Jul 10, 2007

In the Hinterlands—and possibly in other areas of the world as well, though i cannot say with any certainty—there is a certain state of mind one can settle into on the weekend, in the time period after Daylight Savings Time has been revoked, but before Spring (or Daylight Savings Time, whichever comes first—i kinda forget), when there is really no impetus to leave the house (although you will, occasionally, exit the home for some manner of brief walk or something, just to see what it’s like out there), and one has been sitting around the house all afternoon, playing records, and, for want of a better term, “rocking out” all day. I mean, for a while there, you’re the King Of The World (Or At Least The Living Room)—you’re cranking records at maximum volume, chugging caffeinated beverages—i mean, why not? It’s Winter so there’s nothin’ else to do today!—basically living like a pig in shit, simply because there’s no reason to go outside, so, strangely, you’re “free” from having to do anything but sit inside and crank tunes. Anyway, maybe you’ve been drinking all day—perhaps you’ve had a tussle with the halflings’ leaf—perhaps you’re just messed up on Diet Coke™ with Lime—but, sooner or later, the sun is gonna start going down, and you’re gonna need to eat supper—so, you realize that your more or less uninterrupted state of sitting on the couch ROCKING THE FUCK OUT is going to be broken up by the physical necessity of you having to get up, turn lights on, make some supper, get ready to do whatever it is that you have to do that night (that by that time you don’t really feel like doing), etc.—so, basically, the last album you play before the light fails, and nature forces you to take a break from the state in which you have found such joy—rocking out on the couch in the daylight—has got to be a certain, special kind of album; an album that is conducive to listening to it during the last failing minutes of daylight; an album that will somewhat quietly announce that Phase One of the day is over, and the listener must now get dressed, make supper, and solidify his plans for The Night; and, most importantly, an album that enhances the experience of looking at the little green and red lights on the stereo, because that’s what ya do when the sun goes down: Start noticing what the little lights on the stereo look like in the gloom. It is my opinion that 1+1=Ate is such an album (i cannot say with any certainty as Daylight Savings Time will extend for four more weeks as of the time of this writing). On the one hand, this is a good thing, as a Last-Song-Before-The-Light-Fails album has a certain specific masterfulness to it that stimulates the listener, yet allows them to sort of thoughtfully muse on the Great Deeper Meaning of the lights on the stereo as well. On the other hand, to have the album sit in abeyance until the waning moments of sunlight also betrays a certain non-immediacy, because, i mean, if the album grabbed us by the nards and socked us in the forehead, wouldn’t we have played it more around 1 PM than waiting ‘til the sun was almost down to spin it? Be that as it may, i am virtually certain that this album will be a virtual colossus in the “fading-daylight” genre, and it sounds like the spring-wound blast of early Heart Attack (hold the Jesse Malin germs), with the Dickies on the far left of their spectrum and the Armitage Shanks on the right. In light of current recording techniques that yield loud, “good” sounding records with no personality whatsoever, i’m down with the 4-track production—however, if Lou Reed was right when he said that “cymbals eat guitars,” there are likely a whole buncha Zildjians sitting around the Knockout Pills’ practice space belching, picking their teeth, and scratching their necks whenever a new, inexplicably emptied guitar case makes itself manifest. All in all, a Fading Daylight album is likely the most difficult type of album to successfully mastermind—thus do i consider myself officially knocked out. At this time i suggest you hold a mirror beneath my nose and check for condensation. BEST SONG: “Summertime Rundown” BEST SONG TITLE: “Stab Wound Baby” or “Wait for the Apex” FANTASTIC AMAZING TRIVIA FACT; Throwing out the low score (“Target H,” first song, 2:00) and the high score (“Wait for the Apex,” last song, 4:39), the other ten songs are all between 2:15 and 2:36 in length.

 –norb (Estrus)

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