By tully | "Boredom at Its Boredest" by Michael Tully May 16, 2007 at 3:56AM
Tomorrow brings a very strange day in my life. The first time I'll be returning to Jacksonville since production wrapped on COCAINE ANGEL back in early June of 2005. This time, however, I won't be there to make a film. I'll be there to unleash SILVER JEW upon the fine folks of that city, as part of this year's Jacksonville Film Festival (we screen at 10pm Friday night at Theatre Jacksonville). I'm sure there are one or two Silver Jews fans somewhere in the Jacksonville vicinity. As a matter of fact, I know there are. Anyway, Tim Massett has put together a really great program and I'm looking forward to another memorable weekend. I'll be sure to take some pics.
Now on to some music news. I know I yap about Kevin Barnes a lot, but I order everyone to track down the new Of Montreal EP, ICONS, ABSTRACT THEE. While the whole thing is refreshing--five tracks in twenty-one minutes that make for a perfect companion piece to HISSING FAUNA, ARE YOU THE DESTROYER?--it is the last song, "No Conclusion," that might turn out to be Kevin's crowning musical achievement. It's one of the most brilliant tracks I've heard from someone of our generation. Running almost ten minutes long and comprised of at least five different sections, "No Conclusion" finds Kevin getting as personal as he's ever been, contemplating suicide after the collapse of a relationship. The last three minutes is particularly breathtaking, as Kevin bouncily sings the following plea over and over again, before a sad, haunting string coda swallows his vocals and confirms the story's tragically unhappy ending:
"And I never ever wanted to write this song/
I always thought things would change somehow/
And we would start getting along/
But it's HOPELESSSSSS/
I'm not kidding. Go to iTunes right now--or wherever--and download "No Conclusion." While superficially different, I would put this track in the same category as PET SOUNDS. Both works magically capture that sense of profound, epic personal loss with aching, regal beauty.
Lastly, is there anyone who reads this site who knows how I can get my hands on this CD:
I've been wanting this music on my iPod for at least a year now. Now I n-e-e-d it. If anyone has any leads, please let me know. Hook me up and I'll show you 'how to blog,' Kent Osborne-style. Along those lines, is it just me or is the SATANTANGO piano theme used in Bobcat Goldthwait's SLEEPING DOGS LIE? I saw it in Baltimore last weekend--it was John Waters's pick for this year's festival--and in the third act when things got serious and the score began to play, my initial thought of "this is lovely" was replaced by "this is familiar" which led to a shocked "this is Mihaly Vig's score from SATANTANGO!" Someone confirm or deny this for me, please. As for SLEEPING DOGS LIE, I don't think a movie has ever played so well. Perhaps it was Waters's introduction, but the film played 1000% perfectly. I felt like I was watching the best movie ever. As did the rest of the crowd. Funny how that happens.