Sara Serpa, Encounters & Collisions (Biophilia Records)
I’m sorry, I can deal with a lot of things — improv jazz, noise-jazz, lots of things — but this just isn’t my cup of tea. That may be because I gravitate to a rather conventional Earl Grey, and sure, I appreciate that a lot of critics would tell me that this Portuguese singer is an acquired taste that’s beyond my ken, but I’m not a fan of self-indulgent sounds of any sort. This LP starts out with a spoken-word soliloquy about how her name is pronounced “SAH-rah,” not “SAIR-ah,” and some other gobbledygook I didn’t bother with, and then it’s on to an exercise in off-Broadway performance art, riding bumpily along on a purposely rickety float comprising cello, sax and piano. I’ll admit that a lot of (never-released) tension does emanate from Serpa’s constant edging toward dissonance, stuff that most normies would diagnose as being off-key. But I don’t need it, really. Your mileage may vary, of course, and if you want intimacy in your acoustic, academic-sounding chamber-jazz, this’d be it. C
Various Artists, Pulp Fiction: 30th Anniversary Soundtrack (Interscope Records)
I don’t know how anyone reading this could say they’ve never seen this 1994 movie, but then again, I’ve never watched The Shawshank Redemption or Deliverance all the way through, so there’ll be no charge for your hall pass. The soundtrack gave (more or less) rise to a surf-rock resurgence in pop culture; the film’s opening tune, Dick Dale’s “Miserlou,” starts things off here, leading into some dialog between John Travolta and Samuel L. Jackson (yes, the bit about how the McDonald’s Quarter Pounder is called a “Royale with cheese” in France). Next is Kool & The Gang’s stomp-funky “Jungle Boogie,” which was a pleasant surprise for me to hear on the original soundtrack; I’d listened to it quite a bit in the 1980s while writing an album and doggedly attempting to expand my spectrum of musical influence (back then, I honestly believed no one else had ever even heard the dumb thing before). Director Quentin Tarantino (nowadays #MeToo-canceled, last I checked) had a pretty bizarre range of influences himself; I never understood the appeal of Urge Overkill’s “Girl, You’ll Be a Woman Soon,” but it’s here too. The draw here is that it’s being released on day-glo vinyl, which is as Tarantino-schlocky as things could possibly get I suppose. A
PLAYLIST
A seriously abridged compendium of recent and future CD releases
• Right on time, Oct. 25 will see a Friday-load of new albums, from bands, overrated synth-pop artists, and nepo babies who sing off-key! Twerking like demented circus clowns, they’ll bang their Who-boombas and clang their ba-zingas and annoy me with all the noise, noise, noise, noise! What am I to do, fam, demand hazard pay? Ask all those bad bands to take music lessons? No, there is nothing I can do but report on these new albums, so that you’ll know what to do with whatever money you have left after rent, your Roku subscription and your weekly supply of ramen noodle packets and cans of beans! But wait a second, before I whip out my Gatling gun of snark and really go to town, here’s some good news, a new album from Amyl and the Sniffers, titled Cartoon Darkness! You know, I’d thought I was the only kid on my block to admire this Australian pub-punk band, but the other week someone posted about them on my Twitter and my hope for humanity was instantly lifted juuust a little bit. Don’t know about you, but I fell in love with these criminals when I saw the video of “Some Mutts (Can’t Be Muzzled),” like, the singer makes Courtney Love look like Martha Stewart, and all I wanted out of life was to go on a Dave & Buster’s date with that girl and see how long it would take to get arrested. You people really need to go check them out, but in the meantime I’m going to see if they’re still completely feral, by checking out the video for “Chewing Gum,“ from this slappin’ new album! OK forget it, it’s awesome, she’s trying to be the next Lydia Lunch and succeeding, she’s got lipstick all over her insane rictus grin, and she’s holding a cigarette whose ash is like 2 inches long, go see this video, kids, I beg of you, you need to.
• Awesome and groovy, I’m already ahead of the holiday album curve, because your generation’s Elton John, Ben Folds, is releasing an album of Christmas songs, cleverly titled Sleigher, see what he did there! I am pleasantly amazed that the Christmas albums are already coming out, because it seemed like there weren’t any at all for me to write about here the last few years, let’s go see what this wacky piano person is doing to “Jingle Bells” or whatever. Yup, it’s good, this version of “The Christmas Song,” but let’s be real, even Gilbert Gottfried could have made that song appealing. He’ll be appearing at the Cabot Theatre in Beverly, Mass., on Nov. 10, but I’m sure the last 18 remaining tickets will have been sold by the time you read this, sorry for your loss.
• A lot of you old people remember the 1980s, when Tears for Fears was doing so many drugs that they were going around saying they were bigger than The Beatles, ha ha, remember those days? Well, they have a new live album coming out on Friday, titled Songs for a Nervous Planet! Now, don’t worry, fellow old people, Curt Smith and Roland Orzabal are still leading the band, and they still (mostly) sound like Tears For Fears as of their last album, The Tipping Point, so let’s cut to now, when they sound like a sleepy wedding band on the live version of “Everybody Wants To Rule The World” that’s on board this one. But who cares, guys, it’s Tears For Fears, amirite? I miss big poofy hair, don’t you?
• Last but not least on our plate is the new album from 1980s Boston-indie-rock legends Pixies, The Night The Zombies Came! “Motoroller” is a decent mid-tempo goth-rocker, with Frank Black doing a passable Marilyn Manson impersonation, sort of, if that’s even what he was even intending to do, who knows.