SASQUATCH VERDE

I’m going to break with the reviewer ranks here and tell you that the new reissue of R.E.M.’s 1988 major label debut isn’t about reinvention. Green is a refinement of what was already in progress. In other words, this is a natural sequel to 1987’s Document. And that’s weird because they don’t do sequels. They do whole, newly born unique animals, or at least they used to. Green and Document are tied together in sound. The live set included in disc two proves this more than anything. It lies in the moody jangle clang scrape of Pete Buck’s guitar. Songs that were road tested during the Document tour appear on Green in less sinister incarnations (“Orange Crush” & “Pop Song 89”), but there is no mistaking the era of their birth. The other connecting thread lies in Stipe’s lyrics. This is not the happy yang to Document’s yin, but rather another tour in bleak questioning. Take a seemingly peppy song like “Get Up”. Sure, there’s some chirpy backing vocals muting the guitar chug riffage (look up the demo version on you tube if you don’t believe me) but the lyrics are unquestionably downer introspectives. “Dreams, they complicate my life”. Snuck that bastard right in there. “Pop Song 89” is equally sweet and sour on the matters of relating to others. People that pass through and barely register after the small talk is over. Earthquakes, alienation, exploitation. Have you ever known somebody to smile when they are extremely uncomfortable and say shit’s fine? It’s kind of like that. But there was a lot of attention and hoo haw for this Warner Brothers show pony and who wanted to say “This one’s going to harsh your mellow”? I wonder how “I Remember California” and “Turn You Inside Out” went over with the executives. It must have been squirm city in the face of that dirgy maw. A song like “World Leader Pretend” does suggest a leap forward in studio craft, live however, it’s revealed to be more Document era jangle akin to “Disturbance At The Heron House” which is not a bad thing, but again, it’s refinement not reinvention. “Stand”,  a song that wore out faster than the other album tracks, isn’t that far removed from “Exhuming McCarthy” in its dumb pop song catchiness. Finally, “You Are The Everything”, “Hairshirt”, “The Wrong Child”, and “Untitled” seem like the most un-R.E.M. like, but even that’s untrue. This road was paved previously by the likes of ”Swan Swan H” and “King of Birds”. The acoustic side was always there, just not really explored. Green is a taking stock record. The back cover art says it all. Count the rings of the tree. Layers. The past opened up for you to assess. This is the album’s power, everything that they do well is on display here. It’s perfectly balanced the way a good album should be. Hills and valleys. You may already own this album but that bonus live album slays and is not to be missed. (Just don’t forget the five extra tracks that aren’t on the cd release that are available via iTunes.)  

I’m going to break with the reviewer ranks here and tell you that the new reissue of R.E.M.’s 1988 major label debut isn’t about reinvention. Green is a refinement of what was already in progress. In other words, this is a natural sequel to 1987’s Document. And that’s weird because they don’t do sequels. They do whole, newly born unique animals, or at least they used to.

Green and Document are tied together in sound. The live set included in disc two proves this more than anything. It lies in the moody jangle clang scrape of Pete Buck’s guitar. Songs that were road tested during the Document tour appear on Green in less sinister incarnations (“Orange Crush” & “Pop Song 89”), but there is no mistaking the era of their birth. The other connecting thread lies in Stipe’s lyrics. This is not the happy yang to Document’s yin, but rather another tour in bleak questioning. Take a seemingly peppy song like “Get Up”. Sure, there’s some chirpy backing vocals muting the guitar chug riffage (look up the demo version on you tube if you don’t believe me) but the lyrics are unquestionably downer introspectives. “Dreams, they complicate my life”. Snuck that bastard right in there. “Pop Song 89” is equally sweet and sour on the matters of relating to others. People that pass through and barely register after the small talk is over.

Earthquakes, alienation, exploitation. Have you ever known somebody to smile when they are extremely uncomfortable and say shit’s fine? It’s kind of like that. But there was a lot of attention and hoo haw for this Warner Brothers show pony and who wanted to say “This one’s going to harsh your mellow”?

I wonder how “I Remember California” and “Turn You Inside Out” went over with the executives. It must have been squirm city in the face of that dirgy maw.

A song like “World Leader Pretend” does suggest a leap forward in studio craft, live however, it’s revealed to be more Document era jangle akin to “Disturbance At The Heron House” which is not a bad thing, but again, it’s refinement not reinvention. “Stand”,  a song that wore out faster than the other album tracks, isn’t that far removed from “Exhuming McCarthy” in its dumb pop song catchiness.

Finally, “You Are The Everything”, “Hairshirt”, “The Wrong Child”, and “Untitled” seem like the most un-R.E.M. like, but even that’s untrue. This road was paved previously by the likes of ”Swan Swan H” and “King of Birds”. The acoustic side was always there, just not really explored.

Green is a taking stock record. The back cover art says it all. Count the rings of the tree. Layers. The past opened up for you to assess. This is the album’s power, everything that they do well is on display here. It’s perfectly balanced the way a good album should be. Hills and valleys.

You may already own this album but that bonus live album slays and is not to be missed. (Just don’t forget the five extra tracks that aren’t on the cd release that are available via iTunes.)

 

Finished page for Eel Mansions 2.

Finished page for Eel Mansions 2.

Hallucination sequence from Eel Mansions No.2, coming this June from Uncivilized Books

Part two of the kitchen series. This one utilizes a bunch of each mentioned kale and a small bag of spinach. While putting this together I was in a strange mood that could only be dealt with by The Buckinghams. May I suggest the following brace of songs: 1.C’Mon Home 2. I Love All The Girls 3.Just Because I’ve Fallen Down 4.Any Place In Here Parts 1&2 (from Portraits) 5.And Our Love (from Time & Changes) 6. Back In Love Again 7.I Know I Think (from In One Ear). Equal parts crunchy garage ,cheese pop, & pepper-corn psych. Delicious.

Part two of the kitchen series. This one utilizes a bunch of each mentioned kale and a small bag of spinach.

While putting this together I was in a strange mood that could only be dealt with by The Buckinghams. May I suggest the following brace of songs: 1.C’Mon Home 2. I Love All The Girls 3.Just Because I’ve Fallen Down 4.Any Place In Here Parts 1&2 (from Portraits) 5.And Our Love (from Time & Changes) 6. Back In Love Again 7.I Know I Think (from In One Ear). Equal parts crunchy garage ,cheese pop, & pepper-corn psych. Delicious.

Eel Mansions No. 2? Not sure yet.

Eel Mansions No. 2? Not sure yet.

“….my first reaction, after a quick gobble first read, was a serious WHAT THE FUCK, followed by fear. My initial bite of this hot hoagie was by far the by-product of the wrong sitting position. Eel Mansions requires a different approach to eating. It’s not fast food, rather it is a ten-course feast to be consumed slowly, savoring each bite. But let’s put this food metaphor aside and delve into the Experience of reading this book. I’ve now read Eel Mansions five times and, with each subsequent read, have unearthed new subtleties, made new connections, and brought forth new questions. You are right, Giampaoli, that this book is indeed a descent. But on the way down, it jumps through all of these flaming hoops with such nonchalance that it takes a careful reader to even see the progression. It displaces you while carefully setting your piece on the board. It wraps itself in a thick layer of ink and then places itself under the tree, pulsating with potential energy, waiting for greedy hands to tear it open.” Daniel Elkin quote from the roundtable review of my debut issue of Eel Mansions. Read the rest of the review here: http://www.comicsbulletin.com/reviews/5452/counting-to-infinity-derek-van-giesons-eel-mansions/

“….my first reaction, after a quick gobble first read, was a serious WHAT THE FUCK, followed by fear. My initial bite of this hot hoagie was by far the by-product of the wrong sitting position. Eel Mansions requires a different approach to eating. It’s not fast food, rather it is a ten-course feast to be consumed slowly, savoring each bite.

But let’s put this food metaphor aside and delve into the Experience of reading this book.

I’ve now read Eel Mansions five times and, with each subsequent read, have unearthed new subtleties, made new connections, and brought forth new questions. You are right, Giampaoli, that this book is indeed a descent. But on the way down, it jumps through all of these flaming hoops with such nonchalance that it takes a careful reader to even see the progression. It displaces you while carefully setting your piece on the board. It wraps itself in a thick layer of ink and then places itself under the tree, pulsating with potential energy, waiting for greedy hands to tear it open.”

Daniel Elkin quote from the roundtable review of my debut issue of Eel Mansions.

Read the rest of the review here:

http://www.comicsbulletin.com/reviews/5452/counting-to-infinity-derek-van-giesons-eel-mansions/

Freelance poster art for an event in Austin, Texas

Freelance poster art for an event in Austin, Texas

Another explanatory guide to the world of Eel Mansions (Uncivilized Books). This week we take on THE Pink Floyd, Pink Floyd, and Syd Barrett. I also address that stupid movie/album synch up stuff. Check it. Doomy!

I tend to write alot of songs, most of which are unsuitable for the band I’m in (Marriage At Nevers) or unfit for human beings in general. So now I’m releasing them here and there to throw people further off my trail. The first single is now up. It’s a sort of evil folk pairing. Yeah I know. I know. http://derekvangieson.bandcamp.com/

I tend to write alot of songs, most of which are unsuitable for the band I’m in (Marriage At Nevers) or unfit for human beings in general. So now I’m releasing them here and there to throw people further off my trail. The first single is now up. It’s a sort of evil folk pairing. Yeah I know. I know.

http://derekvangieson.bandcamp.com/