Album Reviews 24/01/04

Save Ferris, “Xmas Blue” (self-released)

This one came in too late to be included in the pre-HannuChistmaKwanzaa column. This teaser single from a 2024 LP from the Orange Country, California, ska band comes with some interesting sidebars for us to go over, the first being the song’s background itself. It’s a girl-sung rootsy dancehall track that does have a Christmas-y feel to it; it’s not some sort of annoying ’90s-ska phone-in at all, but anyway, the lonely-at-the-holidays-steeped lyrics revolve around the trials of a friend of singer Monique Powell who “went through a hard divorce, and even two years later was still so obsessed with his ex-wife that it was borderline stalking.” Sucks that anyone has to be without a love connection any time of the year, but another thing to know is that this is the band’s first release under the newly launched music community platform We Are Giant, which, local musicians should note, helps give a social media edge to unknown bands who could use a boost, this by connecting more intimately with fans. Good for them, I say. A —Eric W. Saeger

Patrick Wolf, A Circling Sky (self-released)

Unbeknownst to most, this 40-something British singer-songwriter is one of the most talented and idiosyncratic musicians of his generation, with a run of critically hailed albums, notably Lycanthropy in 2003 and Lupercalia in 2011, the latter of which saw him incorporating viola, Celtic harp, dulcimer, baritone ukulele, piano, harpsichord, analog synthesizers and re-sampled field recordings in his music and collaborating with the likes of Marianne Faithfull, Tilda Swinton, Patti Smith and others. Imagine what you’d get if Mark Oliver Everett from The Eels wanted to make tuneage for steampunk conventions and you’re pretty close, at least going by this set of B-sides and rarities, which includes the front-facing “Godrevy Point,” a gently apocalyptic track full of from-the-mountaintop reverb propelling the odd little collection of instruments on board. Nick Cave is another touchstone here, if that’s your bag. A —Eric W. Saeger

Playlist

A seriously abridged compendium of recent and future CD releases

• Nice, way to hurry things along, 2024, the first general-issue CD release Friday of the year is Jan. 5! It is an election year, fam, and at this rate it’ll be the last one before the whole system melts down, so it was sure nice knowing ya, but whatever, there are albums on trucks headed to stores, including a new one from British grime rapper Ghetts, On Purpose With Purpose. You hip American kids probably know him from his days with the grime collectives The NASTY Crew and The Movement, but nowadays — wait, what, you’ve never heard of NASTY Crew or The Movement or any grime collectives to begin with? I’m kidding, of course you haven’t, bands and artists from the U.K. might as well be from the planet Neptune for all American listeners care, even though garage-grime has been a lot more fun and cool than American hip-hop for, what, 10 years now? Twenty? But that’s OK, when did American hip-hoppers ever get anything wrong, aside from all the PR stunts they fell for, in other words, absolutely, don’t pay attention to grime, just because it’s better than U.S. corporate hip-hop in every single way. Wait, don’t get mad, here, forget I said anything, let me go check out this album and report my findings, for your reading pleasure! So, the LP starts out with “Daily Duppy,” comprising a dream-time beat and Ghetts’ impeccably enunciated British blatherings; it has a little trap-drumming going on there so American audiences can understand that it’s some sort of rap or hip-hop or whatnot, be sure to listen to it with a parent or guardian in case you have any questions.

LastWorld is a band whose music is targeted at “fans of Journey, Bon Jovi, Night Ranger, Alias & The Storm,” got that, guys?, and what that means is — wait, what does it mean, I’ve never heard of “Alias & The Storm,” am I being trolled (OK, I looked, there’s no such band, so they probably mean a band called Alias and another one called Storm, oh forget it)? Whatever, LastWorld, a two-piece consisting of Jim Shepard (all instruments) and David Cagle (all vocals) will release a new album titled Beautiful Illusion this Friday. The kickoff single, “Never Gonna Let You Go,” is a big bouquet of hair-rawk hooks that blends Journey, Bon Jovi, Night Ranger, and — wait, we already talked about this. Right? No, seriously, if you liked White Lion, a band that wrote all their songs to “Billboard specifications,” you’ll like this, probably.

Hannah Kaminer is an Americana group from Asheville, North Carolina. They want people to stop saying they’re an Americana band and instead tell all their friends that they’re a country music band, which I refuse to do because of my journalistic principles, and because I am a jerk most days. The band’s third studio album, Heavy On The Vine, is on the way, and you can check out the title track on YouTube. The song is an Americana take on the typical Mazzy Star B-side, with lots of slidey dobro, a synth that sounds like dobro, a fiddle, and a drummer on a drum set that has like three pieces to it. It’s very pretty and dreamy for a totally Americana song.

• And finally we have someone from Florida recording under the stage name Tegu, with a new album titled Forest Hills, which was recorded in one 24-hour block of lo-fi improvisational mayhem. It features an ingredients list consisting of, and I quote, “field recordings, tape loops, vocal haze, FX, and thrifted Yamaha keys.” Given that, you already know pretty much what it sounds like: breezy soundtrack-ish stuff, with hazy synths, bluebirds chirping, etc. It’s OK. —Eric W. Saeger

Best books of 2023

Books that earned “A”s from Hippo reviewers in 2023

Fiction

Life on Delay, by John Hendrickson

Hendrickson writes movingly of the small indignities of stuttering which stem from things that most people take for granted — the ability to place an order at a restaurant, to record a voicemail, or even introduce yourself to another person. … although the narrative is encased in difficulties which relatively few people experience, its broader theme is more universal: healing from childhood and family dysfunction.

Life on Delay … opens a window beautifully into human struggles that often go unseen. It is the rare sort of book with the potential to make us better human beings. —Jennifer Graham

Maame, by Jessica George

Maame covers all the bases of growing up with cultural barriers, without being heavy-handed or preachy. … [Maddie’s] story is often funny, and always heartfelt and engaging. —Meghan Siegler

I Have Some Questions for You, by Rebecca Makkai

When the protagonist of Rebecca Makkai’s gripping new novel is a teen, she arrives at a boarding school in New Hampshire knowing little about the school or the region.

… It would be reductive to call I Have Some Questions For You a thriller or a whodunit, although it has many components of both. … While it’s a page-turner … there are frequent mentions of real women who had violent, premature deaths, and the men responsible.

… Look for this one when the lists of the best books of 2023 emerge later this year. —J.G.

The Promise of a Normal Life, by Kaiser Gibson

The Promise of a Normal Life … is a quietly revealing character study that wields power in lyricism and detail. —J.G.

The Society of Shame, by Jane Roper

… it’s hard to imagine that there will be a smarter, sassier takedown of social media this year than The Society of Shame, Jane Roper’s merrily caustic novel about cancel culture.

… Roper is a gifted comic writer, who knows how to throw a punchline and to sustain a running gag, or two or 20. … But it is the social media cameos that make the novel so hilarious, the ever-changing, irreverent hashtags… —J.G.

After the Funeral and Other Stories, by Tessa Hadley

The 12 stories in this collection are achingly beautiful at times, and painful in places. … But women, in particular, will recognize the family dynamics for sure. —J.G.

The Last Ranger, by Peter Heller

As a writer, Heller has copious gifts of description. … But Heller’s novels are reliably gripping because they thrum quietly with tension, while slowly revealing the essence of characters who will stay with you for years. The Last Ranger … is an excellent companion for the dog days of summer, especially for anyone who is more comfortable outside than in. —J.G.

Save What’s Left, by Elizabeth Castellano

This is not a tragedy … but pure comedy, a book-length stand-up routine with a punchline every few minutes.

… Castellano set out to write an anti-beach read, meaning one that slyly makes fun of typical beach reads while exaggerating the foibles of beach town life. She does this spectacularly. She also is a master of hilarious apropos-of-nothing asides….

Save What’s Left is a romp in the sun and sand…. It’s all fun, especially if you’ve ever loved a beach town, or thought about moving to one. —J.G.

Happiness Falls, by Angie Kim

A less skilled writer could have taken the bare bones of this story and turned out a Hollywood thriller. But Kim makes it next-level by incorporating research on happiness…. And the novel is deeply researched on the subject of people who are unable to speak, because of severe autism or other disorders.

Happiness Falls is both an engrossing mystery and a family drama with multiple layers of complexity.

Happiness Falls delivers, maybe not happiness, but a novel you can get lost in…. —J.G.

Mr. Texas, by Lawrence Wright

A Dallas native who lives in Austin, Wright has said he come up with the character of Sonny Lamb more than two decades ago, and what is now Mr. Texas had earlier lives as a failed screenplay, a failed HBO pilot and even a failed musical. Which is fine, because it’s now a first-rate novel.

This is no Mr. Smith Goes to Washington, the classic 1939 film starring Jimmy Stewart, but it’s a version for our time, at least in book form. —J.G.

The Good Part, by Sophie Cousens

The Good Part is the perfect combination of thought-provoking and funny, and the characters are loveable and real. It’s a stellar example of what women’s fiction has the potential to be. —M.S.

Nonfiction

Dinner with the President, by Alex Prud’homme

… Prud’homme has figured out how to make American history fascinating: tell stories connecting it to food. If my old high school history textbook, The American Pageant, is still in use, Dinner with the President should replace it immediately. —J.G.

Monsters: A Fan’s Dilemma, by Claire Dederer

The question of what we should do with the art of problematic people has come up regularly in recent years, and nobody seems to have a good answer. Dederer … attempts to craft one in Monsters: A Fan’s Dilemma…. … Dederer is like a dinner guest you don’t want to stop talking because she’s so well-read and interesting … and her writing is delightful and fresh. —J.G.

All the Beauty in the World, by Patrick Bringley

In conversations with visitors to the [Metropolitan Museum of Art], and with his coworkers, he brings us fully into the job [as a guard] with him, letting us see through the eyes of first-time and regular visitors the effect that the ancient art has on them. —J.G.

How to Survive History, by Cody Cassidy

It’s fanciful, of course, and a tad silly, but Cassidy comes to the task with a surprising gravitas and the right mix of ‘yes, this is kind of crazy’ but also ‘this is serious stuff, pay attention.’

… Cassidy owns ‘humor history’ and it’s top-notch for the genre. —J.G.

Better Living Through Birding, by Christian Cooper

Fame that erupts on social media is often fleeting and unearned. Christian Cooper is the rare exception–his is a story worth telling, and in this memoir he does so exceptionally well. —J.G.

The Heat Will Kill You First, by Jeff Goodell

… there’s no disputing that Goodell is an engaging writer at the top of his game. He’s like the love child of Ed Yong and James Patterson, with a little bit of Rachel Carson thrown in, which is to say he writes science-based, dystopian thrillers.

Goodell, a longtime writer for Rolling Stone, is a pro at the dialogue-rich narrative style that keeps readers turning pages. —J.G.

Elon Musk, by Walter Isaacson

Whether you admire or loathe him, Musk is one of the most consequential people on the planet, and Walter Isaacson, formerly head of Time and CNN, does a masterful job explaining why in his exhaustive new biography.

Isaacson’s prose is sparse; he lets his subjects and interviewees do the talking, and they all had plenty to say. —J.G.

Class, by Stephanie Land

Class, by Stephanie Land (Atria, 272 pages)

Stephanie Land’s dream of becoming a writer came through in a big way in 2019 when she published Maid, a memoir about working as a house cleaner for people who were clearly some of the worst human beings on the planet. The book landed at a time of increasing concern about income inequality, and the single mother’s stories about scrubbing other people’s toilets to pay the bills struck a chord; it was a New York Times bestseller, was adapted for a Netflix series and praised by former President Barack Obama as one of the best books of the year.

Land is now back with Class, subtitled “a memoir of motherhood, hunger and higher education.” Because of the success of Maid, it was immediately chosen for the Good Morning America book club and will no doubt enjoy commercial success. Unfortunately, it’s an Eeyore of a book, gloomy and resentful, which detracts from the social messages that Land wants to convey.

She begins in familiar territory, which can best be described as “He done me wrong.” The predominant “he” in this case is the father of her child, Jamie, who readers of Maid will remember had little interest in being a husband or father, and who, according to Land, is the cause of many of her struggles. At the beginning of the book, he has, for example, abruptly said that he will not be able to take their daughter, Emilia, for the summer, as had been arranged. This left Land scrambling to find the vast amounts of child care that she needs because (a) she has to work, fair enough, but also (b) she is enrolled in college, a longtime dream that is contributing to her financial problems in a big way: She will soon graduate $50,000 in debt.

On top of that, she’s planning on getting a master of fine arts. “Writing,” she says, “the real writing that mattered, was meant to be done without cartoons blaring in the background and someone asking for pancakes.”
There’s nothing wrong with ambition, except for the fact that Land’s young daughter seems to be standing in the way of everything her mother wants to do. She’s 5 and is the most sympathetic character in this book. She has a father who’s constantly canceling on her — saying he can’t see her because he has to work — and a mother who keeps leaving her with babysitters or because she has to work. Children tend to love their parents no matter what, and so Emilia is not resentful like her mother, even as she gets sent to detention for being late to school, and has people fail to pick her up when Land forgets it’s an early release day.

Meanwhile, Land has many bones to pick here, not just the grievances she has with her ex, starting with her family. Her mother, she writes, resigned from parenting when Land was 21, moving to Europe to be with a new love. Her father, Land says, was not helpful at all when she called him to say she needed help paying for child care, asking if he would ask his sister to pay or contribute. The aunt is another Bad Person. “In my early twenties, she got upset over people not being grateful enough for the gifts she bought for Christmas,” Land writes. “Ever since, we received a few pairs of socks from her instead. In her defense, they were nice socks.”

Ouch. It is that kind of zinger that makes us want to put Land at arm’s length as she continues with her story of woe, lest she find something bad about us to write in her next memoir. In Land’s world, most everyone is unhelpful and unpleasant, from the guidance counselor at the University of Montana-Missoula to the judge who considers her request for a child support modification and deems her “voluntarily underemployed.”

As in Maid, Land seeks to roll back the assorted indignations of the working poor, those who, for whatever reason, are at the mercy of student loans and credit card payments, with every dollar allotted, and then some, and little more than peanut butter and grape jam in the pantry. Along the way, she wants to take away the stigma of single mothers not being “enough” for their children without a partner. And she writes movingly of trying to date with a child: “Having a kid and trying to date felt equivalent to hanging a wedding dress in my closet and bringing it out to show a person when they picked me up for the first time. Men no longer saw me as a lighthearted dating prospect. They looked at me and I could almost see the reflection of white picket fences and family dinners at five thirty in their eyes.”

But as Land rolls through her days of struggling to take care of her daughter while working and going to school (and at this point, she’s starting to shop around stories that would eventually comprise Maid), it can be difficult to sustain sympathy for her as she gets pregnant again (without being able to identify the father) and applies for another credit card. The people close to her who dare to question her choices get knifed. When one woman, who is giving Land a ride home because her car has died, says, “I’m worried you’re not making good decisions here,” Land writes about “concern trolling,” which she said wasn’t actual concern but “an opportunity to act as if they knew better than me.”

At one point, Emilia, whose tender heart has been broken by her father multiple times, says to her occasional male babysitter and her mother’s roommate, “Are you going to be my new dad?” The answer is no, but she will learn that she’s going to be a big sister, right about the time her mom learns that she’s no longer eligible for food stamps because Emilia has turned 6 (the SNAP formula says Land was able to work full-time then even though the school day was six hours). Not surprisingly, the child asks who the father of her soon-to-be little sister is. Land replies, “There’s no dad, or he’s not around anyway. The baby is just ours.”

That’s a sweet sentiment, which seems to set the little family up for happiness in the future. And despite the ongoing fight with her ex over child support, which seems to be the primary conflict the book is built around, we know how this story ends, or at least we do if we follow Land on social media. No longer a victim of men and circumstance, she is hailed as a voice of the underclass, a champion of those who are being trampled on by late-stage capitalism and predatory colleges and lenders. Nothing wrong with that — but the question remains: is this book, and her writing generally, substantially better for her $50,000 college debt? We’ll never know, nor are we allowed to ask. B-

Album Reviews 23/12/28

Morbid Saint, Swallowed By Hell (HR Records)

Still a lot of metal in the pipeline, folks, so let’s look at some of it, specifically from this Wisconsin band. This one comes to us “more than 30 years after their second LP, ‘Destruction System,’ was recorded but not finished, only to be officially published recently.” And so they’ve been very not-busy of late, these fellas, but the only thing that resulted from their hilariously long hiatus is that, well darn, they’ve gotten pretty good, to be honest. If you’ve ever really loved Slayer you’ll like this for sure; singer Pat Lind is still on board, tabling Tom Araya dead-ringer soundalike bellowing. The title track is rooted in Aughts-era black metal, which I’m sure you’ll want playing in your baby’s nursery; “Bloody Floors” is power metal, and such and so. They’ve got a great sound if you like this kind of thing. A

Mary Tominy, Untame The Tiger (Merge Records)

This Washington, D.C., lady has been a fixture in the indie-rawk world for 30 years, playing with such bands as garage-pop power trio Ex Hex and post-punk troupe Autoclave. Although her voice is still a bit awkward, she’s refined her style to a really noticeable degree; if you stick with album opener “No Thirds,” you’ll encounter some really stunning symphonics that put her in the same ballpark as Natalie Merchant. It’s jangly, vaguely hopeful and easily accessible. “Summer” comes off like a Versus A-side, which means it has no commercial hope whatsoever, not that that’s a bad thing of course, but in the meantime she does add something of a Sheryl Crow break to it. “Looking For The Sun” is pretty trippy, for sure; imagine Chrissie Hynde going through a ’70s Donovan phase, is how I’d put it. Overall she’s aging like a fine wine that won’t appeal to all palates, not that she cares about that by now, I’m sure. A

Playlist

A seriously abridged compendium of recent and future CD releases

• Yay, groan, New Year’s Eve is on the way, one of my least favorite days of the year, when my Grinch heart has to endure people looking all happy awaiting the mass amateur drinking contest that is the reason for the season, and we marrieds stay up until midnight, pretending to be relevant for whatever reason, watching all the Dua Lipas and Ricky Martins as they honk their Who-Flonkas and bash their Who-Bombas, and then they’ll sing and sing and sing, and then comes the thing I hate worst of all, watching Ryan Seacrest and Anderson Cooper doing their potted houseplant imitations while wearing actual ties in order to “check in” on concerts from Poppy and Taylor Swift and the Beibs or whatnot, which is of course your kids’ cue to run to their rooms in order to avoid catching a bad case of “Responsible Adult Cooties,” where they’ll listen to death metal and crunk and text their little friends about things you really don’t want to know about. I have no idea why we celebrate New Year’s Day; I mean, it’s the last gasp of the holidays that started on Halloween with everyone dressing up as sexytime monsters and rolls of paper towels or whatever they do, so really, what’s to celebrate? It’s just going to be freezing and slushy for the next few months, and all that New Year’s alcohol will be long worn-off by February. But let’s put that aside for a second while I take a look at the (I’m so sure) tons of new albums coming out on Dec. 29. If there are two I’ll be lucky to get through this column, maybe by riffing on a few other things, like the fact that I couldn’t find actual candy canes for my HannuKwanzzMas tree literally anywhere for a day or so. Right, right, what do we have here, literally no albums except for stompy German band Lord Of The Lost, whose stupidly titled covers album, Weapons Of Mass Seduction, is on its way! These goth-metal frauds like to dress up like the glittery, certifiably crazy dude in The Cell, and in this one they cover songs from Billy Idol, Bronski Beat, Judas Priest and — well, you know, Sia, because those bands always have to do stuff like that. The teaser single is a Rammstein-ized version of Cutting Crew’s “I Just Died In Your Arms” that’s just as bad as you’re imagining it, like they have a girl singer who has all the nuance and originality of a McDonald’s french fry, and the male singer just sings the same nonsense an octave lower than her, and there are ’80s synths in there. Ack, let’s move on, if there’s any place to move on to.

• Ack, ack, it’s another metal band, called Dominum, with their new one, Hey Living People, but you know who’ll want to know about this is famous local author and friend of the Hippo Dan Szczesny, because the leader of this euro-trash band used to be in the symphonic-metal band Visions of Atlantis. This band’s trip is sort of like a zombie-centric version of Abney Park, with zombie stuff instead of steampunk stuff. “Patient Zero” is awesome if you like bad acting and (actually good) sympho-metal.

• Ten years ago Irish indie-folkie Ciaran Lavery didn’t get enough attention for his album Not Nearly Dark, so he has re-rubbed the whole thing under the title Not Nearly Dark (10 Years Later). It’s stupid that the Bonnaroo crowd didn’t get into him, he’s like a cross between Jeff Buckley and Rod Stewart, so snooze on him this time, that’d be great.

• We’ll end the last column of 2023 (good riddance, am I right?) with Mexican oi band Malcría! This one is tough and loud and punkish, and it’s titled Fantasías Histéricas, which even I could roughly translate.

Eat, Poop, Die, by Joe Roman

Eat, Poop, Die, by Joe Roman (Little, Brown Spark, 253 pages)

One of the most fascinating and underrated places on the planet is Surtsey, an island off the southern coast of Iceland born in the 1960s. This land mass, the product of a volcanic eruption, was hoisted above water as if offered on a platter by Poseiden himself, offering scientists the chance to study how life develops on an inhospitable slab of rock.

It turns out that despite the grandest theories of theologians and biologists, life — on this rock, anyway — needed something humble, and kind of gross, for it to emerge and take root. It needed excrement. It was nitrogen deposited on Surtsey via the waste of visiting seabirds that began the alchemy that led to vegetation growing on the island, leading to more animals colonizing the virgin island.

The story of Surtsey and its remarkable development over the past half century begins Eat, Poop, Die, Joe Roman’s surprisingly engaging study of how the most basic of functions contributes to the world’s ecology. The book’s crude title and attendant jokes (“Perfect bathroom reading” reads one commendation on Roman’s website) detract from the seriousness of the work, and its elegance. That said, it takes some work to get the average reader interested in how excrement and rotting corpses power the planet, so perhaps a little levity (including a sideways photo of the author on the book jacket) was necessary.

Roman, a scholar at the Gund Institute for Environment at the University of Vermont, can tell you more about whale poop than you want to know: for example, “In addition to being rich in nitrogen and phosphorus, the concentration of iron in whale poop is more than ten million times greater than in the surrounding seawater in the Southern Ocean.”

Whales’ nutrient-rich excrement helps nourish microscopic animals, and when whales die and their carcasses sink to the ocean floor, they create a habitat called “whale fall” which is ecologically important because, as Roman writes, “The abyssal seafloor is a vast nutrient-poor desert.” When whales are hunted to near extinction, or stranded on beaches and their corpses blown up with explosives, the natural order is disrupted in a way that is no less destructive because it is invisible to humans.

Similarly, Roman looks at the surprising connection between salmon and forest growth in Alaska and the Pacific Northwest. What do fish have to do with trees? A lot, it turns out, when the fish are the favorite meal of bears who live in those forests, as well as other creatures that eat salmon, such as eagles, mink, coyotes and wolves.

Scientists are able to determine where nitrogen in plant life originates by a chemical signature that varies by flora and fauna. And there are researchers whose jobs involve comparing the trees next to streams full of salmon with trees that grow next to salmon-less rivers. Spoiler alert: The salmon-adjacent trees “grew faster and taller — which was good for the salmon, as more shade and large woody debris provided cooler summer temperatures and river structure that aided in salmon reproduction and growth.”

The reason, scientists speculate, is the marine-derived nitrogen in the fish gets distributed in the forest through bear excrement. “The salmon life cycle and the massive pulse of nutrients the fish deliver are crucial aspects of forest ecosystems. The trees, streams, and salmon are all connected.”

Roman writes not just from a desk but from deep in the field. For his chapter on salmon he visits a salmon research station in Alaska; he travels to Surtsey, and to Yellowstone National Park to observe how the reintroduction of wolves changed the ecosystem there. As one sign in the park explains it, “Although wolves do not directly affect all life around them, their effects possibly tumble down the entire food chain. This hypothesis is called a ‘trophic cascade.’”

And don’t count the buffalo out — they have roles as groundskeepers, with their excrement depositing nitrogen and phosphorus into the soil. As bison disappeared on the prairies, so did their natural fertilization. Roman interviews a Native American who calls bison “eco-engineers” because in addition to the nutrients they leave behind, they plow the fields with their hooves. This is not a book for reading while you’re eating lunch, as I learned when coming across something called the Bristol Stool Chart, an illustrated scale of the variety of human feces, used by medical practitioners. And of course, human excrement is addressed here; mammals defecate about 1 percent of their body weight every day, with humans making about two trillion pounds of waste each year, much of which is not contributing in a positive way to the planet’s ecology. But some is — I learned, with some dismay, that some people fertilize their gardens with their own urine. (It’s called “pee-cycling,” and yes, Roman tried it, although fist bump to his family who wouldn’t let him set up the system at home or use it in their garden. Instead his urine went to a pee-cycling center in Brattleboro, Vermont.)

But the bulk of the book is about non-human animals and the largely unnoticed role their bodily functions serve in our world. While Roman is careful to note that some of the theories he writes about are unproven, he makes a convincing case that when animal populations shrink, we’d best pay attention, because there are costs other than not being able to see a certain species anymore. In centuries past, for example, John James Audubon famously described migrating pigeons as blocking out the sun; others have described rivers so dense with salmon that you could walk across the water on top of the fish.

Roman believes that replenishing depleted populations is “one of the best nature-based tools we have to face the climate crisis. Wild animals, through their movements and behaviors — their eating, pooping and dying — can help rebuild ecosystems, recycle and redistribute nutrients, keep the planet a little cooler, and address the biodiversity crisis.” We need to “rewild the world,” he says, in a conclusion that is more of an op-ed than a science book. Having established himself as an authority on poop, who are we to argue? It’s a fine book for animal lovers, climate warriors and science geeks, but otherwise may struggle to find an audience. B

Album Reviews 23/12/21

Dollyrots, “Auld Lang Syne” (Wicked Cool Records)

I absolutely hate New Year’s Eve. It’s the last celebratory moment before everything freezes here in New England for a good four or fifty months, and in honor of that, the lowest-tier 20something-age drinkers are out and about, having fun while we marrieds try to stay awake till midnight as if we’re somehow relevant. I’m basking in a little joy here, though: Finally a holiday record darkens my emailbox, after I’d given up hope (I probably missed like 20 of them, and I do apologize to any PR person who sent me news about one I absentmindedly deleted), and look at this, it’s a husband-wife punk team (the lady plays bass and sings, hubby does the guitars) who used to be on Joan Jett’s Blackheart Records label, doing everyone’s — OK, my, after “O Holy Night” and “Feliz Navidad” — least favorite holiday song. It starts out semi-seriously, as tedious as any other rock version you’ve heard, then it moves to a sort-of-fast tempo, nothing too wild, just something they’re probably hoping will make it onto a rom-com soundtrack, mostly to be annoying. I have no idea why I bothered with this at all. C

Various “Artists,” Yule Log Jamz: The World’s Hottest Wood Burning Sounds (Pretty Good Friends Records)

Fine, if I’m going to get trolled, I’m passing it along to my thousands of readers. This looked to me like a holiday record, but actually it’s a variation on the virtual “Yule log,” or “crackling fireplace” that can be found on Netflix and elsewhere. Pretty Good Friends is a comedy label, not that I can for the life of me remember reviewing one of their comedy albums, and I’m (all together now) too lazy to look, but yeah, it’s kind of funny in its way. This consists of videotapes of 11 different log fires from different countries, with no talking or anything, including “the party-pumping flames of Germany, the polite crackles of Canada, and the hygge-hysterical hotness of Sweden. Plus New Zealand lit up some Manuka wood like you’ve never heard it before!!” Anyway, you can find it at prettygoodfriends.com/fire, where you can pay $5 to own it forever, or just be normal and cheap and simply stream the YouTube version at their channel. They also offer a festive “Smells Like Something’s Burning” soy candle if you have $15 that you don’t figure you’d ever otherwise use under any circumstances whatsoever ever. A

Playlist

A seriously abridged compendium of recent and future CD releases

• Oh by gosh by golly, it’s time for no new CDs to come out on Friday, Dec. 22, just like every year on the last Friday before ChristmaKwanzaKkah! I’ll tell you, hopelessness abounds, fam, hopelessness abounds, I’ll bet there are like zero new albums coming out for me to talk about here, and I’ll have to resort to riffing about how I couldn’t find candy canes at Walmart the other week to put on my HannuChristmaKwanazaa tree! There were literally none, which was insane, but if you want to read the whole story you’ll have to “friend” me on Facebook, but be patient; I usually only get around to checking my Facebook notifications once a month, as long as the month has a full moon in it somewhere. Oh, forget it, it’s no use, I’m going to do the dutiful and look for some albums to write about for all you good little boys and girls, you deserve a big huge ChrisHannuKwan cookie of snark, and by the gods, I will deliver, you’re just going to have to give me a minute to find something! (20 minutes later) Ack, ack, there’s nothing anywhere! Let me check Amazon, maybe Jeff Bezos isn’t too busy building his giant toy NASA to let us poor music journos know about some new albums! Wait, here’s one, from Conway the Machine and Wun Two, whoever in tarnation that is, it’s a new album, titled Palermo! This project unites Buffalo, N.Y., rapper Conway the Machine and German lo-fi producer Wun Two. The sample track I decided to, you know, sample, was “Brick By Brick,” a good example of awkward downtempo weirdness, over which Conway spits a bunch of venomous but unadventurous prattle while rapping like he’s eating a meatball sub. It’s cool, don’t get me wrong.

• I’ll tell ya, folks, for ultimate weirdness, you can’t do much better than Louisville, Kentucky’s Bo Daddy Harris, who as a kid wanted to grow up to become a superstar of something-anything. Hey, man, like I always say, if you can’t make the Who’s Who, you can always try for the What-The-Heck-Was-That, and guess what, he succeeded, folks! He continues his tradition of What-The-Heck-Was-That-ness on his new album, It’s a Southern Thing, and it’s always trippy to see him do his thing, singing his weird country tunes in that — voice of his. The closest experience I can think of to watching him sing one of his old-school country songs in his super-low weirdo voice — which you’d never expect to hear coming out of him, being that he looks like a typical Zoomer incel who’s employed at an Apple store talking to boomers about technology despite the fact that he wouldn’t know an embedded operating system from Jethro Clampett — was the first time I saw Gomer Pyle sing opera like Placido Domingo, but that’s OK! He tried doing comedy but that didn’t pan out, so obviously he was born for this, being a cross between Hank Williams Sr. and Tom Waits. Seriously, go check out one of his YouTubes, you’ll melt down completely.

• Ack, ack, there’s nothing but metal albums left, fam, except for some other CD that we’ll get to in a minute. Let’s see, we have the snobbily named Colombian thrash band Funeral Vomit, with their new album, Monumental Putrescence, which I guarantee would make a great gift for your grandma, and U.K. act Ulfarr, with their new one, Orlegscaeft! Ulfarr wears spooky eye makeup, so proceed with caution!

• We’ll vamoose for the week after one more, This Is New Tone, the new compilation LP from Bad Time Records! One of the sample tracks is “Better Home” by We Are The Union; it’s a frenzied ska-punk track that will appeal to millennials who thought Sublime were too wimpy and boring, which, of course, they were.

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