My Bit on mbv on Reality Sandwich

I wrote a tiny, little bit about My Bloody Valentine’s recently released mbv for Reality Sandwich. Many thanks to Ken Jordan, Daniel Pinchbeck, and Faye Sakellaridis for the opportunity to blab about one of my current favorite records by one of my all-time favorite bands.

My Bloody Valentine: mbv

Here’s an excerpt:

With nine songs total, mbv is a trilogy of trilogies. It hangs together as a whole, but one can easily discern three movements. Three floes in the waves. The first set of three songs pulls you in with perhaps the poppiest sounds on the record. Theirs is a sweet stupor recalling the most sugary spots of Loveless. The second set is hypnotic in its lack of dynamics. This is the bed of shards upon which you will sleep. Set three, starting with “In Another Way,” my favorite track so far, brings all the characteristic My Bloody Valentine traits into play. The walls and waves of guitar and the buried but beautifully breathy vocals, as well as the hooks and beats. The whole record builds to “Wonder 2,” which will finish you off nicely.

Read the full list here.

My Bloody Valentine: Here Come the Drones

mbvThe figureheads of an entire subgenre of modern rock music, My Bloody Valentine is the only band in history to make a career out of not releasing a record.

Following the likes of Glenn Branca, Band of Susans, The Jesus and Mary Chain, Phil Specter, and Alan Moulder, as well as the core sound associated with Alan McGee’s Creation Records, My Bloody Valentine became a genre unto themselves with their second full-length record. Released on November 4th, 1991, Loveless was Kevin Shields’ self-proclaimed masterpiece and few have disagreed with that designation. Its sultry vocals buried in layers of guitars launched a thousand imitators as it became one of the most influential records of the 1990s.

After Loveless came out, The Stone Roses waited five years to release a great follow-up record and everyone hated it. The Britpop of the era hadn’t been much for following-up on its initial brilliance. As of last night, My Bloody Valentine has finally tried. They’ve delayed this record so many times that most of us doubted it would ever happen, yet according to the server load on their website last night, they found what the world was waiting for.

My Bloody 503 Error

It’s difficult to say what any of us expected from a follow-up, but wearing out the Reload button on our web browsers probably wasn’t one of them. Regardless, mbv is apt. It’s noisy and beautiful in the way that all of their records are, and in that way that only they can seem to do.

It’s also still sinking in. Upon a day or so of listening, I can definitely say that I like it. I’m glad it’s here. It seems choppier and less seductive than Loveless, perhaps less love than Loveless. It’s thornier, worn down, weary, and gives less of a fuck. One thing’s still for damn sure: No one does this sound better than My Bloody Valentine.

For example, here’s “In Another Way” from mbv, which I could listen to all day [runtime: 5:32]:

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In the meantime, Loveless has been lauded, applauded, imitated, reissued, copied, covered, and worshipped. In 2007, Athens, Georgia’s Japancakes did an all-instrumental cover album of the whole thing. Here’s their version of “Only Shallow” [runtime: 8:57]:

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As if anticipating the stars’ alignment, a couple of other MBV-related projects have emerged more recently. A little over a week ago, Japan’s High Fader Records released a Loveless tribute album called Yellow Loveless, which is much, much better than similar send-ups usually are. Tokyo Shoegazer’s two covers sound damn well indistinguishable from the originals, Lemon’s Chair stay true to their two entries as well, Shonen Knife evoke the girl-group roots of shoegazing pop on their version of “When You Sleep,” and the mighty Boris do a slowly crushing but primarily faithful rendition of “Sometimes.” Goatbed stray the furthest from the original “Loomer,” making it almost all their own. But the real gem here is Sinobu Narita’s “Blown a Wish,” which takes the original to dreamy new heights. Here’s Yellow Loveless in full [runtime: 1:01:25]:

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In a slightly more experimental vein, Bullet for My Bloody Valentine is an hour-long drone-fest released late last year that makes its source material sound downright poppy. As described on the project’s Bandcamp page, the record is made up of “tracks taken from My Bloody Valentine’s Loveless and Bullet For My Valentine’s The Poison slowed down, the best bits cut out and layered on top of each other to create some sort of droney noise album.” It sounds nothing like either record, and it’s actually quite nice.

So, MBV fever is at an all-time high, but it’s hard to say if mbv will be judged well considering its predecessor and the decades in between. I for one aim to ignore the inevitable backlash that’s been germinating for the twenty-one year wait and enjoy the new My Bloody Valentine record. Finally.

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P.S. Be on the lookout for an entry in Scott Heim‘s The First Time I Heard… book series on My Bloody Valentine, including an essay about my first time.

Alfred Jarry: Live Wrong

“A few decades ago, it became permissible for families to emigrate from the unincorporated areas of ‘reality’ into the science fictional zones,” reads the manual in Charles Yu’s How to Live Safely in a Science Fictional Universe (Vintage, 2010), and lately it’s been feeling more and more like we’re slipping into an adjacently possible dimension. Consider the following scenarios:

  • A man is imprisoned, accused of encouraging and enabling the digital distribution of audio and video amusements. All of his property is confiscated, his assets are frozen, and before his arrest, his house is raided by armed and jack-booted storm-troopers.
  • A man ends his own life, having been accused of distributing information he garnered from a source that didn’t care if he freely spread their knowledge.
  • A man is disgraced after winning a contest that tests athletic prowess through extreme endurance on bicycles. The competitors having been fed on-the-go with concoctions made to enhance their stamina. The winner of such a race also endures side-effects that include extreme self-absorption and hubris.

The latter of these is the premise of The Supermale, a novel set in the its own future (see Raunig, 2010), by author, poet, playwright, and cyclist, Alfred Jarry. Long one of my favorite eccentrics, his passion for cycling and pistols was matched only by his appetite for alcohol and absurdity.

Alfred Jarry portrait by Picasso

Unlike his contemporaries (e.g., Proust, Gide, Valéry, et al.), Jarry’s work hasn’t lent itself to widespread study in the same way that it has widespread influence. Among his admirers were Andre Breton, Antonin Artaud, Marcel Duchamp, and Pablo Picasso. He is most widely recognized for writing the absurdist Ubu plays and inventing the science of Pataphysics.

Simply put, Pataphysics is to metaphysics what metaphysics is to physics: It’s one level up. “Pataphysics… is the science of that which is superinduced upon metaphysics,” writes Jarry (1965), “whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics” (p. 21). He adds, “Pataphysics is the science of imaginary solutions, which symbolically attributes the properties of objects, described by their virtuality, to their lineaments” (p. 22). In what is perhaps the best example of the science applied, Dr. Faustroll, the pataphysician, even put together plans for the construction of a time machine (see Jarry, 2001, pp. 211-218). If there’s ever a scientific discovery that proves pataphysical, it’s sure to be time travel.

Inhabitants of Universe 31 are separated into two categories, protagonist and back office.
How to Live Safely in a Science Fictional Universe

Alastair Brotchie’s Alfred Jarry: A Pataphysical Life (MIT Press, 2011) goes a long way to explore his life and lingering influence. Its alternating chapters — odd-numbered chapters covering anecdotal tales of Jarry’s twisted times, even-numbered ones documenting his biography proper — play on one of Jarry’s favorite tropes: the mirror or double. His life was his work was his life, and as Regent of the Collége de ‘Pataphysique, Brotchie has studied both very closely. And it shows: This bulky biography is the most complete chronicle of Jarry’s life available.

This proud picture of human grandeur is unfortunately an illusion and is counterbalanced by a reality that is very different.
— C.G. Jung

Bringing together Jarry’s life-long loves of alcohol, bicycles, and sex, The Supermale is an allegory of extremes. As Bettina Knapp (1989) writes, “The bicycle, the Perpetual Motion Food Machine, the dynameter, and the Machine to Inspire Love suggest a takeover by the very instruments designed to alleviate pain and suffering and facilitate daily living,” At the center of this collusion of bodies and machines lies the 10,000-mile race, an analogue to the real race of similar lengthy proportions — and to the extremes winners will go to win. Knapp adds, “Even more dangerous, perhaps, is the fact that machines increasingly cut people off from nature in general and from their own nature, in particular” (p. 28). If this story and its lessons haven’t damn near come true recently, then I’m reading it all wrong.

References:

Brotchie, Alastair. (2011). Alfred Jarry: A Pataphysical Life. Cambridge, MA: The MIT Press.

Jarry, Alfred. (1965). Exploits & Opinions of Dr. Faustroll, Pataphysician. Cambridge, MA: Exact Change.

Jarry, Alfred. (2001). Adventures in ‘Pataphysics: Collected Works I. London: Atlas Press.

Jung, C. G., 1957/1990. The Undiscovered Self. Princeton, NJ: Princeton University Press.

Knapp, Bettina L. (1989). Machine, Metaphor, and the Writer: A Jungian View. University Park, PA: Pennsylvania State University Press.

Raunig, Gerald. (2010). A Thousand Machines: A Concise Philosophy of the Machine as Social Movement. New York: Semiotext(e).

Yu, Charles. (2010). How to Live Safely in a Science Fictional Universe. New York: Vintage.

Nerdy T-Shirts: Baudrillard and Frankfurt School

So, in the interest of obscure references and nerdy nerdness, I made Jean Baudrillard and Frankfurt School shirts. Here are the details:

For the sultan of the simulacra, we have the copy of a copy of a copy of his countenance, in the black of toasted toner on the white of winter, of course.

Baudrillard shirtBaudrillard COPY

And for the more cultured, we have the Frankfurt School ampersand shirt. Top five dudes of the day listed right on front. The actual print is not quite so crisp, which gives this T that good ol’ German, vintage look.

Frankfurt School shirtFrankfurt School

These are hand-screened, hand-packaged, and hand-shipped via USPS. They’re going for US$20 postage-paid. Nerd it up.

 

More Desirable Lines

As I have written elsewhere, desire lines illustrate the tension between the native and the built environment and our relationship to them. The folklore of these footpaths says that good engineers (or lazy ones, depending on who tells the story; see Brand, 1994, p. 187; and Norman, 2010, p. 126-129) put sidewalks in last as to follow the desire lines and avoid wear on the grass. The time constraints of an average construction contract wouldn’t allow much in the way of paths (Norman, 2010); however, there are cases of rogue paths being “legitimized” with pavement after the ones in place proved insufficient (see Rogers, 1987, for example). Impressions of desire take time.

The city, as a form of the body politic, responds to new pressures and irritations by resourceful new extensions always in the effort to exert staying power, constancy, equilibrium, and homeostasis.
— Marshall McLuhan (1964, p. 98)

Before they were a blight on the urban planner’s finished project, desire lines prefigured roads and maps. Before the first roads were paved, they were dirt paths worn by hooves and wooden wheels; before that, they were trade routes trampled by footfalls; and before that, they were simply the desire to find our way. In his book, Maps of the Imagination (which I highly recommend), writer Peter Turchi (2004) explains,

Tens of thousands of years ago, before the first trails were etched into mud with the point of a stick, before the first pictures were scratched into stone, and long before the first graphic depiction of places on anything like paper, there must have been something we might call premapping: the desire, and so the attempt, to locate oneself (p. 28).

Traffic Flow Diagram

The road is our major architectural form.
— Marshall McLuhan and Wilfred Watson

In this simple traffic-flow diagram the thickness of the lines illustrates the amount of traffic and the arrows designate the direction of the flow. “Clearly a thick arrow requires a wide street,” writes Christopher Alexander (1964), “so that the overall pattern called for emerges directly from the diagram” (p. 88). Piles of data like this are used to design or redesign urban transit systems. The thick arrows here represent what Mark Rose (1990) calls “more desirable lines” in that they illustrate the path people would rather take given the choice among all possible paths (p. 15). Designers use such information in attempts to accommodate the needs of the users of mass transit. Where desire lines are often a matter of avoidance, leading around obstacles or across expanses toward a shorter path, here they are a matter of affordance.

The 1955 Chicago Area Transportation Study (CATS) planners define a desire line as “the shortest line between origin and destination, and expresses the way a person would like to go, if such a way were available” (Throgmorton & Eckstein, 2000). To them, these lines are less about desire and more about measurable behavior (Black, 1990; Creighton, 1970). Providing paths and transit in line with city travelers’ wants and needs is better for all concerned.

Chicago City Hall and County Building

One hundred years earlier, a mid-nineteenth century attempt at a public square as a center of “civic engagement” among the tallest buildings downtown ended in messy trails. “Muddy and unkempt, it was a shortcut site in contrast to the grid in whose hypothetical center it was located,” writes Peter Bacon Hales (2009). “Its failure was its success; offering an alternative to the regulated patterns of movement within the built-up blocks surrounding it, the open square increased the efficiency of those who moved through it, while losing its place as a greensward” (p. 167). In 1851, the site was slated for a government building, which by 1871 took up the whole block (Hales, 2009). Putting an entire building in the way might seem rather extreme, but keeping errant walkers in control not only prevents further wear where planners would rather there be none but also keeps other kinds of damage under control. “Broken windows theory,” which states that urban disorder such as litter, graffiti, and broken windows are the slippery slope upon which a community slides into more serious crime (Kelling & Coles, 1996; Wilson & Kelling, 1982). If the neglected aesthetic features of an area indicate one set of bad behavior, then worse crime is sure to follow. Such vandalism left unattended is the gateway to more serious offenses. Though the theory has been critiqued as too narrow in scope (See Sampson & Raudenbush, 1999), it isn’t difficult to see its logic where desire lines are concerned.

Desire lines can be the path we make or the path we follow, wayfinding and wayfaring, making our way in the world. Layers of wear and decay, a patina of age collects and is scraped away. From tools and artifacts, scoring their surfaces with the signs of use, our presence was known in paths and palimpsests. Where our world and its media used to show the marks of footprints and fingerprints, now it’s moving out of our hands, in the clouds, in our heads. Maybe that’s the real difference between old and new media: the way they show use. As Kevin Lynch (1972) writes, “The world around us, so much of it our own creation, shifts continually and often bewilders us. We reach out to that world to preserve or to change it and so to make visible our desire” (p. 1), and artist Richard Long (2002) posits, “I think that the surface of the world anywhere is a record of all its human, animal, and geographical history” (p. 146). Whether designing from the top down or emerging from the bottom up, the texture of that history is up to us.

References:

Alexander, Christopher. (1964). Notes on the Synthesis of Form. Cambridge, MA: Harvard University Press.

Black, Alan. (1990). The Chicago area transportation study: A case for rational planning. Journal of Planning Education and Research, 10(1), 27-37.

Brand, Stewart. (1994). How Buildings Learn, and What Happens to Them After tHey’re Built. Cambridge, MA: The MIT Press.

Creighton, Roger L. (1970). Urban Transportation Planning. Urbana, IL: University of Illinois Press.

Hales, P. B. (2009). Grid, Regulation, Desire Line: Contests Over Civic Space in Chicago. In M. Orville & J. L. Meikle(Eds.), Public Space and the Ideology of Place in American Culture. New York: Rodopi, pp. 165-197.

Kelling, G. L. & Coles, C. M. (1996). Fixing Broken Windows: Restoring Order and Reducing Crime in Our Communities. New York: The Free Press.

Long, Richard. (2002). Walking the Line. London: Thames & Hudson.

Lynch, Kevin. (1972). What Time is This Place? Cambridge, MA: The MIT Press.

McLuhan, Marshall. (1964). Understanding Media: The Extensions of Man. New York: McGraw-Hill.

McLuhan, Marshall & Watson, Wilfred. (1970). From Cliché to Archetype. New York: Viking, p. 132.

Norman, Donald, A. (2010). Living with Complexity. Cambridge, MA: The MIT Press.

Rogers, E. B. (1987). Rebuilding Central Park: A Management and Restoration Plan. Cambridge, MA: The MIT Press, p. 35.

Rose, Mark. (1990). Interstate: Express Highway Politics, 1939-1989. Knoxville, TN: University of Tennessee Press.

Sampson, R. J. & Raudenbush, S. W. (1999, November 1). Systematic social observation of public spaces: A new look at disorder in urban neighborhoods. American Journal of Sociology, 105(3), 603–651.

Throgmorton, J. A. & Eckstein, B. (2000, November 21). Desire Lines: The Chicago Area Transportation Study and the Paradox of Self in Post-War America. Retrieved on October 31, 2012.

Turchi, Peter. (2004). Maps of the Imagination: The Writer as Cartographer. San Antonio, TX: Trinity University Press.

Wilson, J.Q., & Kelling, G.L. (1982). Broken windows: The police and neighborhood safety. Atlantic Monthly, 249, 29–38.

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This post is another edited excerpt from my book-in-progress The Medium PictureChapter 7, “Disguise the Limit,” discusses desire lines in many forms, linking modern footpaths to the evolution of flight and the ancient “ley” system.