. The human mind is a cobweb ball of rationalizations and suppressed motives. I’ve never felt like I can be entirely sure when I’m just looking for attention. But surely, here is numerical proof that this project stayed true to its roots.

One final note on the statistics, that only slightly undercuts what I’ve said above: these numbers don’t account for the people who saw my reviews on the associated Tumblr account. In some cases, this was substantially more, but mostly it was not. The numbers also don’t account for the homepage, which got a significant bump on weeks when my site’s URL was read on the radio. In the interest of transparency, my homepage has been visited 7,163 times since I started Omnireviewer. What a pathetic number. I love it.

***

On the topic of the radio: the best thing to come out of this blog was a column that I’ve been doing on CBC Radio 1’s North by Northwest since June of last year. I pitched it as a recurring summer feature on the show, and it just never stopped. Since the beginning, that column has distilled the best of this blog into purposeful nuggets of meaning and connection. It is Omnireviewer at its most Pensieve-like.

In the written edition of Omnireviewer, anything might prompt a veiled exegesis on the disappointments and regrets of my life. The Beatles’ Help. Olivia Liang’s deeply relatable work of memoir-through-art-criticism The Lonely City. The death of Anthony Bourdain. Chris Gethard. Maria Bamford. In the written edition, the music of Brian Eno is not only ingenious, but kind and restorative. In the written edition, Alison Bechdel is a saint, because she confirms the value in reading your own life as literature, like I do — drawing connections, parsing out meaning, converting subtext to text.

But on the radio, it isn’t about me. It can’t be. A public radio audience requires you to put aside your self-indulgence in a way that a blog with 15 readers just doesn’t. And that made for a far superior version of this project. Many paragraphs ago, I asserted that Omnireviewer wasn’t very good. That’s true, at least of its original form. But its radio form is one of the things I’m proudest of in my entire career so far.

In my last radio column of 2017, I flirted more dangerously than usual with the masked confessional approach of the blog. But I’m glad I did. I finished it with a segment on Margo Price’s “Learning to Lose,” a heartbreaking duet with Willie Nelson that struck a chord with me immediately. I closed out my year in radio with the sentiment: “Maybe next year we’ll learn to win.” Three months later I got a job as the associate producer of North by Northwest. I ran around, waving my arms in the air and laughing like a maniac. The context for this blog collapsed in a heap.

***

To me, Charlie Brown is not the hero of the Peanuts comics. It’s Linus — the would-be philosopher who stays positive in spite of his insecurities, which are made manifest in the blanket he cannot be parted from. Omnireviewer was a security blanket I wove to shield myself from the emptiness of my life. But unlike Linus, I’m not stuck in time. I can outgrow my compulsions. I don’t need my blanket anymore. Life is good. More to the point — life is good in spite of the fact that lots of specific things about it are not. At last, we’re back to where we started.

“God keep me from ever completing anything.” — Herman Melville

In the months to come, I’ll work on other things in my spare time. But not because I need to for my sanity — because there are things I want to make that I think people might enjoy. I’ll keep posting fun nonsense to this blog. Notes on Moby-Dick will return. I’m thinking about writing more short fiction. Maybe I’ll rank all the tracks on ABBA Gold. And I’m going to make some tweaks to those podcasts I alluded to earlier, and hopefully get them out in the world before too long. That’s what I’m going to do with the time I would have spent on Omnibus. I’m not convinced I could bring myself to do any of it if not for this blog. I’ve learned so much from doing this. I’ve made connections I never would have made. I’ve learned about the conditions under which I do my best and worst work. I got a job that I probably wouldn’t have gotten if not for this blog and the radio spots it inspired. And I have kept my head above water. I have nothing but warm feelings for this weird-ass thing I’ve been doing these past few years.

And so it comes to this. Omnireviewer has fulfilled its purpose, and fulfilled it better than I could ever have foreseen. Time now to set it adrift in the obscure internet sea where it has always resided and always will.

Pick of the week.

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25 things I loved in 2017

Each year, I compile my own personal, inevitably idiosyncratic list of my favourite things from that year. This year, congratulations are owed to me for actually getting it out in the actual calendar year I’m writing about. So what if I haven’t seen all the movies I meant to see and barely read any of this year’s acclaimed books? In the end, a year is what it is. This is the best art and entertainment I personally experienced in my version of 2017.

The list is ranked. That means I’m comparing the relative virtues of music and stand-up comedy, movies and podcasts, novels and video games. It’s not so much that it’s like comparing apples to oranges; it’s more that it’s like comparing apples to oranges to avocados to pork tenderloins to fine china to used hatchbacks to racoons to sand. Therein lies the fun.

Let’s skip the tired remarks on what a trying year it’s been and get straight to the honourable mentions, shall we?

In podcasting: my perennial favourites Reply All and Theory of Everything stayed the course and made some of the year’s best individual podcast episodes. Two shows whose first seasons I liked but didn’t love, More Perfect and Homecoming, returned with far stronger second seasons that made me certain I’ll be back for the third. Jesse Thorn’s limited series of interviews with interviewers, The Turnaround, entertained me far more than a show with that premise ought to. The Museum of Modern Art and WNYC had the extremely good idea to cut Abbi Jacobson loose in the MoMA with a microphone in A Piece of Work. And The Daily arrived to show us how to cover the news on a podcast. It is frankly the most significant innovation in the form since the first season of Serial, and it would surely be in the upper echelons of this list if I’d actually had the wherewithal to listen to it more than a handful of times. The news is stressful.

In games: my most neglected medium of 2017, Detention scared the bejesus out of me while also illustrating what it’s like to live under the yoke of totalitarianism. And the sixth and final chapter of The Dream Machine brought that story to a deeply ambiguous conclusion, but not before sending the player through a wild, rhapsodical odyssey through the deepest realms of the collective human unconscious.

In comedy: Mike Birbiglia, Patton Oswalt, and Marc Maron all delivered intermittently brilliant specials that proved (by both positive and negative example) that the way forward for stand-up comedy in a bewildering political age is to get personal.

In film: two drastically different Marvel movies proved that solid storytelling can transcend the doldrums of the increasingly exhausting superhero genre: Spider-Man: Homecoming and Logan

In television: two of Netflix’s most acclaimed juggernauts lived up to high expectations: BoJack Horseman and Stranger Things. And Game of Thrones, freed from the expectation to conform to George R.R. Martin’s plotting and pace, delivered far and away its strongest season yet.

In comics: The Wicked and the Divine remains the coolest, smartest thing in the world. And Bitch Planet’s long-awaited second trade collection amped up the action and intrigue while remaining awesomely blatant about feminism.

In books: I deeply regret the non-inclusion of Philip Pullman’s La Belle Sauvage on this list. It is a worthy expansion of a fictional world that was very dear to me as a child. If I were more than halfway through it by my self-imposed drop deadline, it would surely be here.

In music: “classical” and “experimental” won the day for me this year. Highlights included Brian Eno’s Reflection, William Basinski’s A Shadow in Time, Marc-Andre Hamelin’s recording of For Bunita Marcus by Morton Feldman, and Yannick Nézet-Séguin’s brilliantly straightforward recordings of the complete Mendelssohn symphonies. In popular music, two things that don’t quite count as “music from 2017” bear mentioning: Neil Young’s long-unreleased 1976 recording Hitchhiker and Sufjan Stevens’ Carrie & Lowell Live: a concert film that I nearly awarded a very high spot on the list before deciding it wasn’t really eligible.

Finally, in stuff that doesn’t fall under any of the above categories, Bill Wurtz’s history of the entire world i guess is one of those things that occasionally manages to make me not hate the internet.

***

And now the list. An observation: there are only three honourees here who have been on one of my previous lists. This wasn’t by design. I suppose I was just in the mood for new things this year. Onwards.

No. 25: Blade Runner 2049

We didn’t need a new Blade Runner. And the one we got has its problems. But like its predecessor, one of my ten or twelve all-time favourite movies, Denis Villeneuve’s sequel operates at the very highest level of cinematic spectacle. The way Roger Deakins’ camera hangs and drifts across the film’s incredible sets makes the world feel grandiose in a way that many other CGI extravaganzas fail at. The shockingly aggressive, kickass score by Hans Zimmer and Benjamin Wallfisch helps. They respect the legacy of Vangelis’s marvellous, rhapsodical score for the original movie, but aren’t afraid to get a hell of a lot louder.

Although Blade Runner 2049 is not as good a film as Blade Runner, it is one of the best examples of respecting the source without replicating it in this era of endless rehashes. It would have been simple to remake the original film beat for beat, like in Star Wars: The Force Awakens (which I like). But Blade Runner is a different kind of film from Star Wars and calls for a different kind of sequel. Blade Runner is slow, thinky, painterly, and not culturally ubiquitous. In keeping with that, Blade Runner 2049 is a slow, thinky, painterly film that relies as much on its director’s unique vision as on the canon it inherits from the nostalgia object that begat it. If there is anybody who can make Dune into a movie that’s actually good, it’s probably Villeneuve. I’m on tenterhooks.

No. 24: Code Switch

codeswitch_itunes2_sq-cc90dbc5dcdff7b93734f2a1a29864cb77742948-s300-c85Code Switch became NPR’s best podcast awfully fast. 2017 found the Code Switch team reflecting at length on the legacy of Barack Obama, exploring racial identity in the Puerto Rican diaspora, and exploring the increasingly pressing questions surrounding hate, police violence, and deportation in year one of the Trump era. They’ve also put out some of the best pop culture journalism of the year.

But the show’s crown jewel is the four-part series “Raising Kings,” based on a full year of reporting on a new school where a faculty made up mostly of black men teaches a student body made up mostly of black young men. It’s a sensitive, insightful, and frequently challenging piece of documentary radio that everybody should hear. Code Switch is a show you shouldn’t ever skip an episode of. It’ll help you get through life in a more practical way than just about any other show.

No. 23: Barbara Hannigan & Ludwig Orchestra: Crazy Girl Crazy

There are several levels of “why bother being this good” at play here. Barbara Hannigan could easily have settled for being merely one of the great sopranos of our time. But no: she has to also be a trailblazer for contemporary music, daring to learn the heretofore unlearned scores of composers who write vocal challenges few but her could rise to. (This is the version of Hannigan that brought us last year’s best classical recording: let me tell you by Hans Abrahamsen.) But even that isn’t enough for her. She’s also got to be a brilliant conductor. And since she can both conduct and sing, she clearly has to do them both at the same time. In music that’s crazy hard to begin with.

Crazy Girl Crazy is Hannigan’s first disc as a conductor, and indeed her first disc as a conductor/singer. It contains a selection of music from the 20th century that all feels like it’s at the core of Hannigan. At the centre of it all is a lush, romantic reading of Alban Berg’s beautiful Lulu Suite. Hannigan has been the soprano of choice for the role of Lulu for years now. Hearing her take on the orchestral music from that opera just confirms that she owns that piece as thoroughly as any musician owns any piece of music. The Ludwig Orchestra, a young ensemble that makes its recording debut here, plays skillfully, and with all of the intensity of an orchestra that’s not sick of making music yet. And Hannigan proves again that she’s one of the most multifaceted artists working in classical music today.

No. 22: Chris Gethard: Career Suicide

I got a lot out of Chris Gethard’s various projects this year. Whether he’s being exceptionally silly on The Chris Gethard Show, turning listening into a high art on Beautiful Conversations with Anonymous People, or telling the story of his own struggle with suicidal depression in this comedy special/one-man show, Gethard’s objective is simple: he just wants you to feel a bit better.

He’s a useful fellow to have around, even if your low points are a heck of a lot less dire than his. Gethard’s comedy and storytelling is something close to a public service. He’s working to normalize talking about mental illness, and he’s working against the stigmas surrounding medication for mental illnesses. But he’s also super funny, and this 90-minute HBO special is the best distillation of everything he’s been working towards. Where other comedians tend to address their own traumas with a facade of glibness or with the aid of characters, Gethard is not afraid to simply put punchlines aside for lengthy stretches and tell a story. And it’s a really good story with amazing characters including Morrissey and a therapist called Barb who thinks that the human brain was manufactured by aliens. 

No. 21: Mogul

I feel like I’ve been waiting for this podcast. I didn’t know it would come from Gimlet and I didn’t know it would be about the life and death of a hip hop businessperson. But I knew that at some point, somebody would make a rich sounding, story-driven music documentary that would prove there’s a hunger for music-focussed radio that doesn’t play full tracks. Mogul is the future.

It is also a second breakthrough for Reggie Ossé, AKA Combat Jack of The Combat Jack Show. Ossé’s approach to hosting this show isn’t quite like anything I’ve heard before. He comes to the story of Chris Lighty with a nearly complete knowledge of the musical culture that he sprang from and helped to shape. But that knowledge is secondary to the warmth and sensitivity with which he handles the story. Mogul is, among other things, a story about mental illness and domestic violence in the hip hop culture. It’s clear that, apart from the music, this is what compelled Ossé to tell the story in the first place. There is a second season forthcoming, and with the allegations against Russell Simmons that have come to light since season one wrapped, there are still plenty of thorny questions for Ossé and company to address. (Edit: I was unaware when I wrote this that Reggie Ossé passed away recently. It’s a terrible loss for podcasting. Mogul will stand as the high-water mark for music-related audio storytelling for a while to come.) 

No. 20: Tacoma

The Fullbright Company’s second game stands in a very long shadow for me. Their debut, Gone Home, was the game that re-introduced me to games after a decade’s absence. It demonstrated to me that the medium had grown and changed. Now, there were games specifically for those of us who appreciate the exploratory and narrative elements of games, but would rather not have to demonstrate sophisticated hand-eye coordination or work through complicated puzzles to get to the next bit of story.

When footage from Tacoma surfaced, two things were clear. First, this would be a more directly interactive experience than Gone Home, with more to actually do. Secondly, it was going to take place in that most “video games” of video game settings: a space station. Both of these concerned me. You may well conclude from my concerns that I essentially don’t like video games. And you may be right. But I liked Gone Home, and I held up hope for Tacoma. My hope was not misplaced. Tacoma’s approach to story is a cut above Gone Home, thanks to an innovative system of interactive cutscenes you can actually move around in. I still prefer the ambience of Gone Home’s creepy, empty mansion to the cramped quarters of the Tacoma space station. But my faith in the storytelling of the team at Fullbright is even stronger now.

No. 19: Lady Bird

I always love a movie with a good sense of place. Often, that place is New York City. Hollywood has provided a huge variety of takes on what it’s like to live in New York, from West Side Story to Rosemary’s Baby. It’s a setting that has been so well developed in movies that a) it no longer lives up to itself, and b) it’s almost shocking to see another American city painted with the same detail on the screen. With the release of Lady Bird, Greta Gerwig’s Sacramento joins Vince Gilligan’s Albuquerque and the Coens’ Fargo/Brainerd among the great cinematic depictions of Places People Don’t Ever Think About.

There are plenty of reasons why Lady Bird is one of the year’s best movies, including two of the year’s best performances by Saoirse Ronan and Laurie Metcalf, and a screenplay that handles even the smallest characters with finesse and warmth. It’s a lovely depiction of a relationship between a mother and a daughter. It’s admirably aware of the realities of class in America and the ways it plays into raising a family. But my favourite reason to love Lady Bird is that it paints a portrait of an unloved place, lovingly.

No. 18: Kendrick Lamar: DAMN.

I slept on To Pimp a Butterfly in 2015. I missed the whole conversation. It’s not a mistake I ever intend to repeat.

I suspect that in the future, we’ll still think of Butterfly as Lamar’s breakthrough moment — his Are You Experienced. (Lamar once said he’d like to be talked about like Dylan, Hendrix and the Beatles. Happy to oblige.) But DAMN. feels like the sort of record you make when you’re out to prove you’re not interested in replicating past successes and following formulas — Lamar’s Band of Gypsies, maybe. It’s the kind of album that, if you pull it off, makes you not just accomplished but vital: an artist who is brilliant regardless of the idiom in which they choose to work. Kendrick Lamar is vital.

No. 17: The Beguiled

This coiled snake is the year’s most underrated movie. The subject of The Beguiled is propriety — particularly Southern propriety — and how it’s just one tool in the patriarchy’s huge, indulgent workshop. But like all good storytellers, Sofia Coppola doesn’t start from the theme and build outward. In fact, it starts from a source that has different themes entirely: the 1971 Clint Eastwood vehicle of the same name. (Or, perhaps more accurately, the novel that it’s based on. But it was the original film’s liabilities that prompted Coppola to remake it.)

The premise of both films is the same: a seminary school full of women loyal to the south is shaken by the arrival of a rather dashing but grievously injured Union soldier at their doorstep. Coppola’s masterstrokes are all in the telling of the story, rather than the story itself. Her film is as mannered and meticulously composed as the Southern ladies who inhabit it. And as the story’s potential for violence rises steadily, the tension comes from the discrepancy between the increasingly ugly atmosphere at the seminary and the film’s continuing insistence on pretty-as-a-picture decorum in its visual style. I haven’t seen filmmaking simultaneously so beautiful and savage since Hannibal got cancelled.

No. 16: Everything

I have a friend who likes to joke that my problem with video games is that I want them to be books. Fair enough. But that’s only half the story. What I really want is for a video game to be either a book or a theme park. In either case, I should ideally not have to shoot or jump over anything. The point is, I don’t need games to expect skill from me. I don’t need them to be things I can win or lose. I just want them to be experiences. For me, a great game is like Disneyland (but without the creepy half-reality that keeps you from fully suspending your disbelief). It’s a constructed reality for you to explore at your leisure. You can’t win or lose Disneyland. And yet it is still (ostensibly) fun. This is what I want from a game.

Enter Everything, my favourite game of 2017. Everything has no goals or trials to overcome. It has no traditional story. It is simply an interactive exploration of a single idea: that everything is connected. This runs the risk of getting cod-philosophical, and indeed it includes narration by the proto-hippie philosopher Alan Watts that can be hard to take seriously. But developer David OReilly undercuts his game’s potential for ham-fistedness by making everything else about it absolutely raving crazy. This is a game that offers the opportunity to be everything in it: to move around as anything from a bighorn sheep to a tiny elementary particle to a sentient hovering tea kettle the size of the sun. Everything is a fully-realized pocket universe full of planet-sized cows and trombones that travel in herds. I have never seen anything like it.

No. 15: Dunkirk

Seeing Christopher Nolan’s latest, best film in an IMAX screening sits very near the top of my list of great moviegoing experiences. Take note that this list is distinct from my list of favourite movies, and even from my list of favourite movies I’ve seen in theatres. A movie need not be a masterpiece to be an incredible experience in a theatre. Dunkirk is a truly great film, but my opinion of it is entirely contingent on the experience of seeing it in film projection, on an IMAX screen.

The beauty of IMAX is that it nearly fills your field of vision, encouraging you to forget everything that lies beyond the edges of the screen. So, when Nolan puts his camera in the galley of a ship, and it gets hit by a torpedo and fills instantly with water, you feel like you’re going to die. That, in a nutshell, is why Dunkirk is a great film: Nolan understands that cinema is an experience as much as a narrative art form, and he uses his mastery of the craft to put the audience inside of one of the most traumatic and unprecedented chapters in the history of warfare. And at the end, maybe we understand it a bit better.

14: Twin Peaks: The Return

While I was watching Twin Peaks: The Return on a week-by-week basis, I was uncertain whether I felt it was rising to the level of Twin Peaks’ original two seasons. Now that I’m not watching it week by week, I am quite certain that it altogether surpassed them. The Return was frustrating for its relative lack of familiar characters and story beats — particularly the almost complete lack of participation by the original protagonist, agent Dale Cooper, in any recognizable form. But now that the thing is complete, we can see that this series wasn’t supposed to be about Coop, and in fact that it wasn’t supposed to be about very many of the same things the original series was at all. If you can accept that and watch the show on its own terms, it reveals itself to be maybe the strangest and most ambitious season of television ever transmitted.

The eighth episode is a case in point. Much of its duration consists of abstract, non-figurative images in the vein of Stan Brakhage. Nonetheless, it does tell a recognizable story — an origin story, in fact. An origin story for the totemic evil that has haunted this show’s characters since its first episode. This could have turned out like Hannibal Rising: an unnecessary and disappointing wad of backstory that cheapens the previous instalments in the narrative. But by telling the story through lyrical, abstract, largely wordless filmmaking, David Lynch short circuits our rational brains and manages instead to convey a feeling of profound wrongness, and to convey it at length. This is how the whole of Twin Peaks: The Return worked, to a certain extent: by bypassing rationality entirely and speaking to something more primal in us. This is not something you’re supposed to be able to do on television. But it happened. There are seasons of television in higher slots on this list. But I doubt I’ll rewatch any of them. I will rewatch this.

No. 13: Offa Rex: The Queen of Hearts

I fell down a Decemberists hole in April. That’s when I bought my ticket for their show at the Orpheum in August. I have never been so excited for a show. But by the time the concert actually rolled around, I was more psyched for the opening act. Olivia Chaney is one of my favourite discoveries of the year. Her solo record The Longest River has now soundtracked many a walk home in the Vancouver rain. And I owe that discovery to this record, a collaboration between Chaney and the Decemberists that rises to the standard of Chaney’s solo work and far surpasses the most recent music by the Decemberists.

The Queen of Hearts is a revival of a revival. It consists of English folk songs arranged in the style of electrified British revivalists like Fairport Convention and Steeleye Span. This is a legacy that both halves of the collaboration have dealt with before. Chaney draws the folk component of her repertoire from the same pool as these bands, and the Decemberists’ trilogy of masterpieces — Picaresque, The Crane Wife, and The Hazards of Love — all crib liberally from the sound of the British folk revival. Together, they prove not only that the songs still have power, but that the style does. And Chaney’s solo rendition of “The First Time Ever I Saw Your Face” will melt you.

No. 12: mother!

About three seconds after the house lights came up at the end of mother!, the friend I saw it with burst out into hysterical laughter and couldn’t stop for several minutes. That is the most appropriate review I can imagine for this aggressively fucked up, semi-trolling movie by Darren Aronofsky: one of modern Hollywood’s strangest auteurs. The only reaction to mother! that I may treasure more is from the New York Times commenter who wrote: “It’s been a long time since I overheard Ma and Pa Kettle talking about a film on the way out of the theater. Art above all else should be misunderstood loudly.”

From the moment that the exclamation point appears in the title card, mother! is arch and theatrical. Jennifer Lawrence and Javier Bardem give completely committed and sincere performances, but nothing else in the movie is sincere in the slightest. There are those who feel mother! can only be dealt with as a Biblical allegory — and they’ve certainly got Aronofsky’s distressingly specific remarks in interviews to back them up. He seems to be doing everything he can to reduce his creation, which offers a whole world of abstract possibility, into one tidy interpretation. But Aronofsky’s movie is too big to be held to a fixed meaning. I’m increasingly convinced that Aronofsky’s insistence on explaining away the movie’s contradictions is part of the performance: he’s casting himself as an extension of Bardem’s theological poet character, demanding dogmatic devotion to a specific meaning of his holy text. Perhaps only a critic as myopic as myself could possibly see this movie as a critique of the slipperiness of interpretation. But I do see it that way. Anyway, the real truth is just that I enjoyed the hell out of this movie, and I want it to be more than a banal Biblical allegory. Mother! is completely bonkers crazy and you’ll probably feel a little cracked at the end. Good enough for me.

No. 11: George Saunders: Lincoln in the Bardo (audiobook)

Lincoln in the Bardo isn’t even really about Lincoln. It’s about the processes of death and grieving that affect us all, presidents or not. Abraham Lincoln and his son Willie, who died at the age of 11, are in this story only to give it the profound specificity that all very moving stories require. They set the story in a time and a place, and give it the context of a particular personal tragedy with which we are all familiar. But the emotional heft of Lincoln in the Bardo actually stems from characters that George Saunders made up out of whole cloth: a kind old fool who died moments before consummating his marriage, and an effusive young man who regrets his suicide. These two reside in an uneasy state of quasi-friendship in a not-quite-afterlife like no other fantasy realm in fiction. Every line they speak is enthralling.

And speaking of speaking, Lincoln in the Bardo also represents the moment when the audiobook really came into its own. The cover art brags of 166 narrators, but the ones you really need to know about are Nick Offerman and David Sedaris, who play the two central characters. They are brilliant, and even Sedaris, who is not an actor, inhabits the text like a good coat. Offerman audibly delights in his character’s tendency to coin phrases that allow himself to remain in denial of his own passing: phrases like “sick box” in lieu of coffin, or “sick form” in lieu of corpse. And both are heartbreaking in their final scene together. I can’t say whether the audiobook is the definitive format, having not read the printed book. But try it. The performances measure up to the material.

No. 10: Margo Price: All American Made

Sometimes you have a year when you just feel like you’ve accomplished nothing. Like you’ve gone backwards. Everybody has those years. It can’t be helped. And if 2017 was a year like that for you, I’d like to suggest you listen to some country music. Margo Price’s second album cements her as the queen of modern Nashville. Lots of it is rollicking fun country music with a band that sounds like it comes straight from a Jerry Lee Lewis record. (Indeed, it was recorded at the Sam C. Phillips Recording Studio, where many a country and early rock and roll icon cut acetates.) “A Little Pain” is probably the pump-up jam you need. But it’s the ballads that keep me coming back, and particularly “Learning to Lose,” Price’s duet with the great Willie Nelson. “I’m so far away from where I started,” Price sings in the opening verse, “but no closer to where I belong.” Oof.

It’s important to have songs like “Learning to Lose” in your life. Songs about the moments when life disappoints us, and humanity disappoints us and we disappoint ourselves. Because songs like this reassure us that disappointment, loss, rejection, loneliness, failure, acrimony, and strife are normal facets of the human experience that everybody goes through. And we now live in a world where everybody has their whole life on display on Facebook and Instagram, except that all of that stuff gets airbrushed out. So where do you turn for a quick hit of catharsis when it seems like everybody else is busy following their bliss? Turn to country music. Turn to Margo Price. And hope that next year, we’ll learn to win.

No. 9: Baby Driver

I have a friend who tells a story about how Brian Eno saved his life. “I suffer from tinnitus,” he wrote. “These days I’m mostly able to ignore it, but when I first noticed it, it was terrifying. I couldn’t sleep through the night without having this track (“Music for Airports 1/1”) on repeat in the background, just loud enough to distract me from the buzzing in my own head, just quiet enough to allow me to sleep.” He went on to coin a phrase I like: “societal tinnitus”: the terrifying sensation that the world is inescapably noisy. Music for Airports can drown out this kind of tinnitus, too. So can essentially any other sound recording. Music can offer a near-complete respite from the obligation to be present in the world. When you put in earbuds, you are doing two things in equal measure: connecting yourself to an imaginary reality that exists in a recording, and disconnecting yourself from the auditory portion of the empirical reality around you. It’s wrong to view the latter phenomenon as a byproduct of the former. Your inability to connect with the world around you when you’re wearing earbuds is a feature, not a bug. The world is so loud. To escape, simply superimpose a louder one. Disengage.

Baby Driver is a movie about a person suffering from tinnituses both literal and symbolic. (Well really, Baby’s literal tinnitus is a symbol in itself, for his emotional trauma.) It is a movie about music’s ability to subsume the empirical reality around you and replace it with a different reality that you can cope with, until you’re ready to cope with the real one. The movie’s relationship with music is different from that of lesser films like Garden State or even High Fidelity, both of which are about how a person’s relationship with specific genres, songs and artists help to inform that person’s identity. Baby Driver isn’t about any music in particular. It is about the act of listening itself. For Baby, music is neither indulgence nor signifier, but a basic necessity to drown out the constant ringing in his ears, to function in his job, to empathize with the girl he loves, and to drown out the noise of a dysfunctional household. (So this is what the volume knob’s for…) Baby Driver is not a music nerd movie. It is not a movie about listening to music. It’s a movie about not having to listen to the rest of the world, which is loud and confusing and stressful. It also has the best chase scenes ever. It is large. It contains multitudes.

No. 8: Better Call Saul

This scene, which you should not watch if you’re not caught up on the show, is everything I love about Better Call Saul in a nutshell. This show’s most dramatic moments take place in ordinary rooms and draw their strength from well-established relationships. When we think back to its esteemed predecessor Breaking Bad, it’s easy to recall it as a show full of train robberies and shootouts. But think of how many earthshaking moments in that show were actually really quiet. Hank finding Leaves of Grass. Walt lying to his doctor about his fugue state by telling the truth. Even “I am the one who knocks” is a quiet moment in the most literal sense. Better Call Saul is any one of those moments stretched out into a whole show. It’s a show where nearly every episode has a scene that feels like a set piece, but those set pieces seldom involve action. Jimmy’s trick with the phone battery in the scene above is a case in point. It’s not easy to write stories about con men, because you’ve got to be able to come up with cons. Vince Gilligan and Peter Gould have proven themselves equal to the task.

The third season of Better Call Saul is its best by miles. By reintroducing yet another beloved character from Breaking Bad, Gus Fring, the writers risked treading needlessly far into that show’s shadow. Instead, they doubled down on the relationships that have always been at the core of this show. The constant risk to Jimmy’s romantic-ish relationship with the intensely sympathetic workaholic Kim Wexler is one of the season’s key tension generators. And his relationship with his cruel, doctrinaire brother Chuck finally deteriorates past the point of no return. Better Call Saul is the best character drama on television. Every year, I seem to forget how much I love it until the new season starts. Not this time.

No. 7: Jon Bois: 17776

The greatest literary masterpiece I read this year was published on the sports news website SB Nation and it’s about three sentient space probes in the massively distant future watching humans play increasingly Dadaist games of football because they stopped dying and aging in the 21st century. I slightly regret that I have now spoiled the surprise of the story’s very opening. But if there were no more to 17776 than its bonkers premise, it would hardly be a literary masterpiece, would it? Come for the gonzo, unclassifiable, mixed media craziness. Stay for the beautiful prose about humanity’s place in the universe and the dialogue that elevates the game of football to a form of sublime performance art.

I can immediately think of at least four moments in 17776 when I got choked up — this in spite of the fact that it is a silly story rendered in Web 1.0 style, and that I have no grasp of how football works. It moves me because it forces me to consider, as Jon Bois has evidently considered at length, the actual importance of my particular passions. The humans of 17776 have unlimited time to spend on football and presumably other sports and pastimes. I do not. And yet I write a blog where I regularly review more than 20 things I watched, read and listened to during the course of a single week. No wonder 17776’s take on human ambition and the purpose of play resonated with me. I think a lot about something Bois wrote in a sort of afterword to the piece: “I think 17776 might get one thing right about the future: we’re never gonna leave the solar system… Too much distance, too much radiation, and too little incentive. If that ends up being the case, we’ll have nothing to do but solve our problems on Earth. I’m being really optimistic when I guess that we might someday. After we do that, we’re gonna want our games, our art, and each other. One day, we might see those as the only reasons we’re here.” Is it wrong that I feel a little better because of that statement?

No. 6: American Gods

Bryan Fuller’s last show, Hannibal, was one of the greatest screen adaptations of a familiar property ever made. American Gods is maybe better. The Neil Gaiman novel from which it is adapted is a grand old romp through various mythologies, with deeply affecting narratives of the American immigrant experience woven throughout. But that novel was written before 9/11, let alone before Trump. Let alone before Facebook. The show is a substantially different thing for a bogglingly different America.

American Gods rethinks Gaiman’s take on Anansi, the kindly African spider god of storytelling, as a ruthless pragmatist who finds his way to America on the remains of a slave ship he entreated the captives to burn. It suggests that our protagonist’s wife may be the reincarnation of an Irish immigrant who brought the leprechaun Mad Sweeney to the new world, where he wastes away from lack of belief. (“A Prayer for Mad Sweeney” is my favourite episode of the year, save possibly for Part 8 of Twin Peaks: The Return.) And it gives us a terrifying contingent of “new gods.” Media, a shapeshifting Gillian Anderson, distorts and distracts in equal measure. The Technical Boy is no longer a truculent fat kid surrounded by wires as he was in the novel, but a sleek, hollow Instagram star of a villain. Television’s American Gods enacts a battle for the life of an America with a more immediately threatening kind of cancer than the slow-acting one Gaiman detected in the late 90s. It is the best show I watched this year.

No. 5: Maria Bamford: Old Baby

Maria Bamford is my favourite comedian. She’s a better writer than anybody else doing comedy right now. See: her husband’s column in her “emotional sudoku” bit: “Your great-grandfather was a violent alcoholic in the army who beat his son, who was a violent alcoholic in the army who beat his son, who was a violent alcoholic in the marines who beat you. You’re not in the armed services at all. You don’t drink. But you have PTSD so bad that you think you can clench your buttocks and fly the plane.” All written out like that it almost seems like something Joseph Heller would write.

She’s also a better performer than anybody else doing comedy right now. She can flip from character to character as cleanly as Robin Williams. (“Hello! Is the beef fresh? … This is so powerful if you act it out… Is the beef fresh?”) Her material still lives in dark places: her experience and her family’s experiences with mental illness are at the centre of everything. But she is such a skillful comic that laughing never feels uncomfortable. Bamford has the rare gift of being able to make you realize that the same event can be both intensely traumatic and hysterically funny — that there’s no contradiction there. “Anybody been in a psych ward?” Bamford once said in another context. “It’s really funny in retrospect.” That’s a perfect joke. The humour comes from both the darkness and the construction. That’s why Maria Bamford is so funny: she insists on applying an extremely rigorous sort of structure to completely chaotic subject matter. Bamford proves that comedy about mental illness doesn’t need to be a sort of public therapy. I have not laughed harder at anything in recent memory.

No. 4: The Heart

The Heart is over. At least, for now. I’m as choked about this, if not more, than I was when Gimlet cancelled Mystery Show. This show has been in a league of its own since it rebranded from the earlier Audio Smut and joined up with the Radiotopia network. No other podcast discusses sexuality with the same combination of frankness, diversity, and beauty. This last quality is especially crucial. It’s possible to talk about The Heart as if it is merely noble: a sex-positive, intersectional feminist institution that Gets Important Conversations Started. But that is a drastically inadequate characterization of this show. It is also consistently the most beautiful sounding, atmospheric and subtle show in the podcast space. More than Radiolab. More than Love and Radio. The Heart is a show about the most intimate relationships between humans. In keeping with this, it uses its sound art aesthetic to forge an intimacy with the listener that is stronger than anything else I’ve ever heard.

2017 found The Heart offering two mini-seasons and a smattering of one-off episodes. It’s the second of the two mini-seasons, “No,” that makes this The Heart’s strongest year. It is a complicated, fair, and fearless sexual memoir by Kaitlin Prest, the show’s host. She interrogates her own past, from childhood through to the present day, and charts her own sexual boundaries over that time. Her story becomes a springboard for a nuanced discussion of consent that I can imagine being useful for every listener in a different way. The series also finds Prest at her best as a sound designer, going so far as to apply filters to tape of her own sexual experiences so she can assess the tone of her voice without hearing the words she’s saying. There is nothing else like The Heart. Whatever the team behind this show are planning next, its end is a tremendous loss.

No. 3: Ted Hearne/The Crossing: Sound from the Bench

Sometimes I like to just type out a sentence that describes a thing. It’s only fun when the thing you’re describing has lots of unexpected moving parts. I’m going to do that now. Here, look: My favourite music of the year is a cantata for mixed chorus, drums and two electric guitars with words drawn from ventriloquism textbooks and the Supreme Court decision in the Citizens United case. See? Wasn’t that fun?

Ted Hearne is one of the great contemporary composers for the human voice. I first discovered him through his oratorio The Source, which features an auto-tuned chorus called “We Called for Illumination at 1630” that floored me — it is the sound of humans trying to escape from a digital hellscape. This is what Hearne does with the voice: he uses it as a sympathetic force to latch onto in a world controlled by bewildering and absurd systems. Sound from the Bench is a semi-comedic piece that gets a lot of mileage out of the perversity of hearing a brilliant choir sing lines like “these corporations have a lot of money” and “you are not talking about the railroad barons and the rapacious trusts.” But the actual comedy of Sound from the Bench is a sad comedy. Citizens United, you may recall, is the Supreme Court decision that ruled that money is speech because corporations are people: two of the most patently absurd things that body has ever asserted. Sound from the Bench is a comedy about people doing their best to laugh at the absurdity of a world whose crazy rules they have to live with in spite of the fact that it makes their lives worse. It’s Twelfth Night as a contemporary cantata. It is unaccountably moving, hysterical, and vibrant. It is brilliantly performed by the Crossing, a magnificent choir based in Philadelphia. It is everything I want out of music.

No. 2: S-Town

“I did nothing good today,” reads an inscription on a sundial in S-Town. “I have lost a day.” Depending on your mood, it’s a sentiment that can reflect a profound resignation to the brevity of life, or a desperate mania to accomplish something in spite of it. S-Town’s hero, John B. McLemore, embodies both facets. He is a man alternately consumed by depression and ablaze with fascination for whatever project he’s putting his time into now: repairing antique clocks, growing a hedge maze in his yard, building a swing set for his adult protegé’s edification — or, most crucially, living his life as a story worthy of attention from an acclaimed This American Life producer.

S-Town is a story so full of pat, obvious metaphors that it would be insufferable if it were fiction. But producer and host Brian Reed didn’t actually devise any of these metaphors himself. His main character, McLemore, deliberately surrounded himself in metaphors. He’s a man who lived his life as a story, and then actually found somebody to tell the story. He is Hamlet, exerting a pull on the narrative that exceeds that of the storyteller. There are those in the blogosphere who disapprove of elements in Reed’s telling of the story. But as I listened to S-Town, I couldn’t help feeling McLemore’s hands on the strings of the story, even when it would have been impossible for him to affect it in real time. Woodstock, Alabama is a stranger-than-fiction town with implicit metaphors baked in. John B. McLemore is a stranger-than-fiction man who saw the metaphors, and cast himself as the tragic protagonist amidst them. Brian Reed knew to hit record, and made the best radio of the year.

No. 1: Get Out

One thing I discovered about myself in 2017 is that I am a bottomless fountain of slightly facile theories about the horror genre. Here is one of my facile theories: horror and comedy are the two most intimately related genres of fiction. This is because laughter and fear, at their root, are both ways of responding to the absurd. If you encounter something absurd, something that challenges your sense of what’s “normal,” you’re likely to either laugh or feel fear, depending on the framing of the event. The genius of Jordan Peele’s directorial debut Get Out is that the comedy and the horror are derived from the same central absurdity: a black man’s sense that there is racism all around him, even though he is being constantly told there is not.

This movie is the most brilliant social commentary that’s been in movie theatres for years, but this is me writing here, so let’s think about from it a structural, movie nerd perspective. There are plenty of comedy-horror movies out there. Scream comes to mind. If you squint a bit, Scary Movie fits. It’s a long tradition, dating back at least to Abbott and Costello Meet Frankenstein. Probably earlier. But these movies are parodies. The jokes are at the expense of horror movie tropes. Get Out is a horror comedy that is not a parody. It is a comedy-horror movie in which both the comedy and the horror arise from the same source, and neither undermines the other. It is a new approach to this particular fusion of genres that walks a delicate balance without ever putting a foot wrong. And in finding a way to negotiate this balance, Jordan Peele has devised a new mode of social critique — one that works particularly well in a world where every single thing that happens is both hysterical and terrifying. Smile into the void, children. Smile into the void.

***

And that’s the list! When I started writing this, I confess I was a bit on the fence about it. Looking back through my list from last year, I couldn’t help thinking that 2016 was a way better year for pop culture. I still think I may be right about that. But writing this took me way longer than I expected because I kept going back to these things, remembering what I loved about them, and spending more time with each of them than I could afford. (I am looking specifically at you, Jon Bois and Maria Bamford.)

This stuff matters to me. It helps me understand the world and the people around me. I apply the lessons from each entry on this list to my life, every day. It has been a good year.

I’m going to go outside.

Omnibus (week of Nov. 26, 2017)

You know, I think this is actually a pretty strong instalment. Usually this blog just sort of is what it is. God knows nobody reads it. At least, not on days when I’m not on the radio. And obviously I don’t care, or I wouldn’t have been doing it every week for two years. But sometimes I think maybe it’s pretty good. This is one of those. For what it’s worth.

Three picks of the week, since I only did one last time. 15 reviews.

Music

Margo Price: All American Made — I think I speak for every single human on the planet when I say that 2017 suuuuuuuuuucked. Like, on a universal level, and also seemingly on a personal level for a whole bunch of people I know. I mean, lots of great things happened this year. But big chunks of it were confusing and disappointing, and perhaps some of us have been wishing we’d made different choices. It is what it is. We all end up there sometimes. Never fear. Margo Price has a new album, and it’s even better than the first one. All American Made isn’t a Sad, Dark, Personal Album in the vein of Blood on the Tracks, Tonight’s the Night or Blue. Hell, Price wrote these songs after breaking a 15-year losing streak in the music industry. And she co-wrote a bunch of them with her husband, who she seems rather fond of. This isn’t an exorcism. Musically, it’s even pretty peppy, aside from the ballads. But Price realizes the same thing that all of the greatest country songwriters have realized, which is that there is no catharsis in the world like a straightforward description of a bad thing happening. Or, a straightforward description of a shitty state of mind you’ve found yourself in — see the outstanding heartstring tugger “Learning to Lose,” featuring a very 84-year-old-sounding Willie Nelson. I believe (here begins the hot take segment of the review) that bleak, doleful country music is more relevant today than ever. The social role of songs like “Learning to Lose” is to reassure you that disappointment, rejection, loneliness and failure are normal facets of the human experience that everybody goes through. That they aren’t specific to you. This is crucial now that we live in a world where everybody can so easily airbrush the worst bits of their lives out of their public identities on Facebook and Instagram. These platforms have caused us to perceive life as a game that can be won or lost on an ongoing basis. And they have also made it really easy — and socially necessary — to lie and cheat at that game. We must always be winning, even when we are not. So, where do you turn for a quick hit of catharsis when it seems like everybody else is busy following their bliss? You turn to lonesome, dejected country music, soaked in whiskey and regret. On the day before the day before the new year, many of us will be looking back on a dubious 363 days. Margo gets it. She’s the most honest songwriter to emerge in the last couple years, and she’s exactly the one we need. Pick of the week.

Margo Price: Weakness (EP) — Since the title track is also on All American Made, this is mostly worth it for “Paper Cowboy,” the rare Margo Price recording where the focus is squarely on the band, which is amazing. Seriously, Luke Schneider’s pedal steel playing is next-level.

Queen: Sheer Heart Attack — I rewatched Baby Driver last week (conveniently forgetting at the start that it’s got Kevin Spacey in it) and I was plunged into a world of “Brighton Rock” on repeat. Seldom has a song that only has one repetition of its chorus been more addictive. (Is it really a chorus if it only happens once? Yes it is. Because it sounds like one. “Oh rock of ages, do not crumble” are not words you just throw into a verse or a bridge.) The clear next phase in this obsession was to revisit this album, which remains my most neglected classic Queen album, mostly as a consequence of how I experienced Queen at first. As a prog-obsessed teenager, Queen II was my go-to, with A Night at the Opera getting the secondary nod almost by default, just because it’s “the classic.” But with a few more years behind me, I’m willing to entertain the notion that Sheer Heart Attack is stronger than either. Sure, it’s got an uneven second half. The run of “Misfire,” “Bring Back That Leroy Brown” and “She Makes Me (Stormtroopers in Stilettos)” is markedly less magnificent than the rest of the disc, with the second of those being virtually the only Freddie Mercury novelty song that fails to amuse me. But I’m not sure Queen ever made an album that didn’t have a couple dogs on it. In retrospect, Queen II has more lacklustre tracks than that. And for all that album’s musical intricacy and wonderment, it is couched in a high-fantasy aesthetic that I find less compelling at 27 than I did at 15. Sheer Heart Attack’s greatest improvement over its predecessor is its adoption of surrealism and introspection in place of Queen II’s ogres and fairy fellers. I still love those songs, but Sheer Heart Attack keeps you at arm’s length just a little bit less. Aside from “Brighton Rock,” which belongs in everybody’s top five Queen songs, my highlight is the three-parter formed by “Tenement Funster,” “Flick of the Wrist” and “Lily of the Valley.” The middle part of the trilogy is what really holds it up: “Flick of the Wrist” is Queen’s entire ethos in three minutes. The way Mercury’s piano (absent throughout “Tenement Funster”) arrives suddenly, elegantly tossing off a bit of filigree before the vocal begins, is a masterstroke. And the moment when the Queen choir kicks on on “Don’t look back! Don’t look back!” is as dramatic and satisfying as they get. But the other two bits should get their due as well: “Tenement Funster” may be my favourite Roger Taylor track, simply because it is the most Roger Taylor track. And “Lily of the Valley” is a sort of refinement of “Nevermore” from Queen II, which has a lovely melody but very overwrought lyrics. To my ears this still leaves three classics in “Killer Queen,” “Now I’m Here” and “Stone Cold Crazy,” the latter of which sounds about four years ahead of its time. Bottom line, Queen is everything that’s good about rock music from the ‘70s, and this is maybe their best album.

Morton Feldman/Marc-André Hamelin: For Bunita Marcus — One of my favourite “classical” (terrible word) releases of the year. Every time Hamelin records something that isn’t stupidly technical — like his amazing Haydn recordings — the classical music chattersphere makes that the lede. And, fair enough. But in the case of this beautiful late piece by Morton Feldman, the set of demands placed on the performer are no less extraordinary than those of Alkan or Godowsky, though the piece is technically simple even by ordinary standards. The performer of For Bunita Marcus must play extremely sparsely populated music, very quietly, for well over an hour. I can hardly conceive of the presence of mind it must take to maintain the atmosphere. Hamelin is both an artist and a stuntman, and this is as much a stunt as anything he’s ever played. It’s also as much of an artistic accomplishment as he’s ever put to record. Also: in his liner notes, which I ignored the first time I heard this and only just read this week, Hamelin compares this music to Borges’s story “The Library of Babel,” which is an irresistible germ of a thought, given that I coincidentally finished the Ficciones last week. I’m not entirely sure what he’s on about, but certainly both Borges and Feldman are offering two attempts to visualize and quantify the infinite — or, in Borges’ case the finite but inconceivably vast. Maybe in Feldman’s case as well. This is great music for when you need to leave the small things behind.

Max Richter: The Blue Notebooks — Richter is either a genius or a charlatan, except he’s definitely a genius. I don’t like everything he’s done, but his best music (this, the Vivaldi recompositions, parts of Sleep) are modern classics that deserve to stand alongside the music of William Basinski and Tim Hecker. Mind, he’s a lot less spiny than either of them. If you felt emotionally manipulated at the beginning or end of Arrival, it’s Richter’s fault. “On the Nature of Daylight” is one of his simplest, most direct and (dare I say) poppiest pieces of music, so it makes sense that it should find a home in the movies. That track is a highlight of The Blue Notebooks, but it isn’t the highlight: that’s “Shadow Journal,” a dark, slow-moving piece with trancey electronics and reverb-laden harp and strings. You can’t quite call it ambient; it’s too structured for that. But it is spectacular mood music. So is the rest of this. It’s definitely the place to start if you’re looking for an introduction.

Movies

Andy and Jim: The Great Beyond — This is a magnificent documentary about a terrible man who was massively acclaimed for doing a thing badly. Andy and Jim confirms my theory that Jim Carrey’s performance as Andy Kaufman is horseshit. It is 100% based on the front-of-camera Andy Kaufman, with no attention paid or insight sought out into Kaufman’s actual character. Regardless of how deeply Jim Carrey descended into method acting hell to play Kaufman, his interpretation of the character is fundamentally misguided and has a lot more to do with the neuroses and tics of Jim Carrey than those of Andy Kaufman. Carrey’s Kaufman, for instance, simply can’t accept that Jerry Lawler is a person worth befriending. Where the real Kaufman (as illustrated in one presumably difficult to film segment of Man on the Moon) was a firm friend of the wrestler in real life and only condescended to him for show, Carrey’s Kaufman is a dick to him even when the cameras aren’t on. This is borderline emotional abuse, given that Jerry Lawler played himself in Man on the Moon and was therefore subjected to ruthless taunting by a cheap facsimile of his deceased friend. It’s no wonder he punched Carrey for real. Who among us hasn’t wanted to do the same? The reason Andy and Jim is a great documentary is that it lays bare the extent to which Jim Carrey’s performance was a semi-conscious attempt to outrun his own pathologies. He expresses a need to be “absent” from himself. That’s what acting really is to him: an escape from being a person he doesn’t like. And Man on the Moon seemed to offer a unique opportunity to up the ante on this escape by playing a real person who famously didn’t break character (even though this is untrue and exaggerated in the film). I don’t know what Jim Carrey thinks of this documentary. I don’t know what the director of this documentary thinks of Jim Carrey. Regardless, it’s a fascinating portrait of a violently needy person letting his worst impulses lead him by the nose.

Literature, etc.

Philip Pullman: The Subtle Knife — I vaguely recall liking this better than The Golden Compass as a kid. And I was right. Smart little fucker, I was. The Golden Compass is a sublime adventure story with one of the best protagonists in children’s literature. But The Subtle Knife is where Philip Pullman starts to tip his hand that what he’s really writing is an epic on a cosmic scale. This is where the elements of His Dark Materials that I really love start to come out: the multiple universes, the questions of free will and destiny, the rumblings of a great war to come. If there’s a weak point, it’s simply that Pullman has to introduce and develop the character of Will, which means we get less Lyra per page than in The Golden Compass. But Will is a more than acceptable secondary protagonist, and a great foil for Lyra. The early scenes of the two of them trying to cooperate in spite of their drastically different upbringing are fabulous. Also, The Subtle Knife turns up the horror by several degrees. The Golden Compass contained some truly horrifying scenes, particularly the reveal of the first severed child Lyra encounters. (Wonderful how Pullman normalizes the fact that people have daemons so successfully that when she finds something that would look to us like a normal child, it’s appalling.) But The Subtle Knife’s spectre attacks and the general atmosphere of Cittàgazze wouldn’t be out of place in The Dark Tower. Speaking of King, one thing Pullman doesn’t get enough credit for is the way he writes action. I’ve been reading King as well, so it sticks out to me that Pullman and King are equally adept at writing tense action sequences. The one where Lee Scoresby and Hester die is a) heartbreaking, but also b) a hell of a gunfight. Anyway, I’ve been finished this for a few days now and I just got The Amber Spyglass out of the library. I am as excited to crack it open as I was when I was 11 and finishing The Subtle Knife for the first time. Pick of the week.

Podcasts

In Our Time: “Picasso’s Guernica” & “The Picts” — These are two episodes that together illustrate why this weird, unvarnished, slightly stuffy talk radio show is one of my favourite podcasts. The Guernica episode is just a full-on, firing-on-all-cylinders episode of this show, where every professor on the panel has something different to offer and Melvyn Bragg organizes the discussion so you see the subject from multiple sides in only an hour. He gets into not only Picasso’s painting itself, but also the actual bombing of Guernica itself and the political situation that let Picasso to make the painting at all. He gets into the impact of reportage from Guernica on Picasso’s approach. He even manages to fit in a bit of the continuing story of Guernica in more recent times, i.e. its presence at the United Nations. The episode about the Picts is an entirely different sort of affair, because it is live in front of an audience, and it is a celebration of the show’s 20th anniversary. It is so demonstrative of this show’s sensibility that when faced with celebrating a milestone, they obviously just decided to do what they were going to do anyway, which was talk about the Picts. I love that. I also love how transparent Bragg gets in this episode, where he doesn’t even try to hide the fact that he’s attempting to lead his panelists into saying a specific thing. At one point Bragg explains about a general in a decisive battle: “Completely unexpectedly, after winning battles for 30 years, he was not only defeated but killed, and that changed everything.” And then he turns to a member of his panel: “Can you say that more elaborately than I did please. With more scholarship.” And his panelist proceeds to do so, brilliantly. Why mask the process, when forthrightness yields both results and punchlines?  

Fresh Air: “Margo Price” & “Comic Patton Oswalt” — Two fantastic interviews with people who make brilliant, vulnerable art. Also, Margo brought her guitar. So, listen to that one.

On the Media: “About that Nazi Next Door” — A good interview about a distressing reaction to a distressing New York Times story about a white nationalist. What this show is for.

More Perfect catchup — This is shaping up to be one of the best shows of the year, with a second season that eclipses the first by a fair margin. The fearless complexity that’s been missing lately in Radiolab is here in spades, and so is the musical sound design. And the stories themselves are the sort of thing that’ll make you stop doing the dishes from time to time and just stand in the middle of your kitchen. Of the three episodes I listened to this week, the one about Citizens United stands out. Go listen.

Beautiful Conversations with Anonymous People: “Black Cloud of a Husband” — The best episode of this show that I’ve heard so far, and a truly enthralling story. This time, Chris Gethard’s anonymous caller is a newly single mother who has been through what sounds like a hellish marriage and lived to tell the tale. She’s in therapy and seems to be moving past her trauma, which makes this feel less exploitative than it otherwise could. (Though I’ve never actually felt this show is exploitative, really. The anonymity helps, but mostly I feel that Chris Gethard always keeps his callers’ best interest in mind, or tries to as best he can.) But the story of this woman’s relationship with her husband, which she now sees with 20-20 hindsight, is an incredible thing to listen to. Gethard hardly has to do anything. She just has a story to tell and wants to get it out. This is a good starting place for this show. If you don’t like this, you’ll never be won over. Pick of the week.

Constellations: “ellie gordon-moershel – anatomy of the road” & “janet rogers – broken english” — “Anatomy of the road” is a dull, predictable bit of drama in itself, but I can imagine it going somewhere interesting in its continuation. Apparently that will happen. “Broken english” is more fun, on account of its basically being music. I’m all for the line between music and talk radio being blurred.

What Trump Can Teach Us About Con Law: “Right to Dissent” & “Criminal Justice and the POTUS” — Two great, disquieting episodes of a forever disquieting show about how everything is changing for the worse because the most powerful man in the world is a baby with no understanding of the system he’s at the head of. The criminal justice episode is particularly good, because it references Trump’s response to the Central Park Five to help understand his current stance on criminal justice, which is deplorable.

StartUp: “The Race for a Driverless Future” — It’s been a long time since I listened to the first part of this two-parter, but I remember it was more fun than this. If this show were continuing with this episodic approach, it would be gone from my feed.

Omnireviewer (week of Sept. 25, 2016)

If you’re interested in being frustrated by me more frequently and for shorter periods at a time, I’m now doing this on Tumblr as well. I post the reviews as I write them. I’ve got three followers already! Two of whom I don’t even know IRL!

17 reviews.

Literature, etc.

The Book of Tobit — I read the version of this that can be found in the “Shorter Books of the Apocrypha” volume of the New English Bible, along with the commentary provided therein. I know nothing about whether or not this is a good way to read Tobit. It’s just what my library had most conveniently at hand. It’s the first Biblical reading I’ve ever done, aside from a brief teenage tear through Revelation. Odd choices, I’m sure. An apocryphal text and a fever dream. But I’m now the proud owner of a copy of Alan Moore’s Jerusalem, and I understand that the demon from this Biblical story makes a substantial appearance there. Might as well do my homework. So, how was it? Well, I learned that the Grateful Dead got their name from one of the folktales sourced in Tobit. Also near the start, Tobit is blinded when a sparrow poops in his eyes. Also there’s a bit where the archangel Raphael appears in disguise, and talks about his friend “Gabael.” Seriously, Raphael? You might as well have said “Schmabriel.” You are bad at subterfuge, and I bet your disguise is just Groucho Marx glasses. Also a huge fish tries to swallow a man’s foot, but the book never says whether it tried to bite it off first. Odd phrasing. Very hard to swallow a foot when it is still attached to a leg. So basically, laffs o’plenty.

Jeph Loeb & Tim Sale: Batman: The Long Halloween — Superhero comics aren’t really my speed, these days. But a friend leant this to me and I LOVED it. It’s less of a conventional superhero story than it is a crime drama, and its clearest reference points outside of the Batman canon come from The Godfather and The Silence of the Lambs. Tim Sale’s art is both stylishly noirish and practical in its storytelling — many things are illustrated that did not actually happen, but it is always clear what they are. There are a lot of bad guys in this story, and while shoehorning in multiple antagonists has hurt movies like Spider-Man 3 and The Dark Knight Rises, Loeb finds a way to make each iconic villain’s appearance serve the main thrust of the narrative. Indeed, the structural device of “iconography of a major holiday + recognizable villain + grisly murder by an unknown hand” in each issue makes for nearly perfect serialized storytelling — especially when the structure begins to break down in the Riddler chapter. I laid down on the couch to start reading this early on a Sunday afternoon, and did not get up until I was finished. That’s the mark of a good suspense story. Pick of the week.

Tanya Gold: “A Goose in a Dress” — This Harper’s feature from last year addresses the shitty side of the culture war by way of lacerating, hilarious food criticism. A selection of top-tier New York restaurants is made to exemplify what is wrong with America’s cultural elites, and products made for ostensibly refined tastes are exposed as a consequence of intense anti-intellectualism. This can apply to so many elements of “high culture.” Intellectual laziness is easily bred in environments where an artistic idiom’s value is held up as unquestionable (see also: classical music, Shakespeare). This is why you cannot learn anything worthwhile about the world from reading Gramophone magazine, but you can learn plenty from reading reviews of Kendrick Lamar records. Gold’s piece is the necessary (and hugely satisfying) negative side of poptimism applied to food. For the positive spin, look no further than the Sporkful podcast: a labour of love on behalf of the full spectrum of culinary experience. This feature is incredible. Read it. There’s a line about Charles Foster Kane that is so brilliant you’ll eat your computer.

Adrian Tomine: Shortcomings — I don’t quite know how to respond to this. I was totally involved in the story and completely believed the characters, but I came out of it without a clear sense of what I was meant to take from it. I’ve never been one of those people who writes off a story because of unsympathetic characters. Which, you just can’t be if you’re going to get anything out of this. The protagonist is an unrepentant jerk with zero self-awareness. But I feel like it’s going to stick with me. And I like that feeling — when there are just thoughts swirling around, and eventually they may coalesce into a broth. And that’s basically what this blog is: just a record of that process in something close to real-time. But where this comic is concerned, it isn’t happening fast enough for me to have anything much to say. I do think it’s probably very good. It’s definitely engrossing, in a soapy kind of way.

Television

Last Week Tonight: September 25, 2016 — One joke format that I love when it is delivered well is the “ruthless overkill” joke. John Oliver saying “fuck you” to an eight-year-old Ron Howard is exactly what I mean by that. Also, this show’s occasional compilations of ads for WCBS News features are always hysterical and remind me why I mostly hate television. The main course was especially relevant since I watched this immediately after subjecting myself to the first presidential debate. More than any specific factual misrepresentation or shameless dogwhistle, I found myself enraged at the general tenor of the debate, which was light on policy and heavy on accusations of scandal. This helps put a lot of that in perspective, but it is still absolutely not what I want to hear the candidates talk about. And I think we can expect more from exactly one of the two.  

Games

The Last Door: Season 1 (Collector’s Edition) — This game offers proof of concept remarkably quickly. In its opening scene, it shows you something extremely disquieting, rendered in its self-described “lo-fi” 8-bit aesthetic, and the juxtaposition of that terror with the lack of detail in its illustration is intensely effective. It’s like what Scott McCloud writes about the power of cartoons: you can impose yourself onto a figure without much detail. It’s a tremendously effective technique to draw on in a horror game, because it makes the terror that much more visceral. The key reference point in most reviews seems to be H.P. Lovecraft, but as ever, his influence is overestimated compared to that of Poe. Sub out crows for ravens and you’re halfway there. Lovecraft rears his head in the form of a Thing That Lies Just Beyond Our Senses That Is Incomprehensible And Ruthless, but the aesthetic of this is firmly in Poe’s Romantic idiom. It is so unsettling. I’ll play through the second season as soon as I get the chance.

Music

Margo Price: Midwest Farmer’s Daughter — You know, it scratches an itch. Country music is a sometimes food, but Margo Price is the real deal: a hard living, mistake making modern human with a killer band and a capacity to express hard personal truths with directness. I’m not sure I love this as much as some of Price’s biggest fans, but — and I never thought I’d say this — it’s possible that I’ve listened to more country music than some of this record’s cheerleaders. So it isn’t revelatory, so much as merely excellent. I love “Hands of Time.” This has no weak tracks, but that one is an instant classic.

Miles Davis: On The Corner — Jeez, let me tell you, listening to this in the grocery store makes for some odd juxtapositions. Hearing John McLaughlin soloing over tablas and Miles’ wah-wah treated trumpet while you sort through the onions for a firm one just feels wrong. In spite of its prosaic title, this album isn’t the sort of thing that pairs well with real life. The music of On the Corner sounds like it couldn’t have happened in a place, no matter how hard that title tries to wrangle it down to earth. It is artificial music — fictional music. No doubt that’s the result of Miles, a person who came up in a musical idiom where whatever happens in front of the microphones is what goes on the record, actively swerving as far as he could to the other end of the spectrum. Bitches Brew may be more adventurous; Jack Johnson may be more rock and roll. But On the Corner marks the farthest point out on Miles’ electric peninsula. I love it. It might be my favourite Miles Davis record.

Podcasts

Radiolab: “The Primitive Streak” — Jad is clearly not taking his vacation seriously. Still. This is one of the best Radiolab stories in recent memory, maybe partially because it strongly resembles the Radiolab from two or three years ago that I remember so fondly. No media outlet does the “science deals with a difficult ethical question” story as well as Radiolab does. And good luck finding one with such glorious eerie synth music.

The Gist: “Rapid Response: The First Presidential Debate” — It’s as good as it can be. Of course I’m going to listen to recaps like these, but I’m just tired. What’s there to say anymore?

NPR Politics Podcast: “The First Presidential Debate” — This podcast is incredibly useful, in that it features people who I can stand to listen to talking about people I can’t stand to listen to.

In Our Time: “Zeno’s Paradoxes” — This is marvellous, easily the best episode of In Our Time that I’ve heard. It is propelled forward by Melvyn Bragg’s total fascination with the hysterical, raving absurdities of paradoxes like Achilles and the tortoise, and Zeno’s arrow. His guests are articulate enough to make you genuinely think twice about the notion that a line could possibly be made of discrete points. This sort of abstraction is totally fascinating to me. References to the Weeping Angels in Doctor Who are just a bonus. Okay, that’s the end of the review, but this made me remember a story I feel compelled to relate. Once, way back in grade 11 chemistry, our teacher Ms. Agnew was trying to demonstrate pipetting. The chemical reaction she was undertaking required a super specific amount of a solute to be added to a beaker of some solvent or another. She asked for a volunteer to attempt the feat, and when only the usual suspects raised their hands (yours truly, and a few of my friends), she forced the stoner in the back row to step up. I can’t remember his name. Let’s call him Jordan. Just a listless troglodyte of a teenager. He dragged his knuckles up to the front of the room and started going through the motions of the demonstration, as Ms. Agnew instructed. When he had just about added enough of the solute and the solvent had still failed to change colour, like it would with the proper amount, Ms. Agnew told him “just add half a drop.” Jordan froze. He turned his head slowly, and uttered more words than any of us had ever heard him say before: “you can’t have half a drop.” Agnew brushed him off and told him to just try and add the tiniest bit more to the solution, but he wouldn’t be dissuaded from this question that now occupied him. “No, wait — it’s not possible to have ‘half a drop.’” Agnew asked what he meant. Thus began the pantomime. Jordan put his right hand to his forehead and raised his left index finger, eyes clamped shut as if in mental agony. “A ‘drop’ is however much water falls out of that thing. If I try for ‘half a drop,’ that’s still just a drop. A smaller drop.” Ms. Agnew was running out of class time, but this was a train she couldn’t help chasing. “No, the pipette can dispense sort of average-sized drops, and if you’re really careful, it can do half-drops.” Jordan would not relent. The rest of our class was spent watching this debate, which was not unlike the conversation on this episode of In Our Time. After 15 years of semi-sentience, this ontological impossibility had hit Jordan in the brain so hard that it roused him from catatonia. It was a thing to behold. Pick of the week. 

You Must Remember This: “The Blacklist Part 5: The Strange Love of Barbara Stanwyck: Robert Taylor” — When this podcast promises “secret and/or forgotten” stories from Hollywood (god, how I wish she’d quit with the and/or thing) it certainly delivers. This episode reveals not just how a now forgotten actor typifies the attitudes of blacklist-era Hollywood conservatives — it reveals how the HUAC hearings may have been the direct result of his participation. This is consistently outstanding stuff.

The West Wing Weekly: “Special Interim Session (with Aaron Sorkin)” — I don’t really understand why this is now a member of Radiotopia, aside from it being Hrishikesh Hirway’s other show. It’s not story driven or audio rich: it’s really just a discussion show, and a niche one at that. Which isn’t to say it isn’t good. As a huge West Wing fan, I really enjoyed this discussion of the gap between the first and second seasons with Sorkin himself. I’ll probably listen again when they discuss my particular favourite episodes. (“Two Cathedrals” is coming up pretty soon.) So, all well and good. Just, it’s going to be Radiotopia’s strange fish from here on out.

Code Switch: “The Code Switch Guide To Handling Casual Racism” — Code Switch inherits a proven formula from On the Media. The panel gives several examples of times when they either have or have not called out casual racism when it occurs, and use that as a starting point to figure out when it’s best to say something, versus just leaving it alone. News you can use. Code Switch is awesome.

All Songs Considered: “Brian Eno Sings, New Dirty Projectors, Leonard Cohen, More” — I didn’t love the track by the Gift that features Brian Eno the first time I heard it. I found the first two minutes generic, and it only picked up when Eno took the lead vocals. I’ve since listened to it a few more times and seen the video, which is amazing, and I’ve warmed to it enough that I might check out the album. The Gift has a female lead singer who sings in a baritone register. It’s an amazing sound. And that moment when Eno comes in hits me right in the Here Come the Warm Jets centre of my brain. Dirty Projectors’ new song is a four-minute abyss gaze. I loved it. And oh boy, am I ever excited for the new Leonard Cohen record. I’ve skipped a couple, but the title track from You Want it Darker is brilliant.

Desert Island Discs: “Joyce DiDonato” — Considering what my job is these days, I don’t know why I decided I wanted to listen to an interview with an opera singer in my spare time. (These days my job is producing a podcast/radio show of opera-related interviews.) But Joyce is special. Before I heard her recital disc of music from Naples, I’d never really been wowed by an opera singer before. Operas, yes, but never a specific musician. She is probably my favourite classical singer working right now, and it is so wonderful to hear about how her total virtuosity was built on a foundation of hard graft as much or more than natural ability. She’s coming to Vancouver soon, and I have only been this excited to see a classical recital maybe twice before in my life.