You can never really tell when James Murphy’s being sincere, whether he’s making fun of others or making fun of himself. “Pow Pow”’s his statement of philosophy—“from this position / I can totally see how the decision was reached”—which is a sort of pragmatist-PoMo enlightenment: acknowledge perspective’s providence on truth and then turn it into a middle-aged reasonableness (over youthful anger, over Roman conceit). Continue reading “Oscillation / Fashion”
One of my favorite pieces of Mark Richardson’s writing is his 2012 essay “I Wanna Live: Two Songs About Freedom” for the now-dead column Resonant Frequency. In it, he waxes eloquent on the two-chord song, especially Bowie’s “Heroes,” Cat Power’s “Nothin But Time,” and LCD Soundsystem’s “All My Friends”:
[There] is something especially powerful about music with this harmonic structure. In my mind, when I’m listening — and especially if it’s a song that wants to comment on something about “life” — the two chords seem to say, “Sometimes it’s like this, and then other times it’s like this.” Day and night, love and fear, yin and yang, life and death.
Continue reading “Memory of Lovers”