Saturday, July 2, 2011

The Book of the New Sun by Gene Wolfe

I have just finished the four volumes which comprise Gene Wolfe's 'The Book of the New Sun' and am awaiting delivery of the coda novel 'The Urth of the New Sun'. These books are undisputed classics of SF and are noted by many as a huge achievement in literature, Ursula Le Guin has referred to Wolfe as 'our Melville' and thesis have been written about his work. The four volumes are: 'The Shadow of the Torturer', 'The Claw of the Conciliator', 'The Sword of the Lictor' and 'The Citadel of the Autarch'. To say that these novels are mind-blowing would be an understatement. In fact I can't ever remember reading four novels in a row and on completion wanting to start right back at the beginning, read them all again and try and unlock the numerous mysteries within their beautifully written pages.

I had been aware of the reputation of these novels for many years and as a keen reader of SF was waiting for the time when I felt ready to whole-heartedly throw myself into them, yes, these books are not light reading, they demand close attention and I found myself reading them slowly and carefully. The story is filled with riddles and puzzles and odd archaic words, in fact one essayist has said 'it could be argued that The Book of the New Sun is science fiction's Ulysses'.

Set a million years in the future in a world (Urth) where the sun is dying and humanity clings to the ruins of past societies Wolfe conjures an other-ness unlike anything else I have ever read. As the books go on it becomes clear that mankind has thousands of years in the past colonized other worlds, in fact the moon is green because it has been irrigated but these are events that are almost modern myths in our protagonist's world, a world which has been plunged back into an almost medieval like period.

Severian, our main protagonist is an apprentice to a guild of executioners and torturers. The story is presented as his autobiography and Wolfe the translator ('originally composed in a tongue which has not yet achieved existence'). Severian is a fantastic character and is also one of my favourite things in literature, 'the unreliable narrator'. In fact just three chapters in he says: 'It was in this instant of confusion that I realized for the first time that I am in some degree insane.' Severian has been raised by the guild in the towers of the citadel of the dark and decaying city of Nessus, his training is to assist unquestionably in 'excruciations' on prisoners whom judges have deemed traitorous or otherwise. This character could be portrayed as simply evil but within one or two pages in his voice we begin to realize that he possesses a strange humanity and it is this humanity, when showing a kind of mercy to a victim, that has him cast into exile. Dressed in his 'fuligin' cloak (the colour darker than black) and with his magnificently named sword, 'Terminus Est', Severian is forced into an world outside of the Citadel which he has never seen and onto a journey which will see him fulfill an ancient prophecy.

One of the most powerful things about Wolfe's writing here is that from the opening page you are in the world he has created, there are no explicit explanations about anything so you kind of piece together the world from the inside, and as a result the experience grows deeper and takes on more meaning as you progress through the story (and afterwards I have found out hence me writing this article and poring over the internet looking for articles and essays on the books.) Whereas something like 'Lord of the Rings' Tolkien in his own clever way creates a world that almost has an unshakeable clarity (as evinced by the visualization in the film adaptations where anybody who has read the books exclaimed 'This is exactly how I imagined it!') Wolfe's world is far more nebulous in what you see in your minds eye. He is a master at dropping jaw-dropping hints such as when Severian is studying a picture of a lone soldier holding a flag, this may or may not be a picture of an Apollo astronaut standing on the moon. There are many, many other incidences like this but on the slim chance that reading this article will prompt you to read the books (which you bloody well should) I shall refrain from spoiling anything, as much as I want to.

On Severian's journey we meet a travelling troupe of actors in which Severian himself acts in a play (which is written in play form in a chapter in book 2), he fights a duel in which the weapon is a deadly flower and he unwittingly comes to possess an ancient artifact (The Claw of the Conciliator) which has the power to heal the injured and resurrect the dead and may have belonged to a Christ-like figure from the earth's past. There are so many memorable chapters, the sheer breadth of Wolfe's imagination is almost impossible to take in and is dreamlike in quality.

It is difficult to describe the scope of this magnificent set of novels, sometimes characters come in which seem significant but later fall out of the narrative, and events rarely lead you to where you may think they may be going but the sheer fun in following Wolfe's story just has you gripped, not to mention all of the religious and mythical allusions which permeate the world and it's characters and leave you scratching your head and trying to figure it all out.

Neil Gaiman, a friend of Wolfe's and champion of his work says: 'There are two kinds of clever writer. The ones that point out how clever they are, and the ones who see no need to point out how clever they are. Gene Wolfe is of the second kind, and the intelligence is less important than the tale. He is not smart to make you feel stupid. He is smart to make you smart as well.'

These are books that I can't wait to re-read for the very reason Gaiman describes above and I suspect that on reading them a second time they are going to be a very different experience. For connoisseurs of all things literary I recommend 'The Book of the New Sun' without hesitation.

Tuesday, November 30, 2010

Bruce Springsteen - The Promise. The Lost Sessions: Darkness on the Edge of Town 2CD

This wonderful collection of songs is an absolute treasure trove of unreleased Springsteen. Here are 21 songs from the sessions for 'Darkness on the Edge of Town' that didn't make it to the final album which was released in 1978.

After the success of 'Born to Run' in 1975 Springsteen was forced into a legal battle with his former manager, Mike Appel, this is a separate story in itself but the result was that Springsteen was unable to release a record for three long years which back in the 1970's was basically career suicide. These days bands take years to get around to making new albums but back then it really wasn't very common (just take a look at the '70's discographies of Bowie, Zeppelin, John Martyn or any other notable artist and you'll see what I mean, they used to knock out a masterpiece most years).

Springsteen in his frustration wrote over 70 songs  and recorded all of them with the E Street Band between 1976 and 1978, after much agonising he then whittled this down to the final 10 songs that ended up on 'Darkness'. What happened to the others? Some turned up on 'The River', others on the 'Tracks' box set, some even changed form and ended up on future albums ('Fire' changed to 'I'm on Fire' on 'Born in the U.S.A')  but many were simply locked away until now.

On listening to this double CD  and having watched the accompanying documentary on HBO it seems incredible that some of these songs were shelved. Steve Van Zandt on an appearance on 'Jimmy Fallon' said that an alternative title to this collection should have been '70 Lost Arguments'. There is some amazing stuff on here, the alternative, far livelier version of 'Racing in the Street' which opens the collection is a very different take on the version we all know and features a beautiful David Lindley violin solo. 'Gotta Get That Feeling' is a wonderful '60's pop song and 'Someday (We'll Be Together) is a sweeping arrangement with echoes of Phil Spector. It's great to finally hear the studio version of 'Because The Night' too, and 'Candy's Boy' is the working version of what ended up as 'Candy's Room' on the final album.

For me the focal point of this collection is the title track, 'The Promise'. Any fan will tell you that this is one of the great lost songs and Springsteen has resurrected it in concert and on record before, but here, finally is the original studio version and it is beautiful.  Another song of interest is 'Come On (Let's Go Tonight)' which fans will recognise as the same melody as 'Factory' albeit with a much lighter vocal lyrically.

As an aside, some of these songs, such as the aforementioned 'Someday (We'll Be Together)' do sound like expert pastiches of other syles of music (Spector, Orbison) and in that respect, for me this collection resembles 'The River' tonally. It also gives the listener a greater understanding of why Springsteen abandoned these songs at the time. 'Save My Love' is a hit that never happened and it's difficult to understand how you could lock away a song like this but you have to admire Spingsteen's reasons for doing so, he wanted a stark, austere album for 'Darkness on the Edge of Town' which sounded like nothing that had gone before it and in order to fulfil his ambition he had to sacrifice songs along the way. Needless to say, he absolutely achieved his ambition as 'Darkness' stands up as one of his great albums. I'm just relieved that even 30 years later we get to hear these lost songs in this fabulous collection, the world is a better place with them in it.

A lot of care has gone into this collection and the discerning ear will pick out the occasional vocal which has been re-recorded or touched up but it certainly doesn't detract from one's enjoyment of the songs.

I can only hope that these 'lost' albums keep turning up and I have my fingers crossed that the fabled alternate, full E Street Band version of 'Nebraska' will surface eventually but this will certainly keep me happy for many months to come.

Disc 1:

1. Racing In The Street ('78)
2. Gotta Get That Feeling
3. Outside Looking In
4. Someday (We'll Be Together)
5. One Way Street
6. Because The Night
7. Wrong Side Of The Street
8. The Brokenhearted
9. Rendezvous
10. Candy's Boy

Disc 2:

1. Save My Love
2. Ain't Good Enough For You
3. Fire
4. Spanish Eyes
5. It's A Shame
6. Come On (Let's Go Tonight)
7. Talk To Me
8. The Little Things (My Baby Does)
9. Breakaway
10. The Promise
11. City Of Night

Tuesday, November 9, 2010

Ween at 1st Bank Center, Broomfield, Colorado, October 31st, 2010

My first Ween show this Halloween was an epic, ear-splitting extravaganza which went on for 3 hours and 15 minutes. In that time the band played 36 songs from all of their records, they dressed as rabbits, they played 'Let's Dance' by Bowie and there were huge instrumental breaks. It was fantastic, slightly maddening at times, incredibly loud and overwhelming.

Ween as anyone who knows them will attest, are a one-off.  Funny, subversive and seriously weird. Their music hops around genres, defying easy categorisation. They have built up a loyal following over the last 20 years which enables them to pack out venues like this one with close to 5000 screaming, drunk and stoned fans all dressed up for Halloween and raring to go.

Opening with the instrumental 'Fiesta' the stage resembled a sort of carnival as the band came on stage as rabbits. Next was 'Don't Get 2 Close (2 My Fantasy)' with the crowd singing along to every word. Gradually parts of the costumes started to come off the five members (credit must go to guitarist Dean Ween, who kept his on the whole evening minus the head, I'm surprised he didn't pass out). After that it was pretty much a greatest hits set for Ween fans although many of these songs have evolved live and were much, much longer than their studio counterparts. 'Transdermal Celebration' was the ultimate classic rock song with Dean throwing back his head whilst playing the solo, 'Take Me Away' had the crowd going completely crazy and whilst everyone was singing to 'Spinal Meningitis (Got Me Down)' it got me thinking, how on earth did this song (disturbing to say the least) turn into a joyous singalong? How have this band reached the point where thousands of fans know all the words to their songs? The answer to that, is that behind the apparent pastiche in some songs and the goofiness and humour, the music is just really, really good. They know what they are doing and how to craft a good song. However, some of these songs almost lost me in places as they veered off into massive guitar solos that went on for ten minutes, I'm certainly not averse to instrumental breaks but it did seem at a couple of points during the show that they had turned into a jam-band which I thought was slightly ironic, since Ween have always expressed distaste for that particular type of music. There was no denying though, that this was their night, with no support the band were clearly in the mood to keep playing until the plug was pulled and they certainly went for it.

Highlights included a rocking version of 'Gabrielle', the cover of 'Let's Dance' which almost tore the roof off the venue, and a surprisingly moving version of 'Sarah' with just Gene and Dean playing their guitars.

I have to mention just how good the band are. The founding duo, Dean and Gene Ween (aka Aaron Freeman and Micky Melchiondo) were joined by their longstanding fellow bandmembers Claude Coleman Jr on drums, Dave Dreiwitz (bass) and Glenn McClelland on keyboards, all of whom are outstanding musicians and the ease with which they play together is evident. Dean Ween even stepped behind the drum kit for a beautiful rendition of 'The Mollusk' towards the end of the show.

The encore was another show in itself, kicking off with one of their uniquely disturbing pop songs 'Mister, Would You Please Help My Pony' , followed by crowd favourite 'Freedom of '76' and then the rocking 'Stroker Ace', the band played out with a 20 minute version of their Prince-like 'L.M.L.Y.P'. By the end of the song there was about 30 women up on stage dancing. It was a fittingly bizarre end to the longest concert I've ever witnessed and celebration of all things Ween.

Setlist.

1. Fiesta
2. Don't Get 2 Close (2 My Fantasy)
3. Touch My Tooter
4. Transdermal Celebration
5. Hey There Fancy Pants
6. Take Me Away
7. Spinal Meningitis (Got Me Down)
8. Learnin' To Love
9. Don't Sweat It
10. Voodoo Lady
11. Your Party
12. My Own Bare Hands
13. Happy Colored Marbles
14. Up On the Hill
15. Gabrielle
16. Piss Up a Rope
17. Reggaejunkiejew
18. Let's Dance (David Bowie cover)
19. Buckingham Green
20. Ice Castles
21. Final Alarm
22. Back to Basom
23, Sarah
24. She Fucks Me
25. Bananas and Blow
26. Booze Me Up and Get Me High
27. Push Th' Little Daisies
28. Roses Are Free
29. Piano "Interlude" -- Glenn McClelland
30. The Mollusk
31. Doctor Rock
32. Blarney Stone

Encore:
33. Mister, Would You Please Help My Pony?
34. Freedom of '76
35. Stroker Ace
36. Pusher Man Intro/LMLYP

Thursday, October 28, 2010

Gorillaz at the Wells Fargo Theatre, Denver, Colorado, October 24th, 2010

This tour sees Gorillaz playing their first full scale American tour since their inception and it certainly seemed like the crowd were ready for it, with a capacity audience at Denvers' Wells Fargo Theatre in the mood to party. Which they did, for the most part. Gorillaz put on a really good show although it was slightly uneven in terms of mood and pace, but more on that in a bit.

First off, I am a huge fan of Damon Albarn. I think he is one of the few musicians operating who is consistantly breaking musical boundaries and showing that genres have no reason to be separated, that they can all be melded together. His work with Blur is enough to convince me of his songwriting genius and so I have happily followed him into his other projects and often been very impressed. Gorillaz most recent release, 'Plastic Beach' is one of my albums of  2010 so far, so I was very eager to see how it was reproduced live.

Well there was no worries of that front, Albarn has assembled an incredible band which has two members of The Clash on guitar (Mick Jones) and bass (Paul Simonon), along with a whole assortment of other musicians. There were two drummers, backing vocalists, a string section, another guitar player, keyboards and that's not even all as periodically whole other sections of musicans joined them on stage (The Hypnotic Brass Ensemble and The American Syrian Orchestra, not to mention all of the other guests).

The band entered to the strings of 'Orchestral Intro' from the new album and then launched straight into 'Welcome to the World of the Plastic Beach' complete with Snoop Dogg on giant video screens behind them and the Hypnotic Brass Ensemble on horns, I counted the amount of people on stage and there were something like 25, I kept thinking that the poor guy on the mixing desk must be having a nightmare. The crowd really got going to an exuberant '19-2000' which was followed by 5 great songs in a row: 'Last Living Souls', 'Stylo' (with Bobby Womack joining in),'On Melancholy Hill', 'Rhinestone Eyes' and 'Superfast Jellyfish'.  Maybe it's because several of these songs are my personal favourites but it seemed that they could have spread them out a bit, after this the whole gig seemed to slow down. It's easy to percieve the group from their cartoon image (played out behind the band on giant screens) as being very upbeat but I soon realised that some of their songs are quite the opposite. As the set progressed I was looking down on the crowd and you could clearly see which songs had everyone on their feet and then just as quickly the next song would have everybody sat back down again. This is not to say that songs such as 'Empire Ants', 'Broken' and 'To Binge' aren't good, they really are but their placing in the set definitely affected the pace of it.

Albarn (as anyone who has ever seen Blur live can testify) is a supremely confident and energetic frontman and he was often right at the front of the crowd throwing high-fives with the audience and interacting with them. A slightly confused Bobby Womack (he addressed the crowd as 'Seattle, Washington') sang his heart out on 'Cloud of Unknowing' and by the time 'Feel Good Inc' started with De La Soul performing onstage the whole place was on it's feet again. A wonderful rendition of 'Clint Eastwood' should have provided the perfect close to the concert, but after that song we got two relatively slow tracks, 'Don't Get Lost In Heaven' and 'Demon Days'. To me the gig ended with a bit of a whimper and whilst those two songs were playing I was thinking about whether we were going to stop off at a bar for a drink and a bite to eat on the way home.

Top marks to Albarn and his band, the musicanship was second to none and it was an enjoyable performance but I really felt that there were a few to many lulls in the set towards the end. Still, any evening where you get to see half of The Clash, Damon Albarn and De La Soul all playing together has got to be worth the price of admission.

Setlist:

1. Orchestral Intro (extended)
2. Welcome to the World of the Plastic Beach (Snoop on the screens and Hypnotic Brass Ensemble on stage)
3. 19-2000
4. Last Living Souls
5. Stylo (with Bobby Womack and Bootie Brown)
6. On Melancholy Hill
7. Rhinestone Eyes
8. Superfast Jellyfish (with De La Soul, minus Maseo)
9. Tomorrow Comes Today
10. Empire Ants (with Yukimi Nagano from Little Dragon)
11. Broken (extended)
12. Dirty Harry (with Bootie Brown)
13. El Manana
14. White Flag (with Kano and Bashy and The American Syrian Orchestra)
15. To Binge (with Yukimi Nagano)
16. DARE (with Rosie Wilson)
17. Glitter Freeze
18. Punk
19. Plastic Beach

Encore:

20. Cloud of Unknowing
21. Feel Good Inc (featuring all of De La Soul)
22. Clint Eastwood (with Kano and Bashy)
23. Don't Get Lost in Heaven
24. Demon Days

Wednesday, October 27, 2010

Household Gods. No 1: James Dean Bradfield.

This is a section which I will add to over the coming weeks, months, years. There are certain artists, musicians, writers and filmmakers who have their own little place on my imaginary household shrine of worship and in this column I shall try (and most likely fail) to put into words what they mean to me.

This week I shall be concentrating on James Dean Bradfield of the Manic Street Preachers.

The Manics are a band who you either love or hate it seems. I unapologetically love them and always have and always will. Whilst in New York recently I was prompted to spend $15.99 on an imported copy of Guitarist magazine just because there was a feature on James Dean Bradfield and it got me wondering, what other guitar player and singer would I have done that for? 

My ongoing love affair with this band started the day 'The Holy Bible' came out, 29 August 1994. I was 16 and on holiday in Jersey with my parents and sister and I picked up a copy based on amazing reviews I had read in the NME and now the defunct Melody Maker, I had been curious about them for a while and I got the first Oasis album too, which was out on the same day. I remember thinking that 'The Holy Bible' blew 'Definitely Maybe' out of the water on every conceivable level. I loved everything about it and still do, Richey's lyrics, James voice and guitar playing, the production and the unrelenting sense of despair that clings to every note of music. This was also around the same time that I was teaching myself guitar on my trusty black and white 1993 Korean Fender Squier Stratocaster and I felt so fortunate that I had this incredible album to shut myself in the bedroom with and copy the riffs (badly at first). That December on the 21st I witnessed the best gig I have ever been to when they played at the London Astoria, this tragically turned out to be Richey's final gig with the band and he subsequently disappeared on February 1st, 1995.

16 years later and I was eagerly downloading the latest Manics album 'Postcards from a Young Man', again the day it was released and I thought to myself, how many other bands have been together for 20 years and are still releasing some of their best music? And how many bands have I followed that long?


James Dean Bradfield has to be one of my favourite guitar players. His songwriting and the way that the riffs and solos fit in, never overshadowing the songs in 'look at me' theatrics, his tone and that fact that he plays an alpine white Les Paul Custom and makes it look so effortlessly cool. I can remember my 16 year old self standing in the London Astoria with my jaw on the floor as he tore into the end solo to 'Motorcycle Emptiness' whilst he stared up at the audience on the balcony and I'm not sure I ever really recovered, realising that no matter how hard I tried, my Squier through a 10 watt Yamaha amplifier wasn't going to sound like that, plus the other realisation that when I eventually did master the solo, I wasn't going to be playing it in front of 2000 adoring fans. On top of that he has a ridiculously good voice, filled with passion, commitment and power, I still get shivers down my spine when I sometimes stick on 'A Design for Life' really loudly and his voice almost cracks at the end amongst the cascading string arrangments. I could go on and on about the solo at the end of 'Archives of Pain' but I would probably bore everyone to tears, myself included. Also he seems do be devoid of all the 'rock star' nonsense that has come and gone over the years, perhaps due to the fact that despite huge popularity, it has never been 'fashionable' to like the Manics, something I'm sure they couldn't care less about. They have always just got on with it and made great music, outlasting nearly all of their contemporaries.They have always been their own musical island and remained stronger for it.

I think he is a true guitar hero in an age where there are hardly any left, and love them or loathe them, there is no other band like the Manics. I hope that they carry on and make another 10 albums.

Tuesday, October 26, 2010

Muse at the Pepsi Center, Denver, October 2nd, 2010

The last time I saw Muse was at Glastonbury 2000 on the Other Stage. Back then, their first album had only been out a few months and they were on before The Beta Band on a sunny Sunday afternoon. It was obvious watching them ten years ago that they had something pretty special going on and I can remember being distinctly envious of Matt Bellamy's guitar skills and thinking that they had a huge sound for a three piece. Now they are on their way to becoming one of the biggest bands in the world, the 20,000 capacity Pepsi Centre (home of the Denver Nuggets basketball team) was almost full. They had been booked to play another much smaller venue back in April but had cancelled due to being stuck in snow on their way, it is testament to their growing Stateside fanbase that just a few months later they were playing a venue three times the size. I suspect that this is in large part due to their inclusion in several Twilight film soundtracks judging by the presence of several teeny-boppers at the venue.

Support was from Passion Pit. Luckily I arrived at the venue halfway through their set so didn't have to endure too much of it. It nearly made me pass out in horror.

Anyway the lights went down and Muse descended onto the stage on three giant columns as "Exogenesis Part 1 (Overture)"  blared out of the PA. This was quite an entrance and they immediately followed this with "Map of the Problematique" from their "Black Holes and Revelations" album (their most consistent piece of work in my opinion). So far, so good and things got even better as the opening chords to the epic "Knights of Cydonia" rang out, you could tell that the audience were not expecting them to drop this into the set three songs in and everyone reacted accordingly, banging their heads for the exhilarating final section of the song. This song showed the band at their best, most ridiculous and most fun. The Doctor Who meets Blondie glam rock of "Uprising" had the audience pumping their fists and singing along and "United States of Eurasia" took their sound almost to the point of parody, the more Queen than Queen chorus left me hoping that they can reign it in a bit for the next album.

As the show progessed I realised that despite their impeccable musicanship and obvious commitment to the songs there was little interaction with the audience. I was often reminded that I was watching a rock "show", the bombardment of projections and the rising and descending columns often made it feel like some sort of conspiracy theory/science fiction extravanganza and that the band themselves were very much blended into this. This was a double edged sword, on one hand I felt like I was watching something very unique, memorable and in some ways abstract but also sometimes I was a little detached from what was going on. Still I suppose that there was little doubt that a rock show was what the audience were here for and Muse do deliver the goods - you can't deny the power of some of the guitar riffs on songs such as the Sabbath-like "Unnatural Selection". In fact it was this last section of the show that I enjoyed the most with "Plug in Baby" followed by "Stockholm Syndrome", it started to feel almost like a metal show with tons of crazy riffing between songs and I noticed that the aforementioned teeny-boppers were starting to look a bit confused and disappointed as they realised that the Twilight songs probably weren't going to get an airing that night.

"Take a Bow" was the final song of the evening and with that the band (all except touring keyboard player Morgan Nicholls, who was onstage throughout the gig, but pretty much in the shadows) got back on their respective columns and ascended towards the rafters. Overall the concert was very enjoyable, Muse are a fantastic live band and they put on an incredible show but as is the trouble with lots of big rock shows there was a distinct lack of intimacy. Still, as an Englishman now living in the USA, I can't help but feel a little swell of pride that a band from Teignmouth, Devon are doing so well over here.

Setlist:
1 Exogenesis: Symphony, Part 1: Overture
2. Map of the Problematique
3. Knights of Cydonia
4. Uprising
5. Supermassive Black Hole
6. Hysteria (Star-Spangled Banner + Interlude intro + Back In Black outro)
7. Nishe
8. United States of Eurasia
9. Feeling Good
10. MK Jam
11. Undisclosed Desires
12. The Resistance
13. Starlight (+riff)
14. Time is Running Out  (House of the Rising Sun intro)
15. Unnatural Selection

Encore 1:

16. Plug in Baby
17. Stockholm Syndrome (Agitated riff intro + War Within a Breath riff) 

Encore2: 

18. Take a Bow