When I walked into the bodega a few Wednesdays ago for a flavored water drink, I looked for a moment at the assortment of bottles in the cooler. Earlier in the day, I had been reading an article by Jeffrey Greenberg in The Week (the article had originally appeared in The Atlantic Monthly) about a series of conversations and hang-outs the writer enjoyed with Fidel Castro earlier in the year. It was a beautiful article, especially when Castro took Greenberg to an aquarium in Havana to see the dolphins. “‘Do you like dolphins?’” the Cuban leader asked the writer. “‘I do,’” Greenberg replied. Castro claimed that they were watching the world’s only underwater dolphin show, and picturing the dictator and the journalist in front of a large, blue-tinged glass window in Cuba was marvelous.
Saturday, October 30, 2010
Talkin' bodega drink bottled water Middle East blues
Tuesday, October 5, 2010
(Put a) Coin Under (your) Tongue (and see)
Coin Under Tongue: What an astringent jolt of a band name! Check this here review of their latest joint (rolled with metal shavings and warehouse dust):
“I came out of my shell - Into a cutesy neon hell,” sings Joe Kelly near the beginning of Coin Under Tongue’s new album, Reception, and during seven of the record’s nine songs, he does some serious screaming about it. As Kelly depicts his urban experience with a profusion of lyrics and a searing mixture of refined and unrefined post-punk guitar, bassist George Wilson and a trio of drummers (including regular band member Greg Wilson) help kick up a slamdance with metal polyrhythms that ground the noise.
Album opener “Beyond Yes,” which includes Kelly’s nifty description of the Bedford scene, invades the ears with twisted, trebly guitar cuttings and a vocal as deliciously distorted as Kurt Cobain’s on parts of Nevermind. “Dogma Sheen” clears the air with a volley of clean, Cure-like chords before the assault begins anew, and Kelly’s playing incorporates hints of Wire and P.I.L. during a luminous solo in “Junksmith.” After a mid-album respite comprised of a folk protest and a noir narrative, the volume rises again with the title track, a song that begins as a doom-metal dirge and quickly goes hardcore. With vivid, economic images that would make a writing teacher proud, Kelly screams about a wedding party that seems perfectly enjoyable, but instead features “a couple frozen in its prime.” It’s not the best song on the album, but the contrast between the singer’s perspective and the scene he describes is disturbing and rare.
In fact, it’s during the closing “Strong Things,” a mixed acoustic and electric song, when you start to realize that Kelly is a pretty good lyricist, something which can get lost underneath the sheer quantity of the words. “I know your schedule’s pretty packed / Mine’s just started unraveling,” he sings, over a strand of winsome, acoustic guitar, about an ex-lover from home who’s started to make it in New York. “It’s hard to hold onto strong things,” he later drones, applying a dab of lustrous black to the neon he sees around him. Kelly swipes a Stephen Malkmus chord progression to make the point, but the instrumental squall that follows is all Coin Under Tongue.
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