Frostbite, by Nicola Twilley

Frostbite, by Nicola Twilley (Penguin Press, 327 pages)

In 1911, a grand banquet was held in Chicago to showcase an exciting new kind of food.

At the event, put on by the national Poultry, Butter and Egg Association, the five-course meal featured food that had been preserved in cold for six months to a year. The purpose of the event was to prove to a skeptical public that it was safe to eat previously frozen food.

“At the time, suspicion of refrigerated food was widespread,” Nicola Twilley writes in Frostbite, her deep dive into “the vast synthetic winter we’ve built to preserve our food.”

While most of us take refrigeration for granted, just a little more than a century ago it was new technology that didn’t inspire confidence. The 400 diners at that Chicago banquet were considered brave. At the time, gastrointestinal infections were the third leading cause of mortality; people were dying of cheese and ice cream poisoning, and the purveyors of manufactured cold were desperate to convince people that meat and produce that had been stored for months were not only safe, but healthier than fresh food.

It took some time, but they succeeded, and in doing so they revolutionized the American diet. Today there is a largely unseen industry called the “the cold chain,” compromising warehouses, trucks, shipping containers and other apparatus that enable a dizzying array of food choices at supermarkets and restaurants. You may think your own office is too chilly at times, but at companies like Americold and NewCold, workers have to wear specialty clothing in order to endure sub-freezing temperatures during their eight-hour shifts.

In Frostbite, Twilley descends into the chill, donning thermal underwear to work in an Americold warehouse for two weeks and criss-crossing the planet to explore how artificial cold is generated, the mechanics of refrigeration and how the food supply has changed because of it. Amazingly, she manages to make all this all compelling.

She begins with an explanation of how cooling works, a process that seems simple enough now but took decades to develop, with a few tragedies along the way. One was at the 1893 Chicago World’s Fair, where “the Greatest Refrigerator on Earth” — a five-story cold storage building — attracted admiring crowds until it caught fire, killing 16 people, some of whom jumped to their deaths in front of horrified onlookers.

For the better part of a century, the development of refrigeration was a process marked by trial and error, with multiple entrepreneurs advancing the technology for their own purposes. They included a Trappist monk in France who created the first hermetically sealed compressor because he wanted to cool his wine.

While how a refrigerator works is fairly simple — Twilley travels to Pawtucket, Rhode Island, to watch the construction of a rudimentary one in a garage — it’s not so simple to know exactly how to store food for optimal results and a long life. That involved a long process of trial and error, too.

Apples, for example, remain edible for a year or more when the conditions are right, but fractions of degrees determine whether an apple will rot, and the perfect temperature range changes with the variety of apple. A century of research, however, allows us to buy “fresh” apples at the Market Basket year-round.

“Today, we know more about how to lengthen an apple’s lifespan than a human’s,” Twilley writes.

Which is a good thing, because in Twilley’s telling, harvesting produce sounds practically inhumane. Celery and bananas, for example, don’t immediately die when they are picked, but continue to “breathe” and burn through their own sugars and enzymes “in a desperate attempt to get their cell metabolism going.”

Cold works to preserve the life of produce by slowing the rate of respiration, which is why a green bean you select at the supermarket has typically spent less than two hours in temperatures above 45 degrees, having been rushed from the field to chilling machines and then one of the massive cold-storage facilities.

But the biggest way that refrigeration has altered our eating, and by extension, the planet, is how cold storage has driven the rise of meat consumption. Prior to refrigeration, humans ate only the meat on their farm or their neighbor’s, or animals that were walked to slaughterhouses in cities. Later, animals destined for slaughter were shipped cross-country on box cars, but that was inefficient and costly. It wasn’t until cold storage became widely available that animals themselves were not shipped, but their frozen parts, and this upped the demand for meat, not only because of the accessibility but because freezing improves the texture and taste.

As Twilley writes, “muscle … needs time and cold to ripen into meat.” It also benefits from electric shocks given to the animal carcass, which is information many people might prefer to not know. (“… Shocked beef is brighter red, which consumers prefer.”) Most notably, cold storage gave birth to the factory-farm industry that raises, slaughters and processes animals in numbers that are hard to imagine. To supply our poultry needs alone, Twilley notes that “there are approximately 22.7 billion broiler chickens living out their five-to-seven week spans on Earth at any given moment.”

Twilley takes the slow road to her final chapter, in which she travels to the ultimate frozen warehouse, the “doomsday vault” of seeds kept underground in Svalbard, a Norwegian archipelago in the Arctic Ocean.

Along the way, she segues into refrigerator-related topics that are much less serious, such as the man who ran a dating service based on what the inside of people’s refrigerators look like. (John Stonehill was very impressed with Twilley’s — seeing photos, he said, “Your fridge is one of the most date-ready fridges I’ve seen in a hell of a long time. Are you married?”). As a writer for The New Yorker and The New York Times magazine, she says she has been “thinking and talking about refrigeration for a decade now,” and it’s hard to imagine that anyone is more well-versed in the topic. While refrigeration isn’t, on the surface, one of the most compelling of conversation topics, it’s a testament to Twilley’s skills as a writer and researcher that she has managed to make this niche subject engrossing. A

Album Reviews 24/08/15

Dummy, Free Energy (Double In Mind Records)

I’m usually not a big fan of bands that shift genres within albums, as it makes it hard for listeners to settle in; it’s not like we’re living in a terribly cerebral zeitgeist, more like a seriously dysfunctional era of art in which noise is often confused with signal. But this one grabbed me from the beginning and held on, starting with “Intro – UB,” a peaceful EDM joint that evokes Orbital and Aphex Twin while tabling some in-your-face drum sampling. I’d been warned through the informational one-sheet that there was some My Bloody Valentine vibe on here, which obviously isn’t wildly compatible with 1990s/Aughts techno, but it’s exactly that sort of bliss that happens next on “Soonish,” which, as it proceeds, may remind you of some of the harder stuff on Wire’s 2013 LP Change Becomes Us but with an REM tint to it. I really like what these folks are doing. A+

Egosex, 15 Minutes Of Fame [EP] (self-released)

Originally from Lagos, Nigeria, Wekaforé Jibril leads this Afro-tech wetwork outfit, which, it’s said, weaves an “abstract narrative that delves into the heart of modern society’s narcissistic obsession with recognition.” This ain’t your daddy’s Fela Kuti-style Afrobeat, of course, but it does have some deep roots in it, and those tendrils can be felt all through this release. I’m saying that it does have a deeply African sound, but when you turn up the vibe-ometer to see what Afrobeat has become in modern times, we hear Black Eyed Peas lurking around the corner (listen to “Yes We Are In Love” for proof), egging us on to dance blissfully, encouraging us to accept that our era’s sound may be rooted in ringtone-brained individualism but that there are good points to that. The trance- and dubstep-adjacent beats settle into hip-hop-infused tribal jams (“Can U Make Me Feel”) that feel urban-fashion-minded, which makes sense, given that Wekaforé is pushing his own clothing line. Relevant tuneage for hip outlet malls. A+

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• The brand new CD releases of Friday, Aug. 16, are upon us, guys, so it’s off to Metacritic we go, to see what unlistenable swill new music we will be subjected treated to this week, as the summer winds down and the autumn eyes us with its awfulness and threatens to unleash early ice storms and such! I am not sure what all my New Hampshire neighbors are listening to these days (I assume twerking music and Led Zeppelin). But as for me, for the past week, I’ve been back to listening to 1930s big band music from the likes of Al Jolson and Paul Whiteman, because I’ve been out and about driving far away to estate sales in such quaint New Hampshire towns as West Lebanon and New London, and there’s nothing more appropriate than 90-year-old tuneage playing in your jalopy when you’re hunting antiques! Oddly, while visiting these bucolic towns, where chickens and goats run around loose in the streets, I didn’t see WMUR’s Fritz Wetherbee hanging around at any general store. Remember last year when I wanted to ask him if I could co-host his New Hampshire Chronicle segments and a few people on the internet actually tried to help me add “TV star” to my resumé? My offer still stands, for the record, but what we must address now is F-1 Trillion, the new album from nice-enough person Post Malone! The teaser single, “Pour Me A Drink,” features a guest artist, of course, and — nope, it’s not Snoop Dogg — no, not Kendrick Lamar either, let me finish, it’s actually country music star Blake Shelton! This song is not your typical hip-hop fare, more like a honky-tonk song for drunken cowboy rappers; it’s so hated by undergrounders that some YouTuber named @BigPacVsAllYall went right to work releasing a diss track, cleverly titled “Diss Track,” in which he “spits rhymes” about how Post “hasn’t actually rapped in seven years” and is now “wearing farmer jeans” and a bunch of other hurtful stuff! It’s all dumb, I know, but chances are good that Post will catch wind of it, because somehow, BigPacVsAllYall was able to get his song to the very top of YouTube’s search results if one searches for “Post Malone F1 Trillion!” That, my friends, is trolling at its finest, you have to admit; you can hate the game but not the playah!

• Good lord, anyway, what’s next, what could possibly — OMG, ha ha, look everyone, it’s last decade’s indie-pop darlings Foster The People, you can stop checking WhosAliveAndWhosDead.com, because they are very much alive! Their fourth album is Paradise State Of Mind, their first since 2017’s Sacred Hearts Club, which (if you were even aware it ever existed) stalled at No. 47 in the Billboard and received a lowly Metacritic score of 56, but who cares, let me go listen to something from this new album, which is said to be in line with Sacred in that it’s inspired by “late 1970s music with elements of disco, funk, gospel, and jazz.” Yep, the album starts with “Take Me Back,” a totally funky-poppy thing that’s too uncool for Jamie Lidell or even David Guetta, but your grandchildren might like it, I don’t know.

Beabadoobee, aka Beatrice Laus, is a Filipino-born space-rocker who opened for label-mates The 1975 a few years ago. Her new LP, This Is How Tomorrow Moves, starts with “Ever Seen,” a really nice, poppy little number that combines Jewel-style acoustic guitar-pop with spazzy anime soundtracking. Normal people will like it.

• We’ll end the week with Brooklyn, N.Y.-based power poppers Charly Bliss, whose new album, Forever, includes the song “Waiting For You,” a ’90s-chick-pop-tinged tune that’s actually catchier than anything I’ve heard from Sleater-Kinney, which is the obvious motivation behind this.

Sandwich, by Catherine Newman

Sandwich, by Catherine Newman (Harper, 229 pages)

Since it’s set in an idyllic village at Cape Cod, Catherine Newman’s novel Sandwich could refer to the town of that name, the oldest on the Cape. It’s more of a nod, however, to the “sandwich generation,” the term for adults who are caring for their aging parents and their own children.

That’s the life stage of the protagonist, Rachel, who (somewhat bewilderingly) goes by the name Rocky, and who, at 54, is “halfway in age between her young adult children and her elderly parents.” Rocky has been married nearly 30 years to Nick, “a beautiful man who understands between twenty and sixty-five percent of everything she says.”

I will confess right now that I love her, and did by the beginning of the second chapter, when she dubbed a toilet malfunction “Plungergate.”

Rocky and her husband have been renting the same modest cottage for a week every summer since the children were young, and as the novel begins, they are headed there again, as Rocky muses on how time whitewashes our perception of experiences, and how a beach vacation is often filled with things that have little to do with the actual beach.

“You might picture the wild stretches of beach backed by rugged dunes or quaintly shingled houses with clouds of blue hydrangea blossoming all over the place. … Which is funny because most of the time you’re actually at the surf shop or the weird little supermarket that smells like raw meat, or in line at the claim shack, the good bakery, the port-a-potty, the mini-golf place. You’re buying twenty-dollar sunscreen at the gas station.”

On this particular trip, Rocky and her husband are accompanied by their daughter, Willa, who is a junior in college; their son Jamie, who works for a start-up in New York, and his girlfriend, Mya. (Also, the family cat, named Chicken — which was the only deeply unrelatable part of the book for me — taking a cat on vacation.) Rocky’s parents are due to arrive later in the week.

Rocky and Nick, who bicker constantly, are glad to have their children with them in this familiar space, as they are still navigating their almost empty nest, having to “make nervous small talk over our early dinners, as if we’re on an awkward zillionth date at a retirement home.”

Their quarreling is obvious to all; at one point, their daughter asks Rocky if something is wrong, but there is also clearly a deep affection between husband and wife that is tested as the week unfolds and a couple of secrets from Rocky’s past are slowly revealed. These revelations are related tangentially to a storyline involving Jamie’s girlfriend and a health issue she is having. There is a plot here that is thoughtfully crafted, but honestly, it doesn’t matter.

Newman is the kind of writer who could write 200 pages about paint drying and keep the reader entranced throughout. She has a gift for taking ordinary experiences and draping them in gorgeous language, the kind that stays with you, as when Rocky reminisces that when her kids were young they would “vibrate with excitement” at the mere mention of a visit to a Cape candy store.

She also has a sharp wit and bestows Rocky with a self-deprecatory wryness that stays at the ready whether she’s trying on a swimsuit (“One big wave and my boobs will definitely be celebrating their dangly freedom”; smelling zero SPF tanning oil (“the scent of my future squamous cell carcinomas”); or revisiting memories (“ … Jamie at four, Willa a baby in the sling, me with my permanently trashed perineum”).

The joy of Sandwich, in other words, isn’t about the plot, but instead about Newman’s charming and funny musings about decades of family vacations at the beach. Much of this book could have been a memoir, and we suspect some of it is, at least the parts about parents and children vacationing together at the beach: the small happiness of rubbing sunscreen on the backs of grown children whose bodies used to be so familiar but are now off limits to you; the weird time warp that takes over at the beach (“It is always one o’clock when we leave for the beach, regardless of when we start readying ourselves”); the constant scanning for shark fins, ticks and other dangers that never stops no matter how old your children are; and the relative ease of going to be beach with older children as opposed to the physical labor of going to be beach with young ones and their paraphernalia, everyone “breaded with sand.”

People who also rent the same beach house every year will also enjoy the observations relative to that — such as Rocky mourning that the old coffee maker has been replaced with something shiny and new, and the family assessing the changes to the house since they’d last been there. (Willa says, “Is it weird that I’m kind of offended when they replace stuff? Like, they didn’t even consult with us!”)

At the beginning of Sandwich, the novel felt physically thin to me, which sometimes feels foreboding, as if the book didn’t ripen and the author didn’t take the time to develop it fully. But Sandwich turned out to be short for the same reason that A Christmas Carol is short — the author said exactly what needed to be said, in the ordained time frame, and didn’t waste words or the reader’s time on the superfluous. Sandwich is a lovely and disciplined novel that accomplishes something remarkable: It’s a book about the beach that is too good to be considered a beach read. A

Album Reviews 24/08/08

Blue Öyster Cult, Secret Treaties (Columbia Records)

Last week I riffed on Sweet’s Give Us A Wink album as a public service to Zoomers and millennials who’re interested in expanding their knowledge of old-school, pre-ringtone-oriented rock; this time it’s Blue Öyster Cult’s third (1974) effort, the BÖC album I’d recommend if you were going off-grid. As a friend noted, BÖC was/is a bunch of New York slackers who could barely believe their luck in getting a big record contract in the ’70s; they uniquely straddled a line between serious hard rock outfit and joke band, which sort of continued here, with their usual acid-trip lyrical forays (“Harvester Of Eyes”) and such and so. But beneath their Dadaist conceptual approach there was some serious beauty (“Astronomy” is a perfect song for any decent baritone to try wrapping their voice around), some badass hard rock (“Dominance and Submission”) and a chaotic take on life with the German Luftwaffe circa end-stage WWII (“ME-262”). This LP was pivotal in setting the stage for 1976’s Agents of Fortune, which of course yielded their biggest hit, “Don’t Fear The Reaper.” By the way, the origins of the antique music-box recording of “Waves of the Danube” used in the intro to “Flaming Telepaths” remain unknown to this day, a tidbit I find seriously cool. A great snapshot of a band that was happily/painfully exiting adolescence. A+

StrateJacket, Bad Start (Edgeout Records)

Like so many others, the proper release of this album was in purgatory for a couple of years while America waited for Covid to become accepted as the endemic danger it is today, but all systems do appear to be go for an Oct. 11 street date, so here goes. This is a northern California trio that wants to be Green Day, which I can deal with I suppose (my inbox is always so overstuffed with Dashboard Confessional clones that really anything else feels refreshing and innovative at this point) but when I say they want to be Green Day, I mean they really want that. It helps that their stuff is catchy, of course; the title track has an infectious-enough holler-along chorus built for awkward incel culture (“A small brain, a big heart, a shut mouth, a bad start”), but unfortunately there’s a texted-in quality to other songs, like “Be My Drug,” which is actually kind of — and I’d never use this word without just cause — cringey. Another suburban rawk band heard from, I suppose. C

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Gather ’round with your tankards of smelly grog and let us sing a Song of Ice and Fire, ladies and gentlemen, because new CD releases, having recently been forged in the furnaces of Mordor, are now poised to spread their (debatably) musical horribleness over the land of etc. etc! Ack, ack, barf barf barf, August is slipping away from us, and with it the summer, I haven’t been to the beach enough times this year, why don’t we all just put up our holiday decorations and deploy our inflatable Santa Clauses right now and get it over with! Yes, fam, the next traditional CD release date is Friday, Aug. 9, and relatedly, I’ll bet there are holiday albums due out soon, like, has Cannibal Corpse ever done one, and if not isn’t it way past time? But wait, hark, the Frost Gods be praised, there’s another new album dropping from acid-dropping metal-or-whatever jackasses King Gizzard & the Lizard Wizard, called Flight b741, fortune has smiled upon me once again this year, given that their band name takes up so many column inches that I’ll be back to watching World War II In Color in no time! I hope all the young scamps reading this are aware that American music has become so awful and hopeless of late that the mantle of loud rock ’n’ roll has been taken up by bands from far more deserving British penal colonies, specifically New Zealand and Australia, the latter of which is home to this band, to whom I’d refer as “the Gizzes” to save space, but that’ll never happen! Am I making any sense? No, because I am talking about King Gizzard & the Lizard Wizard, a band that has never made any sense, for example, let’s go listen to their new single, “Le Risque,” and see if it’s the same sort of trippy joke-music they release literally every two months! Yup, it’s kind of like what you’d hear if Steely Dan and Flaming Lips had a baby and your cousin who’s an accountant thought it was the coolest thing they’d ever heard, which makes you feel sorry for that cousin but sad for them at the same time! There is no real reason for this song to exist, but if they keep putting out albums at this clip they’ll accidentally create a mega-hit at some point, just you wait.

• Japanese composer, pianist, record producer and actor Ryuichi Sakamoto died of cancer last year at the age of 71, leaving behind a lifetime of being rad as heck, doing things like hanging out with Devo, scoring films like The Last Emperor and The Revenant, acting alongside David Bowie and a bunch of other stuff. Opus is a posthumous album derived from a performance film of the same name, directed by his son, featuring Sakomoto playing solo acoustic piano. The test-drive track is “Tong Poo,” a pensive, heart-tugging but highly accessible pop-tinged piece that was originally recorded by Yellow Magic Orchestra, Sakomoto’s former band.

• Yee-hah, if there’s anything that happens almost as frequently as a new album release from King Gizzard & the Lizard Wizard, it’s San Francisco garage rockers Orinoka Crash Suite (now known as Osees, formerly The Ohsees and whatnot) changing their band name again “in order to annoy the press!” Personally I’m not annoyed by it; it just makes me ignore them, so let me go listen to “Cassius, Brutus & Judas Single,” a song from the band’s new album, I SORCS 80. Wow, it’s buzzy, cool no-wave, too bad I’ll forget I ever liked it and simply resort to riffing on their stupid band name gimmick again next time.

• Lastly it’s lo-fi jazz-funk bro Louis Cole’s new LP, Nothing, which includes the song “These Dreams are Killing Me,” a great little tune that sounds like Justice trying to be a normal soundsystem. It has my approval. —Eric W. Saeger

Pets and the City, by Dr. Amy Attas

Pets and the City, by Dr. Amy Attas (G.P. Putnam’s Sons, 311 pages)

The rich are different from you and me, except when their dog gets diarrhea or starts limping, and then they panic just like the rest of us do and call a vet.

Well, since they’re rich, they summon a vet to their brownstones and summer homes, and a lot of the time, when they do that in Manhattan, it’s Dr. Amy Attas who shows up.

Whether you’re wealthy or just-gettin’-by, Attas is the kind of vet you want: a person who was pretending to give injections to her stuffed animals as a child, who started working as an assistant at an animal clinic and age 13 and considers James Herriot’s All Creatures Great and Small as holy writ. She was born for this profession. It turns out, she can write, too.

Attas’s first book is a memoir that moonlights as a tell-all gabfest, spilling the tea on her most interesting clients and former bosses, albeit in a way that won’t get her sued. She has a lot of stories to choose from, having worked in New York City for more than three decades. The official tally is 7,000 families and more than 14,000 pets, most of which were house calls and which included celebrity clients like Joan Rivers, Billy Joel, Elton John, Paul McCartney and Steve Martin.

Mattas started her business, City Pets, after getting let go by an Upper East Side practice run by a man who promised to make her a partner but then abruptly fired her, apparently because he was jealous that his VIP clients were asking for Attas instead of him. (Every story needs a villain, and this guy, identified only as Dr. B, certainly qualifies.)

The day after Attas was let go, when she was still mulling what to do, two of her former clients tracked her down and asked for house calls. The day after that, she had four more homes to visit, even though this was before house-call practices were common in veterinary medicine. She kept at it, and placed a few ads, and eventually worked up the nerve to call Joan Rivers, who’d been a client at Dr. B’s business, and to tell the comedian she was available for house calls for Spike, the Yorkie who traveled with Rivers everywhere.

“What happened?” Rivers asked, and Attas answered, “Do you want the long story or the short version.” To which Rivers replied, “I want every single detail, and I promise you every single person on the Upper East Side is going to know every single detail, too.”

And with that, City Pets was off and running; no word on what happened to the notorious Dr. B.

For an Ivy League-educated veterinarian who serves a largely privileged clientele, Attas is surprisingly down-to-Earth and willing to dish on humiliating moments, like the time the urine of a male cat soaked her during an exam just before a date, and her genuine, child-like excitement every time a new client turned out to be a celebrity. When she went to a hotel to treat the pug of a yet-unknown VIP — she was told to ask for John Smith at the front desk — Billy Joel answered the door and said, “Hi, I’m Bill.”

While she replied calmly, Attas writes that “Inside, my thoughts were screaming Holy moly! It’s Billy Joel! BILL-Y JOEL! Looking and sounding like … Billy Joel!!!”

She also confesses that, in her scramble to get to the hotel, she forgot her stethoscope and instead of admitting to it, pretended to check the dog’s heartbeat with blood pressure headphones.

It is this kind of vulnerable disclosure that makes Pets and the City quirky and charming; the book’s subtitle is “true tales of a Manhattan house call veterinarian” and we don’t doubt the true part since, in addition to animal stories, Mattas is also telling us how she pretty much badgered her future husband into dating her after they met when his puppy took ill, how she fainted while watching another veterinarian draw blood, and how she once removed dew claws off a litter of 12 two-day-old puppies after letting them suck on Q-tips soaked in sweet wine.

Many of these tales are not so much stories as they are confessions.

The celebrities’ pets are interesting enough, as are the friendships that Mattas forms with some of their famous owners. But the stories I found most interesting were just ordinary cases — the Siamese cat named Itchy undergoing chemotherapy for intestinal lymphoma, the Cavalier King Charles spaniel named Chowder with heart disease — the lengths to which people will go to keep a pet alive for a few more months or a few more years.

And the owners themselves, of course, are a large part of the story, like the woman who, after her terminally ill cat was euthanized, threw herself on the floor and started screaming that she didn’t want to live anymore. (Mattas searched the house until she found prescriptions, and then called the woman’s psychiatrist for help.) A much more touching story of euthanasia comes when Mattas unexpectedly goes to the house of the late Elie Wiesel, the Holocaust survivor and author of Night, among other books, while the family is agonizing over whether to put a beloved cat to sleep.

The Wiesel encounter is poignant, but for the most part, Pets and the City, like its author, doesn’t take itself too seriously. Mattas did not try to build a lofty narrative arc in which she and the people in her life undergo great and meaningful changes. She just tells entertaining stories, as if sitting around the dinner table with her readers, sharing what happened that day at work.

As such, there are no real lessons to learn here, other than that there are people who are even crazier about their pets than we are. And if you ever have a pet emergency while visiting Manhattan, don’t call Dr. B. B

Album Reviews 24/08/01

Vaux Flores, Dawn Chorales (Audiobulb Records)

My 2024 Word Salad Of The Year award goes to this person for their unintelligible PR one-sheet, and I quote: “Travis Johns is a sound artist residing in Ithaca, N.Y., whose work includes performance, interactivity, installation, and printmaking, often incorporating eco/bio-based themes and electronic instruments of his own design.” That’s just the first paragraph, but what this all tells me is that this “Vaux Flores,” aka Johns, is a musical experimentalist with a serious case of OCD, not that one could tell by the compositions themselves, which are Tales From Topographic Oceans-style exercises in self-indulgence. Not that that’s a bad thing, of course, particularly if your jam is movie soundtracking, for which this stuff would work (think Arrival), and the synth work is indeed pretty deep, which is of course half the battle. And besides, he does go off on some EDM-ish tangents, producing beats that are almost danceable. It’s interesting, let’s leave it at that. A-

Kris Davis Trio, Run The Gauntlet (Pyroclastic Records)

On this new LP, Grammy-winning jazz pianist Davis pays tribute to six of her heroes, pianists who’ve inspired her over the years. In specific we’re talking Geri Allen, Marilyn Crispell, Angelica Sanchez, Sylvie Courvoisier, Renee Rosnes and, in no-brainer news, Carla Bley. This new trio features bassist Robert Hurst and drummer Johnathan Blake, both of whom have plenty of room to stretch out. I got quite a jolt out of this one; if you compare jazz albums to scotch, this is no drinkable-enough, off-the-shelf Johnnie Walker special blend; it’s the top-dollar stuff, mathematically and physically ambitious, darkest-possible-roasted art that challenges the senses. Davis bonks, pounds, diddles and stress-tests the keyboard as if she’s trying to get it prepped to start its Ph.D. dissertation. In that, it’s obviously not for jazz-heads who just want to feel good that they’re listening to basic genre stuff; it’s enormously brainy while not indulging in an academic exercise. Yowza. A+

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Aug. 2 is the next Friday on which you will feel pressure from your Spotify to remain plugged into our horrible excuse for an arts zeitgeist! The record companies will unleash terabytes of new-album spam, and it’ll be everywhere you look, and you will feel pressure to listen to many songs that have no redeeming aesthetic whatsoever to them. But you will be assimilated, and before you know it you’ll be part of the problem, like my boomer friends on Facebook, who enjoy arguing with me about how I should be listening to and publicly praising 60-year-old albums from the likes of Cat Stevens and Harry Chapin, artists that I ignore for no other reason than to trigger easily triggered people on the Facebook! Yes, I am a rascal, I was born this way, stop being intolerant of rascals, it’s not nice. In fact, let’s just drop the whole subject of my personal taste in music (regular readers will recall that when last we left the subject of my musical taste it had shifted to 1950s greaser-rock like Sha Na Na and Eddie Cochran, which is still current) and focus on the here and now, starting with the new album from endlessly irritating ’90s band The Smashing Pumpkins, titled Aghori Mhori Mei, a phrase whose actual meaning is being argued over by Pumpkins fans on Reddit as we speak, that is when they’re not complaining about Rick Rubin sticking his big fat nose into one of the album’s singles. It is basically a nonsense phrase, unless we interpret it as a purposely idiotic misspelling of the Latin phrase “agori mori mei,” meaning, as one r/SmashingPumpkins redditor explained, “I am about to die” or “I am working on my death.” OK, and with that, my real friends can tell by now that I already hate this album, but regardless, I will go through the motions and mention that the band hasn’t released any of the new songs to the public at this writing, so there’s nothing for me to report, and they are touring with Green Day this year. The internet has decided that the presence of an orchestra in one promo shot is evidence that there will be a symphonic angle to this rock ’n’ roll music album, while other folks are hoping that the band will go back to the rockin’ roots of their early days, when they inspired such wannabe acts as Live. I ever tell you about the time Petunia and I mooched passes to see Blues Traveler open a show with Live and Collective Soul and we left before Live came on to ruin everything? It’s true, we barely escaped in time. Anyway.

• Yow, L.A. punk legends X have been around for 47 years, guys, Forty. Seven. Years. Smoke & Fiction is their upcoming new LP, and I heard a live version of the title track, which is appropriately awesome in a Loreena McKennit-meets-Hole manner. Thankfully, Exene sings off-key through the mellow parts, who would want it any other way? (Side note to new punk-music listeners: Unlike Smashing Pumpkins, X will not be opening for Green Day, because they are still actually relevant.)

• Activist and two-time Grammy winning singer-songwriter Meshell Ndegeocello releases her zillionth full-length record on Friday! It is called No More Water: The Gospel Of James Baldwin, and the first track, “Love,” is a cool, laid-back, bass-driven soul track with a ton of harmonizing and some 70s steez. Full, thick, wide sound, good stuff here.

• Last but not least (depending on factors, of course) on our list this week is Stampede, the new album from country singer Orville Peck, whose gimmick is that he never shows his face, a stunt no musical artist has ever pulled, save for Kiss, Deadmau5, The Residents, Clinic and millions of others. His new tune is a cover of Ned Sublette’s 1981 Texas waltz joke song, “Cowboys Are Frequently Secretly Fond of Each Other,” an ode to, well, gay cowboys, which is always a timely subject.