Album Reviews 23/10/26

Hugo’s Voyage, Inception (Frontiers Music)

No matter how popular they become, bands that start out as cover bands — i.e., bands that play other bands’ music — are, in general, at a hopeless disadvantage when they decide to make their own music. This is a tribute band whose specialty is playing nothing but Journey songs, which is as good an excuse as any to remind readers that I was going to be the Dave in the local Van Halen tribute band Diver Down, but the guitarist wanted me to stop sounding like Album Quality Dave and just be Lousy Live Version Dave, so it never happened. Matter of fact, if anyone knows whatever happened to New Hampshire’s favorite Pat Benatar tribute singer, Gail Savage, I’d be really curious to know about it; I asked around but apparently no one knows. Anyhow, if you like Journey, this album sounds exactly like the current version of that band, which, ironically replaced their original singer with a dude whom the band saw doing Journey covers on YouTube. Funny how things work out, isn’t it? No new ground broken at all here, of course, but the songs are, you know, just fine. A-

Rick Bogart, What A Wonderful World (Arabesque Records)

Glad to have been made aware of this February release just now; it’s up for a Grammy, not that I have any say in such things. It’s timely, regardless; no holiday albums have shown up in my mailbox this year as of yet, but this one would definitely work if you’re just trying to get in a holly-jolly mood. If you never would have guessed, this is a collection of Louis Armstrong classics led by rendered through a light, tinkly, Champagne-tinted lens, with a dual-edged nod toward modern New York City club-jazz and mid-sized New Orleans combos, although the former wins out by a mile in my view; it’d be well-placed backgrounding a wedding reception, holiday party or whatever. All the great tunes are here, from “Hello Dolly” to the title track to “A Kiss To Build A Dream On”; if you’ve ever owned a disk of Satchmo tunes, this will all be familiar territory. “Way Down Yonder In New Orleans” is a new one on me, not that I’m an Armstrong expert; I’m used to the Al Jolson version but this does the trick nicely (if politely) enough.

Playlist

• Yay, the next crop of rock ‘n’ roll CDs comes out on Oct. 27, which is this year’s opening day for Halloween! As everyone knows, Halloween is the real start to the holiday season, which is backward, because Halloween should come after New Year’s Day, the worst of all the holidays unless you have someone brand new and special to watch the ball drop with. For everyone else, New Year’s is the most miserable time of the year, with all its pointlessness and beginner-level beer-chugging, so the best way to walk off the whole experience would be if Halloween came afterward, so that there’d be Dracula movies and snack-sized Reese’s Cups and skeletons around to help us forget the real-life horrors of the previous year! But no, Halloween is here, and there will be albums, I haven’t even checked the list yet, I’ll bet there’s a Christmas album in there from someone like Skee-Lo or Coldplay or someone else whose career is way past its sell-by date, let’s go have a look! Hm, nope, no holiday collections, but there it is, bazinga, a new album from everyone’s favorite acid-dropping Australians, King Gizzard & the Lizard Wizard, called The Silver Cord! It is psychedelic and trippy like always, what else were you expecting?

• Let’s see here, OK, History Books is the sixth studio album from New Jersey rockers The Gaslight Anthem, whose recent reformation after a seven-year hiatus only happened because one of the members was cajoled into it by none other than Bruce Springsteen, who, as it happens, guests on the video for the album’s title track. What this tells us is that Bruuuce is the gatekeeper to the entire New Jersey rock scene, but let’s leave it all be, because the song isn’t bad at all. It’s a loping affair that combines Goo Goo Dolls and Amos Lee; it’s OK if you like good songs, which many people don’t these days, of course.

• So, 1989 (Taylor’s Version) is the newest album from registered 4channer Taylor Swift, and her second this year. It’s simply a re-recording of her 2014 album, which she can get away with because only jerks really hate her, because jelly much? Luckily my attitude toward that corporate-manufactured diva is similar to the one Tommy Lee Jones exhibited in The Fugitive when Harrison Ford had him trapped in the sewer and was trying to convince him he didn’t commit any crimes, like, when some internet person tries to tell me that Taylor Swift will save democracy or bring balance to the universe or whatnot, I just hold my hands up in surrender and say, “I don’t care.” But that’s not to say that she’s a bad artist or doesn’t have great taste in future ex-boyfriends; if you have a 9-year-old daughter you’ll simply have to go buy this new CD of needlessly re-rubbed songs and play it in the car until you’re driven to rendering it useless by scratching the disk with your car key and telling your Precious Princess that your Amex is maxed out and you can’t afford another copy. Just trying to help.

• We’ll end with indie darlings The Mountain Goats, because even I have to admit they’re awesome, so I’m going to go out on a limb and assume that their new LP, Jenny from Thebes, will contain a song that I can stomach! Fans of this alt-rock outfit know that the original lineup consisted of only one person, frontman John Darnielle, until he started hiring all sorts of people to contribute to his albums, playing banjos and cellos and violins, and now Mountain Goats is sort of settled on a quartet setup. This record is said to be a rock opera, so I am already nervous that it will suck, but I shall nevertheless go see what the deal is with the new single, “Clean Slate.” Right, right, it’s Ben Folds-ish, poppy, danceable, the coda sounds like a cross between Springsteen and Calexico.

If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Message me on Twitter (@esaeger) or Facebook (eric.saeger.9).

Sure, I’ll Join Your Cult, by Maria Bamford

Sure, I’ll Join Your Cult, by Maria Bamford (Gallery, 272 pages)

Are comedians prone to mental health problems? Two new books add to this image of the troubled funny man (or woman) — Misfit by Gary Gulman (Flatiron, 283 pages) talks about the comedian’s struggle with anxiety and depression; he also had an HBO special in 2019 called “The Great Depresh” that’s about mental illness.
Then there’s Sure, I’ll Join Your Cult by Maria Bamford, which is subtitled “A memoir of mental illness and the quest to belong anywhere.”
I haven’t gotten deep into Gulman’s memoir, but here’s what I can tell you about Bamford’s: It’s kind of a hot mess, a rambling, often cringey discourse that only occasionally does justice to its underlying and interesting premise: how secular “cults” — from family to 12-step groups — entice us because of our pathological need to belong.

To be fair, the need to belong is a feature, not a bug in our species, one that helped protect our ancestors from predators and starvation — safety in numbers, and all that. Groups provide human beings cover and, often, meaning. And Bamford has joined plenty, including Debtors Anonymous, Overeaters Anonymous and Sex and Love Addicts Anonymous. Her experiences in these groups provide a loose scaffolding for Bamford’s stories and jokes.
She wound up at Debtors Anonymous, for example, after an STD led to an infection which led to $5,000 in medical bills she couldn’t pay because she was working for a bakery, loading trucks. The work, she said, wasn’t enough to cover rent and groceries, let alone medical debt, and collectors started calling, and then she got robbed. Her parents were well off but announced they would support her emotionally but not financially, and apparently the emotional support wasn’t so great either.

So at Debtors Anonymous, Bamford got solid advice on how to deal with creditors and put her financial house in order, and got support from fellow sufferers. “This is the great thing about twelve-step support groups. You can share the grossest elements of your personal failings and all you will hear is peals of joyous recognition to the rafters of whatever Zoom breakout room you’re in,” she writes.

After a year of sundry humiliations, including living in someone’s spare bedroom and taking every temp job she was offered, Bamford was hired full-time at an animation studio in L.A. There she could afford an efficiency apartment with a pool (“Filled with leaves and a dead baby possum, but a POOL!”) It took eight years to fully pay off her medical debt, while she was cobbling together a career in which she was successful on some fronts and still struggling on others. For example, she was fired from a job at Nickelodeon shortly before she got work doing voice-overs for the series CatDog. She was still working reception jobs by day when she was appearing on the Tonight show.

Along the way she was struggling to have sustained relationships, which is one way of saying she was having a lot of one-night stands. “What to do? I joined another twelve-step group! Sex and Love Addicts Anonymous.”
There, she met “buzzy, intense people in tight clothes” who supported each other in coming up with a “dating plan” and she eventually improved so much that she was able to have a relationship for 11 months with someone who was in a group called Marijuana Anonymous.

At this point, Bamford starts running out of 12-step groups to write about, so she ascribes culthood to other random things, such as success. One success she found was as an actor in Target Christmas commercials (you can see them by Googling “Target Christmas Lady”) starting in 2008. But the success of those commercials constrained her in other ways, and she had a personal tragedy involving a dog she loved, and then because Bamford had started feeling ethically compromised by working for Target, she wrote a letter to “The Ethicist” column at the New York Times, setting off a chain of events that got her fired.

I am literally exhausted by this point, just reading about her life.
She foresaw this, writing “Maria, where was your psychiatrist in all this?” and explaining that she’s been on Prozac for an eating disorder since 1990, and now she was thinking she could be bipolar, and then she had a terrible relationship with a bad man, and suddenly she’s checking herself in a psychiatric ward — at which point she is entering a new cult, “the cult of mental health care.”

The book ends with what is officially called “Obligatory suicide disclaimer” and a genuinely heartbreaking sketch that Bamford did in fifth grade. It’s titled “I feel down in the dumps” and shows a child kneeling with their head hung down. It makes evident that Bamford’s difficulties with mental health aren’t simply the result of bad decisions in adulthood, and a difficult mother, but mental demons have stalked her since childhood. She writes, “Like most people, I’ve thought of suicide between eight and ninety times per day since around the age of nine,” even though she says, “Even regarding suicide, I’m not a can-do person.”

Finally Bamford goes into a couple of pages of jovial advice for people who are suicidal. Call a helpline — dial 988, for starters. “BUT IF THAT FAILS: Call AT&T! Call Domino’s. Call an anti-abortion ‘clinic’! See if they’re pro-life for your life.”

OK, this is comedy, I get it. (I think. Does she really think that “most people” think of suicide all day every day?) And there will no doubt be people struggling with mental health for whom this approach is genuinely helpful. “Please don’t hurt yourself or anyone else. Do something else instead. Even if it’s harmful! Suicide is a one-off. You can do meth at least twice without consequences! … Knock yourself out with a forty-ounce keg of Baileys Irish Cream and a Dairy Queen Blizzard. You do not want to miss any additions to the Dairy Queen product line!

Bamford is genuinely funny, and there are moments of light and love in this book, however fleeting. There’s a lot of family angst between Bamfords that remains unresolved, let’s just say.

But there is still something unsettling about turning mental health struggles into a punch line as Bamford and other comedians are doing, apparently successfully. If this book helps even one person, then it’s an unqualified success. But for someone who doesn’t think about suicide at all, let alone regularly, it was an uneven and heart-rending read. C

— Jennifer Graham

Featured photo: Sure, I’ll Join Your Cult, by Maria Bamford. Courtesy photo.

Album Reviews 23/10/19

Charlene Darling, La Porte (Disciples Records)

It’s been a while since the last time I was presented with an album from a quirk-pop Kate Bush wannabe, and here it is, and thankfully not drowning in desperado-romantic angst. But at least this Parisian-born, Brussels-based underground fixture sings off-key a lot, I’ll give it that! No, seriously, folks, if you like Air, Figurine and all that stuff, you’ll probably find a lot to like here, even if I can barely stand it. The key to making music like this is to spend a lot of time in your apartment playing at being existentially lost, as the video for “Tour s’efface” demonstrates; I saw something in the press release about a guy running tape loops for this lady’s group but didn’t hear anything notable in that regard, which is par for the course here. Despite all my disdain for this thing, Iggy Pop, of all people, liked it enough to play it on his BBC radio show. Urban sluggery and first world problems ahoy! C- —Eric W. Saeger

Iogi, We Can Be Friends (Raw Tapes Records)

It’s been a while since the last time I was presented with an album from a quirk-pop Kate Bush wannabe, and here it is, and thankfully not drowning in desperado-romantic angst. But at least this Parisian-born, Brussels-based underground fixture sings off-key a lot, I’ll give it that! No, seriously, folks, if you like Air, Figurine and all that stuff, you’ll probably find a lot to like here, even if I can barely stand it. The key to making music like this is to spend a lot of time in your apartment playing at being existentially lost, as the video for “Tour s’efface” demonstrates; I saw something in the press release about a guy running tape loops for this lady’s group but didn’t hear anything notable in that regard, which is par for the course here. Despite all my disdain for this thing, Iggy Pop, of all people, liked it enough to play it on his BBC radio show. Urban sluggery and first world problems ahoy! C- —Eric W. Saeger

Playlist

  • Oct. 20 is our next new-CD-release Friday, and, much as I don’t want to, yes, I will be normal today and speak first about the only album that matters to Billboard magazine and the mainstream audience it hypnotizes, The Rolling Stones’ new one, Hackney Diamonds! OK, I mentioned it, may I be excused now? Right, I guess not. Let’s just say that I never cared about the Stones and never will; the only songs I used to like were “The Last Time” and one other, I forget, but it doesn’t matter, if I want to hear Stones songs all I have to do is go to Dollar Tree and wait around a few minutes, basking in the despair of that end-stage-capitalist vibe you can only get at a dollar store. Personally I’d much rather hang around at Discount Madness in Pelham because they play 1950s songs all day, and it’s fun to hear the retirees walking around casually whistling along to tunes about jalopies and sock hops, songs that really marked the end of rock ’n’ roll’s usefulness. I mean, after that, pop rock was just about hair and “trousers” and really nothing else; the Stones were basically Black Sabbath to Led Zeppelin’s more pliable Beatles, and both ’60s bands had super-boring drummers. That’s all I have on all this tediousness for the moment, so, as far as the new album, the single, “Angry,” has a video that features this generation’s Marilyn Monroe, Sydney Sweeney belly dancing to the song, which has some good AC/DC energy but is still mindlessly Stones-ish. I don’t hate it, no, now may I please go?
  • The Streets is one of the stage names under which British alternative hip-hop/garage dude Mike Skinner releases records. His forthcoming new LP, The Darker The Shadow The Brighter The Light, features the single “We All Need An Enemy,” a Cockney-accent-drawled chill-trap number that’s actually quite listenable; in it, Skinner waxes apathetic about people finding love in hate groups and other necessary evils. I was impressed.
  • Bombay Bicycle Club is an English indie-rock trio named after a now-defunct chain of Indian restaurants in North London! In 2009 they released their first album, I Had The Blues But I Shook Them Loose, a fairly thrashy affair that was all about post-punk, and the hilariously loquacious wonk at Pitchfork Media found stuff in it to complain about, and then they went low-key folk in 2010 with their Flaws LP, which was silly of them to do, then they tried stadium-indie on for size in 2014 with the album So Long See You Tomorrow, which was electronic pop, and that takes us to now, with their newest, My Big Day. I hate to take just one song to talk about when discussing the latest album from a band that’s never really even known what kind of band it’s supposed to be, especially given that it’s my understanding that this album is a genre-mishmash according to my fellow music-journalist hacks, but I’ll go out on a limb and give a listen to the title track, because I am a daredevil, don’t try this at home, folks!
    Right, so it’s a quirky whisper-electro joint powered by a fake electric piano sample that really accomplishes nothing, but that’s the charm of that kind of thing, isn’t it?
  • We’ll wrap things up for the week with Blink-182, which is one of those emo-rock/power-pop bands whose success baffles most people over 45; at the moment their main selling point is that their drummer is Mrs. Kourtney Kardashian, which is sure to change after her next mimosa vacation in the Maldives, but that’s OK! One More Time is the band’s new full-length, the title track from which is a strummy nerd-pop ballad. It sounds like Lit trying to be Simon & Garfunkel, all set with this. —Eric W. Saeger

If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Message me on Twitter (@esaeger) or Facebook (eric.saeger.9).

The Vaster Wilds, by Lauren Groff

The Vaster Wilds, by Lauren Groff (Riverhead, 253 pages)

In a world populated with doomsday preppers, people embracing life off the grid, and extreme athletes racing for days through the wilderness, there is surely a market for a book about a girl who escapes servitude and lives alone in the wilds of 17th-century America.

Whether there’s a market for such a book written in the language of, say, Chaucer, is harder to predict.

But many people are gushing about Lauren Groff’s latest book, The Vaster Wilds, which is a brutal and bloody survival story wrapped in lyrical Middle Ages prose.

The unnamed girl, in her late teens, had been born in England and “discovered a new born babe, all alone one bad dawn, still in the juices of birth, and naked in the filth of shiteburne lane, and nearly dead of cold.” She was taken in by a church and adopted at age 4 by a minister and his wife, and charged with taking care of their child.

The girl grew attached to her charge, whom she calls repeatedly “the child Bess,” and traveled with the family by boat to the Jamestown colony, not knowing that people were starving in the “new world.” (The novel is set around 1610, a time in which an estimated 80 percent of Jamestown colonists died of starvation and disease.)

For reasons that are slowly revealed, the girl decides that the wilderness of this strange land is better than the colony, so she steals leather gloves and a cloak from her mistress, and boots from a boy who’d died of smallpox that week, and she flees.

“Into the night the girl ran and ran, and the cold and the dark and the wilderness and her fear and the depth of her losses, all things together, dwindled the self she had once known down to nothing. A nothing is no thing, a nothing is a thing with no past. It was also true that with no past, the girl thought, a nothing could be free.”

The dangers awaiting the girl include not just the elements and men sent to pursue her, but continued starvation, wild animals and the fact that she has no compass or roads and no real place to run to. She just goes, intent only on survival.

As her trajectory itself is not much more interesting than a typical NASCAR race — only she is running in a direction, north, and not in circles — part of the story is her recollections of the past, to include a lost love, and her hopes for the future, which involve making it to Canada, getting married and having children in a house that is safe and has food. She recalls various atrocities she witnessed, in England and in the new land. And there are enough heads on sticks and flayed men here to comprise a new episode of Game of Thrones.

There is also the matter of her sustenance, which requires many unsettling scenes, such as a half fileted frozen fish that suddenly, upon thawing, is shocked back to life, and a nest of baby squirrels that she harvests for meat with the angry mother looking on.

But there is transcendence in the wild, too, as when she awakens one night to see a huge bear sitting at the base of a waterfall, looking at it in something that seems to resemble awe. That leads her to contemplate how “if a bear could know god in his own bear way, then a bear had a soul. …. Then she thought that perhaps in the language of bears there was a kind of gospel, also. And perhaps this gospel said to the bears the same thing about god giving bears dominion over the world. And perhaps bears believed that this gave them license to slaughter the living world, including the men in it.”

For an uneducated girl of 17 or 18, she is deeply spiritual, in part because of the religion pressed upon her in servitude, in part because of the voices that she converses with while she runs. At one point, the voice scornfully interrogates her about why she thinks she can survive in such harsh conditions, alone. “And she wanted to weep but she did not and instead she said, But I am not alone for I carry my god in my heart always. And she did, she felt god, a pinprick of light deep within her.”

The Vaster Wilds is not an easy read, despite the beauty of its language. It wasn’t until I was more than a third through the book that I grew comfortable enough with the style and language that I wasn’t actively observing it. But once you get to that point — and maybe it will be sooner for you than me — it’s like getting a second wind on a run, or getting into “flow” in an activity. Still, it’s a book that, like poetry, requires you to take it in slowly for effect. Unfortunately, it’s also a book that requires readers to suffer with the protagonist, from beginning to merciful end. You’ll love it or hate it, but will not forget it. Which also might be good or bad. B

Album Reviews 23/10/12

Diamond Dogs, About the Hardest Nut to Crack (Wild Kingdom Records)

I don’t get too many rootsy honky-tonk-punk records in here, but point of order, they’re always welcome. Formed way back in 1991, this Swedish rock group attempts to revive the soul of borderline Stiv Bators/New York Dolls-style pre-punk, not the least melodic thing you’ve ever heard, but certainly awash in attitude. “Blight The Life” is all that and more in the form of purebred bluegrass punkabilly, and by that I mean of the purest original Hank Williams Sr. sort, the type of mayhemic cowpunch-rock that evokes an odd combination of barns and chickens and imminent danger from carelessly flung slam-dancers; similarly, “Wring It Out” is a hilariously anachronistic cross between the Stones and Black Crowes, which isn’t to imply that there’s anything wrong with it. If you need a legitimacy check, the band’s OG posturing earned them a brief moment of fame on MTV’s Headbanger’s Ball in 1993 when one of their tunes somehow snuck into the show. A

The Nervous Eaters, “Kelly’s Sixteen” (Wicked Cool Records)

I didn’t hate this band all that much back when I was even younger than you are today, when idiotic soul-sucking working-class assembly-line jobs were depressingly plentiful (you unemployed kids living in your moms’ basements really need to count your blessings) and WBCN was the Boston radio station to listen to if you wanted people to think you were cool. This local-to-Boston band was a one-hit local-radio wonder (unless I’m missing something) whose big single, “Loretta,” was produced by Ric Ocasek of The Cars in the early ’80s; the tune was, like most Boston rock was in that halcyon era, ’50s-tinged, mildly punkish and sublimely tuneless, but there were a lot worse bands to “experience” at the Rathskellar and whatnot, and so the Eaters made their mark, not that anything ever came of it. And so, yadda yadda, here’s a new single by them, a corporate-punk-speed snoozer that sounds somewhat Gang Of Four-ish and Buzzcocks-ish at first, and then, right when you think a giant-ass hook-fadeout is coming, it just flops and expires. Nothing changes, folks, remember that. C

Playlist

  • Yay, Oct. 13 is a Friday the Thirteenth, I’m sure all the new albums coming out that day will jibe with the occasion in a manner most apropos! But first things first, fam, wait till I tell you about my visit to Manchvegas’ new rock club, Angel City Music Hall, the other week! It takes a lot to get me out of my trash-pile, um, I mean my ultra-modern, totally organized office, but when my PR friends the Brenners in New York City told me that Crowbar was coming to play their crazy sludge-metal tuneage right here in da city, I was like “I’m your huckleberry!” So I contacted a couple of bros to go see them, like our local rock ’n’ roll mastermind Otto Kinzel of Dust Prophet and friend of the Hippo Dan Szczesny, but they made up excuses, so I went by myself. The band was deafeningly loud, which was nice, and the lady who runs the place calls people “Hon,” which is also nice.
  • OK, I don’t know if you people remember that techno soundsystem called Justice, and how they named one of their albums “†” (you know, like, “cross”) just to be a pain to everyone who had to write an article about them and hunt down that particular ASCII character. If you do, you also remember that they tried to make the super-noisy Ed Banger sound happen, which it did for little while, but — oh for pete’s sake, I’m going totally off-track, whatever, there’s a band that started up around the same time as “†”, called †††, a darkwave/dream-pop/witch-house project often referred to as Crosses by journos who hate hunting for ASCII characters, and guess who’s in it, that’s right, it’s Deftones singer Chino Moreno and his buddy Shaun Lopez, from the band Far! I’m sure you’ve heard about them if you’re a ‘Tones-head, amirite, but this is news to me, so in order to catch up to all you hippies I’m going to go listen to a single from their new album, Goodnight, God Bless, I Love U, Delete, called “Invisible Hand.” So it starts off with some sort of glitchy-ish techno beat, and then the Deftones guy suddenly starts jumping up and down all hip-hop style, yelling and ranting about something, and then there’s a barrage of angry Death Grips-inspired haunted-house-metal. I don’t really hear anything compelling going on here, but feel free to pretend to find something redeemable about it.
  • Oh no, come on, not another Canadian indie band, I’m really not in the mood! OK, it’s Metric, so there’s an outside chance that this might be salvageable, even though the singer is involved with Broken Social Scene, I don’t really know right now. The band’s new album, Formentera II, features the single “Who Would You Be For Me,” a sort of ’90s cowboy-goth-tinged chill-pop jam that’s not unlistenable, it’s OK.
  • We’ll wrap up the week with Australian/South African singing man Troye Sivan, who portrayed young Wolverine in X-Men Origins: Wolverine. OK, so Something To Give Each Other, his new full-length, includes the single “Rush,” a house-chilldown whose video features Sivan smoking weed out of a banana and singing gently through his Auto-Tune. Yay, Auto-Tune, what would we do with it!

If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Message me on Twitter (@esaeger) or Facebook (eric.saeger.9).

Elon Musk, by Walter Isaacson

Elon Musk, by Walter Isaacson (Simon & Schuster, 615 pages)

In April of this year, social media had a field day when, soon after launch, a SpaceX rocket exploded 24 miles in the air and Elon Musk’s team called it a “rapid unscheduled disassembly.”

What most people didn’t know is that this phrase wasn’t a euphemism devised by a beleaguered PR team, but a term that SpaceX had long used to describe a strategy: Move fast, take risks, blow stuff up, learn from it. It explains why, right after the explosion, Musk said to his team: “Nicely done, guys. Success.”

That strategy is not just a business slogan but a way of life for Musk, who is not only the world’s richest man but possibly its most interesting. The tech world used to have a galaxy of superstars, to include Mark Zuckerberg, Jeff Bezos and Jack Dorsey. After his purchase of Twitter, Musk started taking up all the oxygen in the room, making all these movers-and-shakers in the tech world sideshows or opening acts for him.

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 at explaining why in his exhaustive new biography. Spanning 615 pages before the footnotes, bibliography and acknowledgments, it’s a compilation of interviews with Musk and his family and business associates, and two years of following Musk around. Essentially, the only way you could know more about Elon Musk is to have witnessed the 52 years of his life yourself.

And while most of what we know about Musk started when he became an internet multimillionaire at age 27, it’s the formative stuff — the things that happened in childhood and adolescence — that best explains him. Unlike, say, Zuckerberg, who seems to have had a relatively stable childhood in suburban New York, Musk grew up in challenging circumstances in South Africa, the child of unconventional parents who were themselves the children of unconventional parents.

Take his maternal grandfather, who worked as a rodeo performer, construction hand and chiropractor. One day he drove past a single-engine airplane sitting in a field. He had no cash and didn’t know how to fly, but convinced the owner to trade the airplane for his car. “The family came to be known as the Flying Haldemans, and [Musk’s grandfather] was described by a chiropractic trade journal as ‘perhaps the most remarkable figure in the history of flying chiropractors,’ a rather narrow, albeit accurate, accolade.”

Musk’s mother, Maye, was part of the “Flying Haldemans” and was for a time a model, but it was perhaps his father, Errol Musk, described as “an engineer, rogue, and charismatic fantasist,” who had the biggest impact, because of his abusive behavior. Elon’s brother, Kimbal, who, like Elon, has no contact with his father today, said Errol had “zero compassion,” and Elon Musk still chokes up when talking about how his father treated him as a child, at times making him stand for an hour while his father yelled him calling him an idiot and worthless, Isaacson writes. School was no better — young Elon was constantly getting beaten up, and he was sent to wilderness-type camp during the summer where the boys were literally told to fight each other to survive, and some campers had actually died. Musk described the camp as “a paramilitary Lord of the Flies.”

Isaacson said these early experiences help explain why, even today, Musk’s moods “cycle through light and dark, intense and goofy, detached and emotional, with occasional plunges into what those around him dreaded as ‘demon mode.’” Elon’s first wife, Justine, told Isaacson that in South Africa, Elon “learned to shut down fear,” adding, “If you turn off fear, then maybe you have to turn off other things, like joy or empathy.”

The sins of the father haunted the son even as he left South Africa for Canada just before he turned 17. He went by himself and later was joined by his mother and siblings. Soon after he got to Canada, he lost all his money when he failed to return to a bus before it took off; that experience was what got him thinking about ways the financial industry needed disrupting, which eventually led him to a troubled partnership with PayPal founder Peter Thiel.

But Musk’s first millions came from a venture called Zip2, an internet startup that created city guides for newspapers. Then in 1999 he founded a venture he called X.com, which he saw as a “one-stop everything-store for all financial needs: banking, digital purchases, checking, credit cards, investments and loans. He described the venture to Isaacson as “the place where all the money is at,” which makes X, as in the company formerly known as Twitter, seem like child’s play.

From there Isaacson goes on with astonishing detail into the creation of Tesla and SpaceX and sundry other ventures, as well as the relationships that came after Justine. Musk has 11 children with three women, the youngest (with singer Grimes) named X, Y, and Techno Mechanicus, who is called Tau.

The X obsession is more than a little strange, and the richer Musk gets, the more the world gives him a pass for his strangeness and the cruelty that he seems to have inherited from his dad.

“Do the audaciousness and hubris that drive him to attempt epic feats excuse his bad behavior, his callousness, his recklessness?” Isaacson writes. “The answer is no, of course not. One can admire a person’s good traits and decry the bad ones. But it’s also important to understand how the strands are woven together, sometimes tightly. It can be hard to remove the dark ones without unraveling the whole cloth.” Isaacson, who has also written biographies of Jennifer Doudna, Leonardo da Vinci and Steve Jobs, among others, was granted astounding access to Musk and his associates; he says Musk even encouraged his adversaries to speak with him. There will yet be other biographies written; Musk is still in the early stages of his goal to transfer human consciousness to Mars, and he seems to think time is running out to save the species. Then again, a risk-taker like Musk may run out of time himself. His grandfather, the leader of “The Flying Haldemans,” had a motto: “Live dangerously — carefully.” He wasn’t careful enough. He died when Elon was 3, in a plane crash.

Isaacson’s prose is sparse; he lets his subject and interviewees do the talking, and they all had plenty to say. This is the rare book that I recommend reading on a tablet or phone. The heft of the book makes it difficult to hold comfortably. It’s hard to pick up, but it’s also hard to put down. A —Jennifer Graham

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