Glass Candy-Beatbox

July 29, 2009

Glass Candy

Beatbox(Italians Do it Better 2007)

Man, it took awhile to swallow my pride and earnestly accept the fact that Glass Candy were no longer the pretentious art-punk mess that released a series of occasionally great, but mostly horrid series of singles and albums. There always was something intriguing about them in theory, but the reality was that you had a fetching vocalist and interesting guitarist who listened to a few too many no-wave albums and decided to meld them with Blondie’s Parallel Lines. It was a mess, albeit one which kind of made you wonder what could be if this unlikely synthesis could be pulled off. It’s probably for the best that they decided to soldier onwards in a different direction and aim for a surprisingly successful marriage of Italo disco, Kraftwerk, new wave, John Carpenter soundtracks and and the hypnotic, but elegant repetition of Cluster. Yeah, the Cluster comparison is a stretch, but I’ll be damned if Beatbox doesn’t put me near that same head nodding zone as their more energetic orbits. On one hand, it’s just as disposable as any number of early 80s one-hit wonders, but Johnny Jewel’s instrumentation is a subtle, but unsettling take on early 80s disco that provides a perfect stage for vocalist Ida No’s blank vocals.

It’s fitting that I first heard Beatbox after listening to their labelmates Chromatics via their Night Drive album. Night Drive is an even more narcoleptic take on Italo Disco and krautrock as it relies mostly on longer instrumental passages and even sleepier vocals. What crossed the t’s and dotted the i’s between the two bands was the involvement of Johnny Jewel who has a innate knack for repetitive, hypnotic foundations for a suitably unemotional vocalist. The result is two bands adept at perfecting the synthesis of “ice queen” and a subdued, yet sensual wash of synthesizers.

Despite its occasional bouts of exuberance, Beatbox is an album suited for late night drives after the party ended long after common sense should have ended it. It conjures images of 3am sojourns down lonely highways when you fixate on the road ahead and ponder your existence. It’s a siren song to inaction, not dancing even when Jewel picks up the pace. Even then, it’s a disco in the center of a K-hole where all tones are grey and drab no matter how hard the band tries to pick up the pace. Beatbox is a danceable intertia at its most lively; a soundtrack to a party on its last legs at its most mellow.

Nick Cave and the Bad Seeds

The Good Son(Mute 1990)

I may be in the minority, but I never really bought Nick Cave as a primal, misanthropic entity attuned to the darkest impulses of mankind. Outside of the “Mercy Seat” which still gives me fucking chills, his solo work seemed most poetic when he spun heartfelt yarns about love and its inevitable absence. Sure. the Birthday Party were a singleminded bunch whose music was honestly unsettling and full of the kind of aggression that made you question whether it was mere persona or psychopath. However, he wisely chose a gentler vocabulary and pursued a subtler, but no less effective form of drama. Yeah, he occasionally fostered the occasional shitstorm worthy of the Birthday Party, but he really found his voice interpreting the songs of his heroes on Kicking at the Pricks. Now, that album really grabbed me because I never really saw him as much more than an artist that one listened to when in a pissed, morbid or oddball mood but there are moments of pristine beauty on it as he does what few pull off, which is to make a well-known standard entirely your own. I dunno…there was something tender, yet antagonistic about his take on the familiar that made it seem new. Its followup. Tender Prey, was pretty impressive, but I wanted him to slow things down and take his time with a song, so his subsequent release, The Good Son, was music to these biased ears.

By no means do I recommend The Good Son as a classic or even an entirely successful album since a few songs delve into superficial schtick instead of bloody-hearted pleading and frayed nerves. It’s sometimes hard to embrace a Nick Cave album in its entirety because his embrace of gospel and R&B is kind of ham-fisted as most European efforts tend to play out in their lovable, but shallow manner. Man, that sounds a bit harsh, but if I want clapping and gospel sing-a-longs, there are so many better outlets than Nick Cave and the Bad Seeds in this wonderful world.

However, my passion for The Good Son possibly revolves around one single song. I think “Ship Song” is so fucking eloquent and symbolic of the tricky nature of loving someone who may ultimately burn you to the ground. In some ways, it may be one of my favorite metaphors in some ways. He portrays himself as an island while his lover is a ship who burns all bridges down in order to get sole access to her muse. The whole song is about how a love seems perfect in theory, but is destined to fail by their own hands. It is an ode to passion and the infantile decisions it sometimes inspires, but is also a paean to how alive these impulses make us feel. It is self-destructive, utterly romantic and a reflection of past mistakes that could possibly be made right in future relationships. For these reasons, this song is pure perfection as parable and song because it is universal just like the beloved standards he took the time to cover. He finally nailed the perfect blend of schmaltz, empathy, pain and composition required of a song that will stand the test of time.

The rest of The Good Son is no slouch either. Most of it is kind of boozy and drunken in a peculiarly restrain manner. He pursues a lovelorn and regretful mood throughout the album and the result is a pervasive theme of poor decision making and its consequences. It doesn’t hurt that the instrumentation allows the Bad Seeds to explore a more lush side of their musicianship. It’s a gorgeous album with just the right amount of occasional ugliness to make you wince as you slug it all down your gullet.