Category Archives: rock

Red Rockers: GY!BE’s Empty Commie Agitprop

Luciferian Towers is the seventh release from Canada’s preeminent purveyors of apocalyptic art rock, Godspeed You! Black Emperor. As expected, the music media have rolled out the red carpet and showered the album with praise. And understandably so. They are a band for which the most hushed tones of reverence are reserved, and the album delivers the musical goods that GY!BE fans have come to expect. Doom laden slow burn reveries build up to ecstatic peaks which manage to be beautiful and foreboding all at once. Jagged and charred dronescapes which channel a multitudinous howl at the injustices of the world lodge themselves into the deepest recesses of your mind. It’s all good stuff, and GY!BE truly are among the best at this kind of thing. Like Swans and NIN, existential angst and politically charged dread have a place in the artistic landscape. I would argue that their particular brand of paranoid musical fever dream is effective precisely because they have successfully given a musical voice to the anxiety, fear, and embittered rage that lives at the heart of the Left’s political worldview. 

And that brings us to my beef with what is otherwise a fantastic art rock record. GY!BE have always worn their political stripes on their sleeve, but on Luciferian Towers, they’ve basically hoisted the hammer and sickle flag and started singing the “International”. This is not a startling revelation, but I applaud them for being forthright and specific about their political goals. Communists tend not to be open to arguing the merits of their ideology, but I’m happy to take this opportunity to hopefully disabuse Menuck and company of this barbaric and regressive point of view. My bigger problem is that they’re a band that asks to be taken seriously, but if we take the message at face value, I’m not sure they’re entirely serious about their own message. If the critical response is any indication, I’m not sure the critics or the fans do either. My sense is that, like Rage Against the Machine and other Marxist poseurs, it’s a way to score points with the cool kids and affect the standard leftist posture of being some revolutionary badass. And if they are as serious as they seem to be, this is yet another example of the Left’s insanely pathological fawning and blasé indifference to what is quite clearly a call for open borders, violent revolution, and another socialist dictatorship. Admittedly, that’s apparently what the Left is after, but one hopes that such an explicit declaration of political intent would elicit a little bit of concern for anyone who might have misgivings over that agenda. 

Think I’m being hyperbolic? Let’s listen to each track, take a look at the editorial behind it and discuss the list of “demands” that served as inspiration for this recording. 

Apparently written by GY!BE’s prime mover, Efrim Menuck, the Luciferian Towers press release is written in affected, broken English that’s straddles the line between half baked poetry, pretentious art school twaddle, and infantile, semi-literate rantings. This kind of fractured, would-be deconstructionism is barely distinguishable from Tumblr grade bilge and practically memes itself. The deliberate insertion of an incorrect and unnecessary indefinite article in the title to the opening track, “Undoing a Luciferian Towers”, sounds retarded and feels pointless. So are we to take this editorial as boilerplate Marxist contempt for urban architecture and all of the capitalist rapacity it symbolizes or is it a tacit endorsement of terrorist destruction? Or is it a veiled celebration of 9/11? It’s not entirely clear, but one presumes that the violent nihilism of the image is sufficient to convey their “revolutionary” contempt for modern society. Setting that uncertainty aside, the song itself is another triumph of GY!BE’s tormented beauty. Sheets of kaleidoscopic noise punctuated by shards of atonal shrieks march into the gloom accompanied by a lonely and spartan snare drum cadence. The song culminates in a surprisingly triumphant sounding melody reminiscent of Albert Ayler if he were backed by Black Sabbath. It’s more upbeat variation on the kind of song on which GY!BE have built their career, and it’s a stunning opener. 

“Bosses Hang” is a three part suite which picks up where the previous song left off. Part I gives us another soaring anthem which sounds something like an electrified Liberation Music Orchestra track in a major key. Part II is a minimalist heavenward climb worthy of Branca which ratchets up the tension through steady accretion of rhythmic and harmonic layers and explodes into climatic recapitulation the original theme.

Because the music is so expertly conceived and executed, I’m especially annoyed by what they’re saying on this track. The press release spews more dumb Marxist clichés about capitalist producers extracting surplus value from the proles while whinging about how beleaguered and alienated they are. Listen, guys. Suck it in and cope, cupcakes. You’ve achieved more commercial success than most musicians on the planet achieve in an entire career. I get that it’s hard to feed a family on this stuff, but you make music that mostly appeals to young, urban hipsters. This whole posture of oppression smacks of spoiled ingratitude. You make make music on your own terms while promoting a political ideology that would absolutely destroy the ability to make this music in the first place. What more do you want, guys? But hey. Whatever, man. DOWN WITH THE BOURGEOISIE, AMIRITE COMRADES?! HANG ‘EM HIGH! THAT’LL SOLVE EVERYTHING. IT’S NOT LIKE THIS VERY AGENDA HAS ALREADY RESULTED IN THE DEATH OF 200 MILLION PEOPLE OR ANYTHING. WE’LL FINALLY GET IT RIGHT THIS TIME AND MAKE IT 400 MILLION. And what’s with all this horseshit about shovels, wells and barricades? Are you planning on building the Montreal Commune or are you digging mass graves for the executions you and your fellow revolutionaries plan on carrying out? 

Do GY!BE LITERALLY want bosses to hang? If I had to bet, I’d wager that they aren’t serious and just want to be regarded as edgelords. But then again, I can’t be sure. The actions of the radical Left are getting closer to their overheated rhetoric lately, so maybe this is another provocation. Lately, this kind of sentiment is de rigueur, and leftist calls for violence are A-OK. But man, if you say “nigger” on a live stream while playing a video game, WATCH THE FUCK OUT, BRO. 

Even if we get past the dumb postmodern affectations and tortured blathering that accompanies “Fam/Famine”, it’s another sad projection of what their ideology actually produces in the world. The socialist always blames privation, repression and conflict on capitalism, but mysteriously dismisses the ACTUAL privation, repression and conflict of socialism. Venezuela is resorting to rabbits to feed its population, and like clockwork, socialist apologists have already declared socialism blameless. While I’m sure they’ve got some variation of #NotRealSocialism at the ready for people like me, this is basically GY!BE telling you exactly what you can expect if their utopia were implemented. 

They wrap up the record by bitching about kanada and agitating for “anarchy” in the three part epic, “Anthem for No State”. Once again, when it comes down to the music, they have earned the accolades. If Sergio Leone collaborated with Alejandro Jodorowsky on a follow-up to El Topo, this would be my top pick for the soundtrack. Part III begins with a thundering wall of toms while peals of feedback scream overhead like some infernal hellbeast. The Morricone inspired battle cry enters on guitar and is answered by the strings. As is the case with everything they do, it’s very dramatic and it has a rousing, martial quality to it. This GY!BE suite wants to be a call to arms, but I sense that it’s more a soundtrack to anarchist LARPing. 

All in all, the record is very good as a pure musical achievement. I actually like GY!BE and consider myself a fan. I just can’t abide all this AnCom horseshit. Either it’s a pose or they haven’t thought it through. But if you are serious, Efrim and company, may you get all the communism you ask for, Comrades. Clearly, some of us only learn the hard way.

But what about the “grand demands” that informed this record? Because, after all, nothing says you’re dedicated to the emancipation of humanity quite like a set of DEMANDS I always say. 

An end to foreign invasions.

Ok. Fine. I’m with you on this one, Comrades. I gotta say though. This doesn’t seem too high on the progressive agenda. It also doesn’t really square with the whole trend towards arbitrarily declaring everyone who disagrees with you a Nazi and then punching them. That seems to be the MO of your fellow Antifa LARPers these days. Not exactly the most peaceful approach to things, IMHO. But kudos to you for your antiwar position, brothers. 

An end to borders.

I’m calling bullshit on this one, fellas. You don’t really want this. You don’t. I know it makes you look cool and it’s a great way to virtue signal how #TOLERANT you are, but this is a terrible policy. This is actually being attempted right now in a place called Europe, and guess what? It’s not working so well. Ask anyone who isn’t drinking EU KoolAid. Notice that most of the immigrants are coming FROM the Islamic world TO the West. If they’re all just good hearted people trying to improve their station, what does this say about the quality of life in Islamic countries? Is it possible that there are limits to the great experiment of multiculturalism? Is it possible that some cultures have no intention of assimilating the values to which those of us who grew up in America and the West have become accustomed? Is it possible that even in a borderless world, you will have to contend with the issue of creating social cohesion? If Western countries are just bigoted shitholes, why are so many people from other countries clamoring to get here? How many of you would emigrate to an Islamic or African country? 

Let me guess. #Brexit, Poland and the Netherlands are all just death throes of reactionary, residual Eurocentric white nationalism. All that pesky Islamic terrorism will go away when the capitalist pigs stop waging war and white people stop being such Islamophobes. Everyone needs to learn to love the EU, be more like Sweden and take their daily dose of oxytocin and everything will be great. What an edgy and contrarian position to take. I wonder where Mr. Menuck and company got this radical and fringe opinion. 

How anti-establishment are GY!BE?

Open borders. That’s just WAY OUT ON THE EDGE, dudes.

Besides, what about the immigration policy that’s being enforced by your homeboy, Justin Trudeau? Come on now, Comrades. Surely, you guys are up in his shit every day for upholding such an oppressive border policy. 

And what about all that crap about shovels, wells and BARRICADES you wrote in the notes to “Bosses Hang”? A barricade is a form of BARRIER to limit egress, is it not? Sounds a little bit like a BORDER if you ask me. 

The total dismantling of the prison-industrial complex.

LMAO! It’s the Virtue Signal, Batman! Look, I’m sure we can agree that the pursuit of law and order has gone too far and the system has swallowed up nonviolent offenders and ruined a few too many lives. But guess what? Even if we allow for the slim possibility that there is some percentage of the prison population who are nonviolent offenders or victims of a miscarriage of justice that can reenter society and function as law abiding citizens, we’re still left with a significant population of ACTUAL FELONS. You know. Rapists. Murderers. Terrorists. 

What then, Comrades? A peaceful reign of brotherly harmony where we all drink kombucha, listen to GY!BE and chill? I suggest you think this through a little more. 

Healthcare, housing, food and water acknowledged as an inalienable human right.

Ah yes. At last we arrive at the “anarchist” conception of rights.  What you actually have here, Comrades, is a self-detonating argument. If you consider the provision of material goods and professional services to be RIGHTS, then that means that certain individuals who possess the ABILITY to produce said goods and services are now OBLIGATED to provide them for others. So if you truly consider these rights to be INALIENABLE, as in cannot be taken away, then that means that some group of people will be FORCED to provide goods and services for others. And another group will be charged with ENFORCEMENT of said rights. As in through the barrel of a gun. I don’t see how you can declare all of these things inalienable rights given that the forcible provision of these goods and services destroys the humane incentives that are built into the market economy and necessitates the creation of a permanent class of enforcers. As in RULERS. Not very anarchist, is it, Comrades? Lots of contingencies if you catch my drift. Pardon me for raining on your parade, but that sounds like a recipe for enslavement. Maybe you’re cool with that. This little trick has been tried before, Comrades. It doesn’t have a happy ending.

Not only that, you’ll have shot yourselves in the foot by executing the capitalists. I know it’s hard to believe, but you can’t run businesses unless you have….wait for it….SKILLS. I know. You guys love your Marxism and insist that they’re just soulless predators, but your anarchist utopia is going to be badly thwarted if you go through with the purges. Just sayin’.

Also, I don’t get why you guys are grousing about all this. Canada is lauded as a model of progressive governance by leftists throughout the world. Rolling Stone had such a hard on for Justin Trudeau, they gave him what amounted to an act of journalistic fellatio. If you think things are so shitty in kanada that you’d enslave others at gunpoint in order to bring about utopia, then what does this say about the progressive agenda? I’ll tell you what it suggests to me. Either you can’t be content with the soft socialism you already have, or that progressivism inevitably leads to totalitarianism. Or maybe you’re just saying all this shit in order to look cool.

Or maybe all three.

Isn’t he dreamy?

The expert fuckers who broke this world never get to speak again.

I’ll just leave this right here.  

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Fooled Again After All: The Mind Numbing Ideological Homogeneity in Rock Music

Growing up in the 70’s and 80’s, I was smitten by a number of rock music’s many virtues.  I loved the iron studded defiance and operatic individualism in Judas Priest. I could relate to the dreamy eyed idealism and romantic yearning in Journey.  I was amused by the tongue in cheek irony and theatrical absurdity of Devo. I was captivated by the pissed off mechanized malevolence of Metallica. I was swept away by the fantastical imagery and instrumental virtuosity of Led Zeppelin. I was enthralled by the decadent spectacle and the militant rebellion of The Who. I was hypnotized by the melancholy ruminations and brooding sonics of Pink Floyd. Most importantly, I was moved by the message of unity and human universalism in Sly and the Family Stone. Even though I found the music cheesy and maudlin, I could also appreciate the good intentions behind supergroups like Artists United Against Apartheid and USA for Africa.  I figured if rock megastars could help bring about positive change in world, then perhaps this art form holds the potential for something more than fame and money. 

Rock and pop music with social and political commentary is certainly not new. It definitely didn’t start out that way, but by the time you get to the 1960’s, rock moved further away from escapism and non-conformity and increasingly towards raising social and political awareness. There’s nothing inherently wrong with this, of course. Art and music can be vessels for humanity’s highest aspirations and ideals, so it follows that artists would attempt to recreate the spiritual role that infused the gospel and R&B roots of rock in the secular sphere. Not only did rock stake a permanent claim on being the kingdom of freaks, weirdos, decadents and contrarians, it also positioned itself as the de facto moral conscience for a global secular congregation.

But rock is no longer a scrappy upstart art form chafing at the edges of social acceptance. It’s the establishment. What began as music designed to piss off your parents is now the music of your parents. Or maybe even your grandparents. It has ensconced itself into every corner of consumer culture but has carefully tended to its outsider mythology. Needless to say, the overwhelming majority of the political editorial in pop, rock and folk throughout the 20th century belongs to the radical Left. From Pete Seeger’s odes to Stalin to the pro-Sandinista raveups of the Clash, the soundtrack to the struggle of the underdog has been monopolized by the Left. The upheavals of the 60’s and 70’s that gave rock its sense of urgency and purpose have since been absorbed into the social, political, commercial and academic bloodstream. To the degree that the rock of yesteryear had a sense of moral purpose, today’s rock has devolved into a zombified corpse feasting from the carcass of its bygone glories. Desperately seeking the conscience which ignited the Flower Power generation, today’s artists try to maintain a pretense of youthful rebellion and relevance. Devoid of the sweeping narrative of intergenerational change that animated the Boomers, the idealism of all subsequent generations of rockers and pop artists has increasingly metastasized into rote nostrums of the progressive political and academic intelligentsia. 

Sly Stone wanted to take you higher, but Macklemore wants to telegraph the tortured solipsism of his alleged “white privilege”. The Dead Kennedys righteously lampooned the pampered collegiate class while Green Day seem content to confirm their biases. The Sex Pistols snarled out anthems for anarchy, but Rage Against the Machine would have you believe that recycled Marxist angst is an edgy and fresh perspective. Whether it’s Beyonce’s excruciating feminist infomercials or the psychic trauma of Le Tigre’s shrieking Hillary Clinton propaganda, these would-be progressive ministrations sound less like the organic rallying cries of a voiceless underclass and more like the hackneyed script of lazy, entitled royalists. 

We’ll be fighting in the streets
With our children at our feet
And the morals that they worship will be gone
And the men who spurred us on
Sit in judgement of all wrong
They decide and the shotgun sings the song

The spirit of contrarianism that once defined rock has given way to an insufferable smug preachiness and an unhinged militancy in the wake of the Trump election. Pete Townsend may have been cheering the dissolution of the moral order of his parents’ generation in his anthems of rebellion, but he may not have anticipated that the children at his feet would construct a new moral order that would happily see him censored. The examples are numerous, but there are a few worth highlighting.

In his latest piece in the Observer, Tim Sommer lambasts Roger Waters for peddling impotent middle-aged angst without providing a mechanism for political action. He expresses his openness to “another” political viewpoint, but only in ironic scare quotes dusted off with a distinct whiff of elitist condescension. He also discusses what he regards as “four freedoms promised in January of 1941 by President Roosevelt” which include “freedom from want”. Anyone who has a rudimentary grasp of political philosophy knows this is a reference to positive rights. The US Constitution makes no reference to “freedom from want” nor does the General Welfare Clause justify the creation of a welfare state. You will never be free from want and the list of human wants is infinite. It’s fine to advocate for voluntary charity, but making this a political objective is a recipe for catastrophe.

Trent Reznor’s latest bromide against Trump in Vulture refers to him as a “fucking vulgarian”; a remarkably strange sentiment coming from the guy who immortalized “fuck you like an animal” in a song lyric. Is Reznor’s political philosophy so shallow that he’s evaluating political policy and politicians on a scale of “vulgarity”? Sure, Trump has broken some taboos and violated expectations around what a POTUS can or cannot say, but the discussion should be centered on actual policy and political philosophy. The fact that Reznor makes no attempt to discuss Trump’s policy ideas in contrast with his own political philosophy makes this an especially inane and counterproductive criticism. His comments in a recent Village Voice interview are only slightly more nuanced and reveal more explicitly the Manichean worldview that defines the progressive mindset. 

“Look, I don’t think he’s a good guy. Some people do,” he told his son. “I don’t think he believes in science and I don’t think he believes people should be treated decently and I don’t think he tells the truth. That’s why I don’t like him.”

Good people on one side and bad people on the other. It’s not about whether you like him, Trent. The question is over what, if any, role the federal government should play in science, healthcare, immigration policy or anything else. Science is not democratic nor does it require belief.  It does require testable hypotheses, transparent methodologies, and ethical data collection. When government money is funding science, the likelihood that we’ll see any results that might falsify the hypothesis and derail the political agenda behind it is greatly diminished. Furthermore, political policy never determines how people treat one another; it only delineates the sphere of action that’s subject to criminal or civil punishment. This points to the distinction between society and State to which Thomas Paine referred, but has since been collapsed by progressives. Obviously, Reznor is making a veiled reference to immigrants, minorities and transgender people, but political policy does not nor should not form the basis of how one comports oneself in the company of others. Political policy does not shape the opinions people hold about other people. Political policy is not a substitute for having a sound moral philosophy. The quest for political protection for the so-called transgender community is taking on an increasingly absurd and totalitarian aura. And very few politicians have good truth telling records. The Democrats certainly don’t have a lock on veracity. What’s perhaps most disconcerting is Reznor’s silence on the ongoing war for free speech versus political correctness. It would have been useful to hear a public position on the matter since his material is more than ripe for social justice jihad. Considering that Reznor has written a vulgar lyric or two and touched on some rather controversial subject matter, his silence as well as the dismissive crack he made about Gamergate says more than a little about his true priorities and biases. 

The walking billboard for the DNC formerly known as Katy Perry fares no better in her increasingly hamfisted proselytizing for the Church of Identity Politics and #DIVERSITY. Positioning herself as the torchbearer of mass market #WOKE pop, Perry’s pleas for “unity” in the wake of the Manchester terrorist bombing sound especially hollow and tone deaf.  For a pop star who has cashed in so handsomely on sugar coated pop confections and girly coquettishness, her recent turn towards #SocialJustice pandering is a disappointing downgrade. 

In what is thus far the most cringe inducing bit of Trump Derangement Syndrome, second generation nu metal shitstains, Stray From the Path, literally committed their autistic screeching to tape with a bit of prefab agitprop, “Goodnight Alt-Right”.  Filled to the brim with manufactured outrage and the deranged justifications for initiating violence against people who deviate from progressive orthodoxy, it reveals quite a bit about how leftists deal with people who stray from their path. Way to go, edgelords. So contrarian. 

Speech is “free” but it comes with a price
And if you’re speaking out some bullshit I’ll give you advice

Hit ’em with a left a left and a right

Got ’em dropping like flies with the stars in their eyes

So fuck them and fuck you too and appreciate

That if you preach hate, then expect hate

Needless to say, blasphemy against the Church of Progressivism has been met with the customary acts of censure, vindictiveness and retribution. None other than Johnny Rotten himself came out in favor of #Brexit and Trump to the dismay of many fans.  In what is thus far the biggest shitstorm in the ever widening culture war over political correctness, the little known band, The Dream Machine, were dropped from their label for committing blasphemy making “ugly” remarks about immigration and feminism. That’s right, folks. Shit on Christians, Trump, white people and conservatives all you want. That’s #EDGY because they’re privileged and shit. But if you say even one mean word about immigrants or feminists, brace yourself. Hell hath no fury like a social justice warrior triggered. 

As someone who entered the world of rock precisely because of its spirit of individualism and contrarianism, nothing disheartens me more than seeing rock musicians and rock culture breeding the worst kind of conformity; conformity of political thought.  Artists are generally an empathetic and well intentioned bunch who, like many others, want to maximize goodwill and global harmony. I suspect there’s more than a few people who set out to change the world with three chords and the truth. But what most artists fail to grasp is that government policy is not meant to be the vessel through which compassion, love, and brotherhood flow. It is a very dangerous institution whose power should not be extended to satisfy your altruistic urges. If you believe it should do something not specifically enumerated in the Constitution and for which provision can be made through voluntary means, then you bear the burden of justifying the application of its coercive powers to your fellow citizens. And if you genuinely feel justified in advocating for these policies without having to make the case to your fellow citizens, then consider the possibility that you are the one who was fooled again after all.  

Schooltree: Heterotopia

When I heard that Lainey Schooltree was composing a rock opera, I could hear my own inner Boromir at the Council of Elrond. It was as though I had just heard the news that the One Ring was to be brought to Mordor. 

One does not simply write a prog rock opera, Lainey. The black gates of the music industry are guarded by more than just Orcs. There is evil there that does not sleep. And the great Eye is ever watchful. It is a barren wasteland. Riddled with Arianna Grande and DNCE and Beiber. The very air you breathe is a poisonous fume. Not with ten thousand men could you do this. It is folly!

Never one to back down from an epic musical calling, that’s precisely what she set out to do. Fortunately for us, she succeeded and Heterotopia is the prog rock opera you’ve been waiting for.  A project four years in the making, Heterotopia is a sprawling 100-minute epic which earns a place alongside Tommy, The Wall, or any other comparable effort you can name. Yes, it’s that good. 

Heterotopia is a sort of metaphysical Hero’s Journey mixed with gothic fantasy. It’s a pomo Alice in Wonderland meets Lord of the Rings by way of Neil Gaiman. It’s a story of a down and out singer named Suzi who is disillusioned with the music industry, but finds her reality shattered when she follows a 100-legged cat down a rabbit hole into an alternate reality called Otherspace. While in Otherspace, she discovers that she has detached from her physical form and may not be able to recover her corporeal self. Worse, Otherspace is slowly being overrun by an encroaching darkness which threatens to enter the physical world and Suzi finds herself faced with an existential choice.

As good as it is, Heterotopia walks a very interesting tightrope. It has a seemingly populist heart, but it’s counterpoised by an overall vibe of gothic gloom. It may be a difficult pill to swallow for those expecting the kind of ecstatic emotional peaks one might reasonably expect from a rock musical.  As a work of progressive rock, it’s an unmitigated triumph. Heterotopia is a cornucopia of musical riches for even the most rabid prog head. It has all of prog’s virtues and none of its vices. It has epic melodies, knotty riffs, angular rhythms, squiggly synth lines, dense harmonies, and plenty of odd metered nerdity. There’s also plenty of old fashioned arena sized, fist pumping rockage. None of it feels excessive, and all of it is ultimately subordinate to Schooltree’s impeccable instincts for songcraft.  It is short on any kind of extended improvisation, but when the guitar jam and synth freakout finally arrive, it’s some serious lighters-in-the-air shit. 

Schooltree’s prog bona fides are unimpeachable. She has clearly done her turntable homework. The Lamb Lies Down on Broadway is an obvious musical and thematic touchstone, but Schooltree hacks the prog genome and produces a refreshing and satisfying mutation of her own. Heterotopia reaches for the towering heights of Yes, Genesis, Queen, Supertramp and even deeper recesses of the family tree like Klaatu and Gentle Giant. I’m even going to second Jon Davis at Exposé by saying that Heterotopia bears some similarities to early Saga. One also detects the unmistakable DNA signature of Broadway musicals like Into the Woods and Jesus Christ Superstar coursing through its bloodstream. Musicals should be judged on the strength of the vocal storytelling, and Heterotopia doesn’t disappoint. Schooltree has an equal gift for the anthemic hook, the spectral vocal choir, and the spooky incantations of Dreaming-era Kate Bush. The songs are packed with hooks, but Schooltree always manages to subvert your expectations with a clever turn of phrase. The catchiness of the songs is offset by lyrics filled with ghosts, zombies, illusions, and pits of darkness. Schooltree is one of those artists who writes the most beautifully captivating melody or irresistible pop earworm, but when you listen to what she’s saying, the subject matter often belies the emotional tenor of the music.  

The drama of Heterotopia centers around Suzi’s quest to reclaim her corporeal self. In order to achieve this, she must confront the fallen queen of Otherspace, Enantiodromia. The mythological surface of the piece is merely a vehicle for some rather morbid existential ruminations over the nature of consciousness, death, and free will. By combining prog, epic fantasy, and abstract philosophy, Heterotopia has certainly sealed a trifecta of high concept artiness. There’s a Nietzsche reference or two to be found amidst the Foucauldian mindfuckery. The central theme seems to revolve around the line between reality versus illusion, and the extent to which the latter shapes the former. Prog has always been a platform for big ideas and epic narratives, and this conjunction of mythic storytelling and philosophical speculation places Heterotopia squarely within the canon of classic prog.  

All of which returns us to the unique position this work occupies.  Prog enjoyed a cultural moment back in the 70’s and, to a certain extent, the 80’s. Nowadays, progressive rock of this kind caters to a niche audience. The type of prog that Schooltree is offering will doubtless please the faithful, but whether this particular delivery system will move the meter beyond the prog laity remains to be seen. It’s a Hero’s Journey, but the metaphysics are pretty abstract and the tone is very dark. Beneath the patina of mythological fantasy, Suzi’s tale involves what appears to be a standard dramatic arc tracing her fall, redemption, and resurrection, but it remains strangely suspended in a state of perpetual discord. Even when it reaches its conclusion, it sounds triumphant and the music signals resolution, but you’re left with lingering questions. Suzi’s transformation is obviously meant to be a profound shift, but there’s something slightly underwhelming about it. This is where Heterotopia tilts towards postmodernism. Schooltree herself says that the central idea is that “reality is an illusion”, and this insight is supposedly what liberated Suzi to shape her reality. This is a fairly standard postmodern premise, and it’s an idea that has been explored pretty extensively in every corner of the artistic world for some time. 

However, none of these concerns detract from the heroic achievement of this record. There is a level of ambition and flat out artistic brilliance in this work that simply cannot be denied. If this sounds like your thing, buy it now

U2 Live at TD Garden: July 14, 2015

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U2 are easy to take for granted.

They’ve been so huge for so many years, it’s easy to dismiss them as mind numbing pablum. Their mawkishness and sentimentality begs for ridicule.  I’m accustomed to hearing musicians deride them and make snarky comments just to get a few easy “likes” on social media. 

The funny thing is that I really like U2.  I always have. 

My wife suggested that we see them and since I hadn’t seen them, I realized I’d missed out on the very phenomenon that has sealed a bond with millions of fans and placed them in the firmament of rock in the first place. 

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And boy, am I glad I did.

U2 are a band who’ve earned the superlatives.  They are the consummate Big Time Rock Band. 

For over two hours, U2 reminded me that love is the healing force of the universe and that maybe, just maybe, we can redeem ourselves through rock music.  Perhaps most significantly, they reminded me that sometimes the most transgressive, punk rock thing you can do as an artist is to write a song about your mother and actually affirm the gift of life and express love. 

In a pop culture world overrun by narcissistic wankers and smug, detached handlebar mustachioed would-be hipsters so consumed by their cynical sneering and ironic, postmodern deconstructions, U2 come across as the real radicals. 

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The music succeeds on so many levels.  It’s got a missionary sense of purpose, but never forgets that rock and roll is a secular church.  It has equal reverence for Motown, Jimi Hendrix, Kraftwerk and Elvis, but never forgets its Dublin roots.

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It’s music that says “All I want is you” and means every word.  They are a band so grounded in the emotional truth of what they’re laying down, it’s really difficult to remain unmoved.

The tour is called the Innocence to Experience Tour and naturally, as the title suggests, the show traces the arc of their development as artists and men. 

Visually, this show was a marvel.  There was a giant rectangular structure which served as a projection surface and an elevated stage.  At various points in the show, the screen showed animated renderings of their neighborhood, star constellations, oceans, nighttime cityscapes, and a virtual Johnny Cash among many other things. 

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Dublin’s favorite sons paid homage to their formative years with several selections from their latest release, “Songs of Innocence”.  I was especially moved by their rendition of “Iris”; Bono’s tribute to his mother. He set up the song with a story about his mother’s death and how it served as an opportunity to deepen his artistry.  “We all find ourselves orphans at some point in life,” he said.  As someone who lost his own mother, this sentiment hit home for me in a big way.  

U2 have never been shy about their political convictions and openly proclaim their desire for peace, justice and love in many songs.  The scars of violence in Ireland were transformed into a plea for justice for victims of terrorism in “Raised by Wolves” and a pared down “Sunday Bloody Sunday”.  Photos of victims of IRA violence were woven into a devastating digital collage while the words JUSTICE FOR THE FORGOTTEN hovered over the images like a command from beyond the grave. 

“We must never give in to fear.  There are people who hate freedom.  Who hate rock music. Who hate women.  We must never give in.  We must send the love that’s present here and radiate it everywhere so that it reaches every community,” exhorted Bono. 

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Right on, man. 

At midpoint of the set, they began to lean more heavily towards the classic canon and the show gathered momentum. 

“Bullet the Blue Sky” revealed U2 at their rockist best and successfully channeled Cream and Band of Gypsys.  Adam Clayton and Larry Mullen churned out a thunderous groove that bored into the center of the earth while Edge’s searing sheets of feedback and noise soared over the top.  A kaleidoscopic mashup of Wall Street trading pits and American iconography served as the visual companion to Bono’s Morrisonesque declamations.  “America is an idea. I want to be part of that idea”. Nice work, guys. 

The highlight was without question their transcendent rendition of “Pride”.  “This song is for peacemakers,” declared Bono. He stepped back and allowed the congregation to carry the wordless vocal phrase; gently goading the crowd to ever increasing intensity culminating in full throated ecstasy with each chorus.  This is the kind of secular devotion that is often attempted but rarely matched. 

For their encore, they delivered a trio of gems; “Beautiful Day”, “Where the Streets Have No Name” and “I Still Haven’t Found What I’m Looking For”.  By the time the chiming chords of the latter began, the crowd was in the palm of their hands.  Once again, Bono didn’t even sing the first verse and simply allowed the song to be carried by the reverie of the crowd.

They exited the stage one by one until all that remained were the sounds of Edge and Bono. The show ended just as it began. Bono sneaked in a line of Patti Smith’s “People Have the Power”.

Message received, gentlemen.  Thank you for bringing it home. 

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