2004-12 Vital Source Mag – December 2004
Rufus Wainwright
By Erin Wolf Want Two, Rufus Wainwright’s follow-up to last year’s Want One, is quite the veritable mobile of whirling sonic fancies. Like its predecessor, Want Two hops from cabaret tunes to operatic orchestrations. Borrowing influences from Latin, French and classical sources, Wainwright pens grandiose songs that are rightly focused around his beautifully satiating vocals. Wainwright’s trademark flamboyancy isn’t quite as prevalent as it was on 2001’s Poses. Want One and Want Two are Wainwright toughening up his writing chops, and lyricizing with a bit more introspection and indulging in the morose and despairing, but always shining a ray of light on seemingly dark subjects. Wainwright’s ability to work humor into his lyrics (“I’m so tired of waiting in restaurants / reading the critics and comics alone / with a waiter with a face made for currency“) and his ability to incorporate odds-and-ends instruments such as banjos into his orchestral-like epics-and to make that incorporation seem like a perfectly natural occurrence-is refreshing and uplifting for such serious songs. Therein lies the talent of Rufus Wainwright-with his ability to make the oddly unnatural seem perfectly ordinary, he creates a solid album that is anything but concrete in its structure.
Dec 1st, 2004 by Vital Archives
Fu Manchu
By Jeremy M. Rottgen Fu Manchu’s Start The Machine roars with the intensity and consistency of a 502 engine. This is the kind of stuff Marshall stacks and hot-wired humbuckers were made for. This is Fu’s first release since being signed to DRT records. Longtime fans will most likely welcome it because pretty much every song on Start The Machine is a distorted masterpiece. They were allowed more freedom since signing with DRT, and it shows.You’ve got to admire a band that has found the ultimate point between gain and volume, creating an immense guitar sound. The punk philosophy applies as well with no song exceeding three and a half minutes. “Written In Stone” kicks things off with a snarl. Things do slow down a bit toward the middle with “Out to Sea,” a trippy instrumental with enough reverb and echo effects to throw you into a trance-but besides that one break, Start The Machine does not stop churning. Despite being a somewhat unknown success, Fu Manchu have attempted to bring the crunch for many years. They don’t pull any punches when it comes to their releases. It’s consistent and their fans don’t have to guess about what they’re in for next.
Dec 1st, 2004 by Vital Archives
The Occasion
By Erin Wolf The Occasion re-define the term “noise-rock.” With jangly tambourines, mellow vocals and garbage-can-drum tendencies, The Occasion’s self-titled debut is immense, reflecting the hills of desert sands that grace the cover of their album-completely enveloping and sensory-sweeping. Quietly pretty in spots with the incorporation of twinkly pianos, and psychedelically hard-hitting with enough guitar distortion, fuzz and feedback to make even Sonic Youth raise their eyebrows, The Occasion make music to suit themselves. Vocals range from anguished plodding on “I Can’t Stop Falling” to Morrissey-like lamentation on “Ease Away.” The latter track best showcases The Occasion’s vastness in sound, with its guitars sporadically strumming amidst the soft, steady shake of a tambourine, and with sliding vocal echoes haunting in the background. Upon first listen, it’s hard to accept this band’s unique and ethereal sound, but upon recognizing the intricacies and creativity found in their music, it’s hard not to feel appreciation for this New York quintet. Coloring within the lines is definitely not on their musical agenda-indeed, coloring outside the lines has never sounded so inviting.
Dec 1st, 2004 by Vital Archives
Nina Simone moves Holly Blue
by Nina Simone 21st Birthday April 5th, 1996 “Do you quiver, from your head down to your liver?” – Nina Simone The weather was beautful today. Cold, but the sun was shining on us like a goddamn hero. My senses were all standing on edge, soaking in every detail as I nearly became part of color and sound. The “synchronicity of life”, which Dad speaks so highly of, was so apparent to me. The intimacy of me I’d almost forgotten if it weren’t for my two best friends, some edible fungus, and Nina Simone. It was the best day ever. We spent the daylight sharing our stories, ugly girl truths and all. We danced to Nina, laughed and moved things with our eyes. And when we were coming down my girl’s sang happy birthday to me, after which we toasted our love for womankind with champagne and strawberry’s. Later that evening I could still feel the drug lingering throughout my body. From the intensity in my chest to the electricity in my toes, I knew I was alive. I knew love was with me even though I’d never been more alone (ie. without a boy) in my entire life. I felt a calm, peaceful understanding of myself that I’d never allowed before today. Fully connected with my beauty and vitality, I realized my need as a woman, to appreciate it all, even the desparation of heartache. The same heartache I hear in Nina’s voice, the voice of every woman, vulnerable and strong.
Dec 1st, 2004 by Vital Archives
The Needless Oppression of Ideological Gridlock
By John Hughes I was viewing the movie Motorcycle Diaries recently, watching Che Guevara’s revolutionary consciousness incubate, and I became reflective. Sitting in the dark, I began to wonder what a Great Liberator would look like if he or she arrived in America in 2004. From what would that Che, or that Gandhi, or that Malcolm X, liberate us? By what are we oppressed? Anything? Anyone? Under the spell of that movie, I made a natural jump from South America in 1952 to today. I rummaged through the causes and issues that need a serious boost: the environment, violence, the economy (global and domestic), health care (which is becoming apocalyptically expensive) and America’s frighteningly imperialistic stance towards the rest of the world. But somehow, as I sat holding a good woman’s hand, watching the scene where Che’s best friend danced with a nun, I realized that more than specific relief in any one of our many tactical pain points, we as a nation are in need of liberation from our ideological gridlock. I certainly don’t mean that progressives should give away the store just so they can get along with conservatives. I don’t mean that anyone should back away from a good fight, a good debate, a rousing contest of wills. I don’t mean that we should airbrush differences of opinion in the popular arena, for the sake of a faux national unity. But I do mean something. If a Great Liberator were to come along now, I’d want that person to liberate America from the fact that we are in serious danger of becoming two permanently estranged halves, in a muted civil war for the rest of history. We need deliverance from this fate so we may continue to live out Abraham Lincoln’s dream of harboring, in his immortal words of1865, “malice toward none,” and “charity toward all.” The day after I watched that movie, I was eating lunch with a colleague from my day job, and we invited a brand new acquaintance to join us. This new acquaintance, Tracy, was a warm, empathic woman with a soft laugh. I liked her and we had a nice conversation. My colleague Helen eventually got around to discussing George W. Bush supporters in a stingingly frank manner. She lampooned suburban soccer moms in Hummers, screaming from the sidelines dressed in sweaters and pearls. I joined in, mentioning that often-seen sticker affixed to the back of redneck trucks, of a Ford boy peeing on the Chevy logo, and compared it to Bush’s attitude toward the rest of the world. Helen chipped in with some sort of adjective, like “pathetic” or “disgusting.” We shared a laugh. Tracy wasn’t laughing. She’d grown silent, and watched us through a frozen smile, with eyes glazed. She was a Bush supporter, no doubt, and our friendship with her, ten minutes old, was cut off at the pass. She hasn’t eaten with us again. We are at risk of becoming a nation of two ideological poles, and it’s […]
Dec 1st, 2004 by Vital Archives
Mark Metcalf is the Accidental Actor
Mark Metcalf had been supporting himself as an actor for over ten years before he realized that he really was one. “All during that first decade” he says, “I kept thinking I was going back to the West Coast to get my degree in Marine Biology.” Metcalf, a stage, film and television actor, director, film producer, and now also Mequon restaurant owner and morning radio show regular, was born in Ohio in 1946. After moving to New Jersey with his family in 1959, Metcalf returned to the Midwest to pursue a degree in Engineering at the University of Michigan. It was there he discovered acting. At his roommates’ urging, he auditioned for a theater department production. His motives weren’t entirely pure. “I was convinced when they suggested that the girls in the theater department would be a lot, um, friendlier, than the girls in the engineering department.” He laughs. At 58, Mark is distinguished, a veteran of both his profession and parenthood. Tallish and thin, his dark blond hair is a little long and his attire tasteful, favoring earth tones. He quickly assures me that it only took seconds for his motivations to shift entirely. “I fell in love with acting instantly when I walked into the green room and saw all these people together, laughing and fighting and arguing one minute, and making love on the couch the next. All the vital emotions were right there out in the open. It was a world I had been craving and needing, without knowing it.” Mark was hooked. He moved to New York in the early ’70s and performed in both classical and modern theater. He eventually moved out West to work in film. In 1978, he earned a permanent place in pop culture history as crew-cut fraternity jerk Doug Neidermeyer in National Lampoon’s Animal House. I asked him how he dealt with instant celebrity. “I was thinking moment to moment at the time. After the movie was done, I took almost two years off to produce my own film. I know now that had I continued to act through that period when I was the “hottest,” things may have turned out differently as far as my acting career.” That film was Chilly Scenes of Winter, also released as Head Over Heels. It was a good film, but not a big commercial success. He’s done other directing and producing projects, and continued to act on stage, but the two other roles he’s best known for emanated from the small screen – as The Maestro on Seinfeld and The Master on Buffy The Vampire Slayer. But Mark was unhappy as a television actor. It was a grind, he says, like any day job. Work wasn’t generally awarded on merit, and the professional challenge was, in his words, “less than zero.” When his son was six, he and the boy’s mother, Libby, a Wisconsin native, decided to head back this way. They wanted a healthy place for him to grow up, and knew […]
Dec 1st, 2004 by Jon Anne Willow
