Category: Pop

Album Reviews 23/03/16

Creye, III: Weightless (Frontiers Music)

Some epic melodic metal from Sweden here, in the vein of bands like Heat and whatnot. Their sound is even cleaner than Trans Siberian Orchestra, if you can even conceive of such a thing, and that makes this stuff come off as a bit one-dimensional, but not, I assure you, in the area of wonky musicianship, which is what should really matter, and I’m well aware of that. But still, in between all the (very complicated and clever) riffing and all that, I was really hoping to hear some bad-assery, something messy or slightly dangerous, but it didn’t really happen for me. Now, all that means is that I wouldn’t play this in the car, but I can still heartily recommend it if you ever wanted to hear a smarter, more prog-rock version of Iron Maiden, or at least an Iron Maiden that sounds freshly scrubbed for dinner, like White Lion or some such hair-metal thingie. But again, the selling point is that these guys can really play. A

Public Serpents, The Bully Puppet (SBAM Records)

And here we have a ska-punk band from New Jersey. I didn’t even know that was still a thing, you know? What’s that? No, I was referring to New Jersey, not ska-punk. But anyway, folks, all seriousness aside, this band’s leader, who goes by the name of Skwert, has had a rough time of it over the last few years, enduring incarceration, homelessness and the end of his marriage, so if you like ska-punk, and who actually does, this would be a wise investment, as maybe Skwert could take some time off to rest his voice, because right now these tunes sound like a really drunk Ozzy Osbourne singing for the Suicide Machines except the horn section is better. There’s really nothing stunningly innovative here, not that you’d want innovative music if the only reason you’d ever even sit through a ska band would be to get to the three 19-year-olds playing hamster-wheel straight-edge stuff after them. Side question: Do people still listen to Sublime anymore, or was that just a giant troll? A

Playlist

• March 17 is a Friday, which means a day of new CD releases, because that’s just how it works, folks. It used to be Tuesdays when all the albums would be released, if I recall correctly, but the record industry changed the traditional release weekday to Friday in their infinite wisdom, after figuring out that Fridays are a lot better, because that’s the day rock ’n’ roll fans figure is the most safe for partaking in day-drinking and puffing wacky tobaccy during work hours, and when quittin’ time comes around they leave work completely shnockered, burn rubber out of the parking lot and just randomly go buy albums at Strawberries and Bradlees and Woolworths. OK maybe not anymore, which only brings up the question, “Is music still cool if all you have to do to obtain it is download it from a pirate site or whatnot?” I don’t think so, but little shining points of light pop out of nowhere now and then, for instance this week’s spotlight new LP, Fantasy, from excellent French weird-beard soundsystem M83, whom you may know if you’re either young or were a fan of the Ovation network’s TV show Versailles (M83 did the impossibly epic theme song) until its untimely demise in 2018. I’m sure this’ll mark a high point for these guys, unless they’ve run out of ideas like everybody else, and toward answering that pressing question I’ll venture into the YouTube, to see what I can hear. I’ll bet you anything that by now they’re ready to make some real money out of their success, so there’s some edgy diva like Zola Jesus guesting on a single that you’ll hear playing at — well, I don’t know, where do people even hear music being played nowadays? Roller skating rinks? Red Lobster? Seriously, now that rock is completely dead, and there’s nothing left of the club scene except for bored-looking (and honestly bored) 20-somethings standing around listening to chopped-and-screwed versions of “My Humps” or whatever, who’s going to buy this awesome new M83 album? I’ll leave that here, with a scratching-my-head emoji added as emphasis, for you to puzzle over, but meanwhile, the group’s new single, “Oceans Niagara” is completely epic and cool, a really buzzy electro dance-beat infused with an urgent, energetic, loud-ass multi-voiced chorus. M83 are still the best, don’t even argue with me.

• Unknown Mortal Orchestra, a band from Auckland, New Zealand, is all about the psychedelic rock ’n’ roll, just like our good buddies, whose name takes up nearly a full line of column space, King Gizzard And The Lizard Wizard. There’s something fishy about all the awesome stoner-rock coming from “Down Under,” like this new album from UMO, titled V, but either way, these fellas are based in Portland, Oregon, now, so we’ll see if being far away from King Gizzard And The Lizard Wizard had any negative effect on these new songs. I’m test-driving the new single, “Hunnybee,” and it’s not stoner-rock at all, it’s chill soul-pop, like Bon Iver trying to be Jamie Lidell. It’s OK I guess.

• Speaking of weird people with Warp record contracts, it’s Yves Tumor, with his new one, Praise A Lord Who Chews But Which Does Not Consume. The rollout track, “God Is a Circle,” is driven by loud, muddy bass, mumbled vocals and industrial samples, I like it just fine really.

• Lastly, it’s Black Honey, a U.K. indie band that’s gone through a few name changes, so no, I already don’t take them seriously at all. A Fistful Of Peaches is their new album, and the video for the song “OK” has a seizure warning (I’m not taking that seriously either). The tune is like Foo Fighters but with a vampy girl singer. It’s cool overall.

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).

Hidden Mountains, by Michael Wejchert

Hidden Mountains, by Michael Wejchert (Ecco, 256 pages)

Granite State residents are used to hearing about rescues — from the 180 or so people who have to be rescued from outside adventures gone wrong each year, to the seven loons trapped in lake ice in February. As such, there is an underlying debate about assumed risk and the escalating costs of rescue — not so much the financial cost, but the potential of injury and loss of life of those doing the rescue.

Into this conversation comes a compelling book by North Conway resident Michael Wejchert. Hidden Mountains — subtitled “Survival and Reckoning After a Climb Gone Wrong” — is a deep dive into a 2018 climbing accident in a remote part of Alaska, and its aftermath.

The people involved — two couples from Boston, ranging in age from 29 to 40 — were experienced climbers; the accident that befell Emmett Lyman was apparently just freakish bad luck. (In one analysis, “loose rock” was deemed the cause.) Out of the sight of his partner, Lauren, he fell about 30 to 40 feet, hitting his head so hard that his helmet came off.

Wejchert describes how Lauren intuited what happened: “She felt the rope [that connected them] come tight and knew that on the other side Emmett was falling, though she couldn’t see him. Rock and debris flushed down the snow gully to her left so forcefully that it caused a small avalanche. … Somewhere in this, ‘I heard a human sound,’ she recalled. ‘It wasn’t words. It was just a sound of … maybe surprise and dismay.’”

Although the couples had been trained in what to do in emergencies and were well-prepared and well-equipped, the situation was precarious, not just for Lyman but for all of them. Lauren, Lyman’s girlfriend, was still attached to him with a rope; they were on steep rock in a national park 90 miles from civilization, in territory not accessible by road. That was one reason they were there. The Hidden Mountains of Lake Clark National Park and Preserve are one of the most inaccessible places for climbers in the world; they expected to be the first humans to have climbed this particular mountain, which they dubbed Mount Sauron after the tower in The Lord of the Rings.

Lauren was able to text the other couple for help, and they immediately set out to find their friends, but they had to endanger themselves by descending laterally in emotional turmoil. The story of how they got to this point is harrowing enough; then comes the rescue by helicopter nine hours later — all the while, without knowing whether Lyman was alive or dead.

While there was news coverage of the accident at the time it happened, for those who are unfamiliar with the story Wejchert smartly structured Hidden Mountains as a thriller, and I won’t betray his efforts by saying what happened during and after the rescue. Suffice it to say the story raises challenging questions and endeavors to answer what for me is the biggest one: Why anyone would take up a sport that required (literally, for Lauren) a 10-page contingency plan that listed potential dangers (e.g. river crossing, sliding snow, falling rock, bears) for each day of the trip, based on the forecast and where they would be, and specialized insurance from a company that swoops in and rescues the likes of journalists caught in war zones. (That company, Global Rescue, is based in Lebanon, N.H.)

Wejchert, a climber himself, tries to make clear the allure of the sport, which draws so many adventurers to the White Mountains and elsewhere. He writes of “dreamy summits” and moving along “perfect alpine granite, thousands of feet of snow and ice and quiet looming beneath us,” of “plumbing the depths” of our personal limits. But just as honestly he writes of a friend who was nearly killed by an avalanche, of being asked if the risk of climbing is worth it and answering “no.”

Rock and ice climbing — “vertical movement” — doesn’t seem to be something people casually fall into, but more of an urgent calling. After going to a New York climbing area called “the Gunks” as a newbie, Emmett had said, “Oh my God. This is where I want to live. This is what I want to do with my life. And we just started climbing all the time.”

And one of his climbing partners, Alissa Doherty, had vowed to become a mountaineer — while she was in a convent — after reading Jon Krakauer’s book Into Thin Air. That book was about a 1996 climbing disaster on Mount Everest, so for people without the mountaineering gene, it’s hard to see how reading that would attract anyone to the sport.

And of course, Krakauer’s other masterpiece, Into the Wild, was about Chris McCandless dying alone in the Alaskan wilderness. It’s a certain kind of person who says “sign me up!” for both Alaska wilderness and remote climbing, and it doesn’t appear to be me. But the people who do sign up are fascinating people whose stories make for fascinating reading. And Wejchert, who is chair of the all-volunteer Mountain Rescue Service in North Conway and knew Emmett before the accident, was exactly the person to tell it. He does so with expertise and with heart. B+

Album Reviews 23/03/09

Treedeon, New World Hoarder (Exile On Mainstream Records)

Recently I watched an interview with former Black Sabbath singer Ronnie James Dio. In it, he said that it was “ridiculous” for a band to take a couple of years to finish an album. I’m reminded of that owing to the fact that this German sludge-metal band hasn’t put out an album in five years. I suppose there are reasons for that; making albums sure isn’t a way to make money if you’re unknown, but come on guys, five years? So, given the circumstances, I expected Melvins- or Boris-level mud-rock from this one, but that’s certainly not what this is. OK, maybe there’s a little Boris in there, but that’s not what they’re aiming for, it’s more a Neurosis-meets-Sunn(((O))) trip. It’s super-slow, made of white noise, bliss ringouts that last forever, and some schlocky vocal effects that made me think of the sort-of-funny devil scenes in that old show Sleepy Hollow, to be honest. It is most decidedly meh. B

Kiji Suedo, Hosek (Hobbes Music)

The tuneage of this Osaka, Japan-raised techno DJ cater to an adult audience, but not quite as mature as his most common (and definitely overused) Recommended-If-You-Like comparison, Theo Parrish, whose Detroit “beatdown” style has more soul to it. Some less refined listeners will probably write this off as a bit too noisy, but if you’re not tired of the same-same 20-year-old house-bomp sounds that have lately been microwaved for use by Britney Spears and all those people, you might want to re-evaluate your taste as it is. On the other hand, if you can deal with glitch (or acid jazz, while I’m at it), you should pick this up right away, as the overall feel is elite-level deep house with electronic ratchets, clonks and fat-but-not-too-fat bass lines all coming together to produce euphoric rhythms that are only barely robotic. The grooves morph as they go, evoking fractals moving in slow motion; this is truly advanced stuff. B

Playlist

• Like every Friday, March 10 will be a day for new albums to appear like magic, bringing messages of joy and hope and melodic mediocrity to the masses! It feels like longer than two years since we’ve heard anything from melancholia-pop chanteuse Lana Del Rey, but there it is, this thing here says Blue Banisters came out in 2021, and her upcoming ninth album, Did You Know That There’s a Tunnel Under Ocean Boulevard, is indeed coming out this week. Nothing remarkable about this one; Jack Antonoff (a.k.a. Bleachers) is involved, as always, and there are curveball guests again, such as Jon Batiste (the creative director of the National Jazz Museum in Harlem), SYML (formerly of the indie band Barcelona), Riopy, Father John Misty and rapper Tommy Genesis. In 2019 Billboard included Del Rey’s smarmy 2011 song “Born to Die” as one of the 100 songs that defined the 2010s (seems incredibly far away already, doesn’t it, like the music industry could already do a rebirth movement just to see if anyone had been paying attention in the first place). Anyhow, here we are, staring down the barrel of this album’s title track, which finds our heroine plumbing the lower echelons of gloom with a slow piano line, some sexlessly torchy stream-of-half-consiousness vocalizing, and all the other ingredients that will lead to her eventually contributing a title song for a James Bond film. (No, knock it off, there’ll be another James Bond movie, you can’t seriously believe they won’t, just try not to forget that Adele did the best one.) (And no, Lana Del Rey is no Adele, and never will be.)

• But wait, there’s another Rey, but this one’s a “Ray,” namely Fever Ray, with their new full-length, Radical Romantics! Ray is of course the stage name of Swedish singer Karin Elisabeth Dreijer, a long-standing trip-hop/electropop fixture who tends to bore people to tears, for instance the poor sap who had to sit through the film Dirty Diaries, “a collection of feminist pornographic short films,” which they soundtracked. “Appropriate but repetitive,” said the writer from Swedish newspaper Smålandsposten, in between snores, but that’s all water under the bridge, let’s just check out this new set of songs, specifically the single, “Kandy,” the video for which features Ray wearing Riff Raff makeup. The song is sort of a tribal-electro thing, basically bereft of any melodic direction, but do go add it to your Spotify if you don’t like nice things.

• Barf barf barf, it’s all-time fedora-rock champion Van Morrison, with Moving On Skiffle, his first album since oh who cares, may I remind you people that this human is fully responsible for the song “Brown-Eyed Girl,” also known as the national anthem for corporate human resources personnel who can’t dance. I know that I will not like his new single, “I’m Movin’ On,” but nevertheless I’ll — wait a second, this isn’t all that bad, actually, sort of like a cross between Bo Diddley and the “Banana Boat” song, like, someone’s playing a rasp, and Van is singing like he’s casually looking for big black tarantulas in his bowl of fruit.

• Ha ha oh come on, Miley Cyrus has a new album, titled Endless Summer Vacation, and I, a seasoned journalist, am supposed to talk about it? Here? Yep, looks like that’s how we’ll wrap up this week’s column, by talking about a Miley Cyrus record. Right, so is she trying to be Metallica again, or is she back to being an emotionally cracked pop diva again? Well, somewhere in the middle, it looks like: “Flowers” is your basic Lorde tuneage with a sample from “I Will Survive.” Why do people encourage this, seriously?

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).

At the Sofaplex 23/03/02

Babylon (R)

Margot Robie, Brad Pitt.

Writer-director Damien Chazelle gives you three hours and nine minutes of 1920s and 1930s Hollywood, as the business adapted to sound and the movie industry machine chewed through the people involved. Here, we focus on Nellie LaRoy (Robie), a young woman who cons her way into a Hollywood party from which she lucks her way into a movie and briefly becomes a silent star sensation; Manny Torres (Diego Calva), who is working the party as a kind of general fix-it guy (help this elephant get up the hill to the house, help these goons dispose of an overdosing starlet); Jack Conrad (Brad Pitt), an established star who takes on Manny as his assistant; Sideny Palmer (Jovan Adepo), a trumpet player who finds stardom and a financial windfall in front of the camera but doesn’t get any relief from the persistent racism he deals with as a Black artist, and to a lesser extent Elinor St. Jean (Jean Smart), a gossip columnist who even in the 1920s knows that movie fame is fleeting.

A lot of names — Olivia Wilde, Max Minghella, Jeff Garlin, Spike Jonze, Flea — show up for cameos and as do actors playing historical types (Irving Thalberg, William Randolph Hearst). It’s, uhm, cute, in the same way I found the Citizen Kane cosplay of Mank cute and amusing in a “photo book about 1930s Oscars” kind of way. Even better are process-y scenes that demonstrate, with some equally cute exaggeration, how these early movies were made — and some of the ways that pre-code films were a lot racier than the movies that were on screens a decade later. An extended sequence of Nellie and director Ruth Adler (Olivia Hamilton) trying to film a scene of a talkie while the cast and crew swelter in the heat (air conditioning would be too loud) and have to deal with the sensitivities of the microphones is particularly fun. There is also a nice bit of storytelling in who made it through the transition — not Nellie and her Harley Quinn accent, for example.

But.

But this movie is so much elaborate scene-setting, so much “The Magic of the Movies!” and so much Hollywood doing a guided tour up its own rear that it is, at times, completely intolerable. And, from Singin’ in the Rain (which is a touchstone for this movie) to the most recent Downton Abbey movie, I feel like I’ve seen a lot of this stuff before. And it’s more than three hours. Three. Hours.

Babylon is nominated for Oscars in categories for costume design, original score and production design and while I can understand those nominations, I don’t think it would be my pick in any of those categories. C+ (but a strong B for the “Nellie shoots in sound” scene.) Available for purchase and on Paramount+.

Bardo, False Chronicle of a Handful of Truths (R)

Daniel Giménez Cacho, Griselda Siciliana.

Early in Bardo, co-written and directed by Alejandro G. Iñárritu, we watch as Lucia (Siciliana) delivers her and husband Silverio’s (Giménez Cacho) son, Mateo. Moments after his birth, doctors tell her Mateo says he doesn’t want to be out in a world as messed up as this and so they put him back, er, in. This pretty well sets the scene for the movie we’re watching, where Silverio jumps around in time and where the truth of a situation is often rendered lyrically more than realistically. Silverio, a journalist turned filmmaker, started his career in Mexico, where he and his family are from, but moved to Los Angeles with his wife and kids when they were young. He wrestles with the U.S./Mexico of it all — from the Mexican American War to the present relationship between the countries and what it means for the people who move between the two. He also has a conversation about Mexican-ness with Cortés and occasionally finds himself in the desert with migrants. He also wanders through his own life, suddenly child-sized when he talks to his father, and talking with his children Lorenzo (Iker Solano) and Camila (Ximena Lamadrid) while thoughts of Mateo are never far from his mind.

It can all read as sort of self-indulgent at times — a criticism the movie itself makes of itself in its foldy self-referential way — but the movie is so good-humored and genuine about what it’s doing and how it knows you know it knows what it’s doing that I was, you know, never mad at it. It’s weird and mournful but also joyful — and, here’s where the Oscar nomination comes in, absolutely visually stunning. A nominee in the cinematography category, Bardo makes good use of its frequently very lovely settings but also of the dreamlike way it’s shot and the way scenes morph into other scenes in the way your dream might take you from a memory to a fear to a recent conversation. I see how this movie could annoy someone — its lead is, after all, a Great Man Looking at His Life — and maybe I just got lucky and saw this movie at the moment I was most open to this kind of twisty, floaty ride but: A Available on Netflix.

Empire of Light (R)

Olivia Colman, Michael Ward.

Olivia Colman can act the heck out of anything, is my main takeaway from Empire of Light, a sssslooooow movie (that is actually only an hour and 55 minutes) about a woman and her unlikely relationship in 1980s Thatcher U.K.

Hilary (Colman) works at the Empire, a movie theater, in a town on the English coast that instantly made me think of the Morrissey song. Though we don’t learn the full details for a while, we know that she has struggled with mental health issues and that the medication she is now taking has left her feeling flat. It’s not that she’s unhappy — taking dance lessons, making small talk with coworkers, engaging in a deeply unsexy affair with the theater’s manager (played by Colin Firth) — but there just isn’t a spark in her. And then arrives Stephen (Ward), a young man who didn’t get into university and whose Jamaican heritage makes life difficult in a time when racism and nationalism seems to be on the rise in England. Stephen and Hilary take an immediate shine to each other despite the age disparity. Their friendly coworker-ship soon turns into something more, but both of them are struggling with issues greater than a sunny romance.

Empire of Light is Oscar nominated for Cinematography and I fully get why — it’s a beautiful-looking film, from the fading glory of the Empire, a movie palace that once had multiple floors and a rooftop cafe, to the lights and grays and shadows of the city. And I wouldn’t be surprised if Colman was, like, 8 or 9 on the list of nominated actresses. Elements of this movie are very compelling. But the movie as a whole needed a jolt of energy. B

Available on HBO Max or for rent or purchase.

To Leslie (R)

Andrea Riseborough, Marc Maron.

Leslie (Riseborough, nominated for actress in a leading role*) goes to see her 19-or-20-year-old son James (Owen Teague) after being evicted from the motel where she had been living. He quickly kicks her out after she refuses to stay sober and steals money from his roommate, sending her back to their hometown, where his grandmother and her boyfriend (the parents of his unmentioned father, I think) put her up. Nancy (Allison Janney) and Dutch (Stephen Root) are minorly supportive but also harbor deep grudges toward Leslie and she’s soon kicked out of their house too. She floats around her hometown, eventually getting caught hanging out near a motel run by Sweeney (Maron) and Royal (Andre Royo). Sweeney takes pity on Leslie and offers her a job cleaning the motel along with a room to stay in, which begins a fraught and shaky friendship.

Riseborough gives an interesting and highly watchable performance as a woman who can’t quite get out her own way — she won more than $100,000 in a lottery years ago but squandered it partying — and is battling a serious alcohol addiction. Is it a strong enough performance to carry the weight of the * for which this small movie is known? The asterisk is the story surrounding Riseborough’s Oscar nomination, the campaign for which was a grassroots affair by famous fans and, according to a New York Times explainer from Feb. 8, her manager. The Academy got involved in the uproar after nominations were announced and, whatever rules may have been bent, her nomination stands. It will probably always bear the stain of being the nomination that denied Viola Davis for The Woman King or Danielle Deadwyler for Till an Oscar nod. And while both of those are better performances than Riseborough’s work here, they are also better than nominee Ana de Armas in the icksome Blonde, so really it’s not all Riseborough’s fault.

On its own merits, To Leslie is a solid movie worth a watch. B+ Available for rent or purchase.

Weightless, by Evette Dionne

Weightless, by Evette Dionne (Ecco, 245 pages)

Are doctors who lecture their patients about their weight “fat shaming” them or “following the science”?

That’s the question at the heart of Evette Dionne’s Weightless, an account of her life as a Black woman with obesity who has had multiple health problems over the course of her often size 22 life and is now diagnosed with heart failure.

Part memoir, part journalism, Weightless explores Dionne’s struggles to fit into a society that prizes thinness even as it now demonizes “fatphobia” to the point of purging the word “fat” from Roald Dahl books.

In many ways, America has gone all in on what is commonly called “body acceptance.” Plus-size models are a thing, even making the swimsuit issue of Sports Illustrated. Most fashion designers offer extended sizes. There’s even a movement to help overweight women avoid being weighed at doctors’ offices (you can present a card that says “Don’t weigh me unless medically necessary”).

Despite all this, our culture “hates fat people,” Dionne says. “Whether it’s Netflix greenlighting a television show that glorifies losing weight as a form of revenge or airlines enacting policies that purposefully discriminate against fat people, the world believes that we must assimilate and become smaller — not that it should become bigger to accommodate us.”

Proclaiming “Fat people aren’t a problem that needs to be solved,” she catalogs a long list of problems that fat people need to be solved. These include the indignity of flying (needing seat belt extenders and sometimes having to purchase two tickets), the unceasing rudeness of strangers (on one flight she confronts someone who was texting insults about her) and the tendency of those in the medical profession to brusquely dismiss anything that’s wrong with an obese person as something that can be solved by losing weight.

“There’s a running joke around fat people that if you go to the doctor for a sore throat, they’re going to ask you to take a blood sugar test to make sure you’re not diabetic,” she writes. (I can confirm that happens even after death, having recently heard of a case in which “obesity” was put as the cause of death of a woman in her 60s who unexpectedly died at home.)

Dionne says she set out to write the book as a way of shining a light on the biases of the culture, to “shift how we individually and collectively understand the fat experience.” She says that fat people “want, need and deserve new stories.”

That may be true, but the experiences that Dionne describes here are in fact old stories. Anyone who has grown up overweight has stories about bullies; any obese adult has stories about not being able to fit in a carnival ride, or being rejected by a potential lover because of their weight, or getting an underhanded “compliment” about weight loss that feels like a punch.

Dionne writes movingly about her assorted embarrassments and outrage in ways that could theoretically help other people be more compassionate, but the reality is, the cruel people she describes aren’t the ones who would read this sort of book, unless it was assigned. Her audience, her tribe, are those who have walked in her shoes.

As much as I empathize with Dionne, having lived through some versions of experiences she describes, I found it difficult to embrace her premise, which is that “Weight discrimination is as serious and widespread as the issue of ‘obesity’ itself.”

The bulk of medical research suggests otherwise.

There are those who have argued that overweight people can be just as metabolically healthy as those who are of what doctors deem “normal” weight, or those who are underweight, especially if they exercise. But Dionne is not making this argument. In fact, from her opening page, in which she declares “I am in heart failure,” she establishes that she is not a healthy person, and her problems are not only physical; she also has battled extreme anxiety and depression.

She writes, in a chapter about wanting to become a mother, “There’s no doubt I will be a fat mother, just as my mother was a fat mother” and also, “I will be a chronically ill mother, who will often have to prioritize my own health needs above the immediate needs of my children.”

She also acknowledges the ways in which her life became easier after she lost some weight after becoming ill, but says that in some ways this made her sad.

“Whenever I discuss what heart failure has done and continues to do to my body … my feelings are cast aside as people gush about how good I look. ‘You’re beautiful now’ is a common refrain. ‘You’re so small’ is another. What I also hear is: heart failure might have cost you, but sickness has also granted you something more important than your aches and pains.”

There is heart-rending truth here, and much pain bravely revealed.

But the book would have benefited from a chapter in which Dionne considered the ways in which the doctors she dismisses might be right — that obesity, not weight discrimination, is the biggest problem for people who are seriously overweight, that in fact, her obesity might have been responsible, at least in part, for many of her problems.

That is not to say that cruelty is ever justified, and I personally think she should have “accidentally” spilled a cup of water or coffee on the texting guy’s phone. And no, no one needs a diabetes test when they visit a doctor for a sore throat. But there is some reasonable middle ground when the subject is obesity, or at least there needs to be. Right now, it’s all finger-pointing and name-calling even as Americans keep getting larger and sicker.

As likable as Dionne is (but for some revelations that are truly TMI), disappointingly, Weightless breaks no new ground. B-

Album Reviews 23/03/02

Mona Mur, Teen Icon (Give/Take Records)

Having kicked off her rebelliously edgy career during the punk explosion of the ’80s, this German-born sort-of-icon has, through the years, collaborated with such artists as FM Einheit, Marc Chung and Alex Hacke of Einstürzende Neubauten, which places her in the position of fronting as an early prototype of Zola Jesus, or a female aggro-industrial William Shatner, take your pick. She put out an album called Snake Island last year, which had some good S&M club vibes, not that it takes a huge amount of talent to cobble together something that sounds Rammstein-ish, and that takes us to now, and this two-sided single, wherein she covers two songs, Nirvana’s “Smell Like Teen Spirit,” and Siouxsie And The Banshees’ “Icon.” Just quickly, the latter tune goes down easier than the former, as the slowed-down “Teen Spirit” is about two minutes too long. The Siouxsie tune works better, what with its being buried in effects. This is a novelty record for goths, basically. B

Ledfoot & Ronni Le Tekrø, Limited Edition Lava Lamp (TBC Records)

I had Ledfoot (a.k.a. Tim Scott or Footless), an American singer-songwriter and 12-string guitarist who’s had tunes covered by Bruce Spirngsteen and Sheena Easton, confused with current Lynyrd Skynyrd guitarist Rickey Medlocke, mostly because they look quite alike, scrawny, older scarecrow dudes with gray hair. Meanwhile, Le Tekrø is the Norwegian guitarist who founded the hair-metal band TNT. I was expecting a lot of blues-rawk that was long past its sell-by date, but no, apparently what brought these guys together was a love of Dire Straits, or maybe Stealers Wheel, seeing as how this record’s opening track, “Little Rosie,” brings a vibe that’s as close to “Stuck in the Middle with You” as anything I’ve heard in, well, ever. I mean, this is a mixed bag of vintage AM radio stuff, with “Crying’” checking in with a sound that combines Willie Nelson with Roy Orbison. A valiant effort, and I’m sure they enjoyed themselves. A

Playlist

• A whole wagonload of CDs will hit your stores and pirate radio stations this Friday, March 3, so beware the Ides of March, as we enter into literally the worst month of the year, with its teaser warm days that suddenly turn into “one last howling blizzard” that’re always followed by 10 straight days of rain, sleet, grayness, and the realization that you didn’t have enough money to pay all your February bills, and so you eat nothing but Beefaroni for a few weeks and everything feels hopeless and then suddenly the Easter Bunny shows up and you heave a sigh of relief, knowing that it’s just about warm enough to say “who cares about rent anyway” and pack a knapsack and go live under the Interstate 93 overpass.

You know how it is, am I right, but meanwhile there are albums to mention, like Ignore Grief, from Xiu Xiu, the three-person California-based experimental art-rock band whose oeuvre is up to 13 albums now, as of this one, which is the band’s first sine 2021’s Oh No, a record made up entirely of weird duets, for whatever reason. Anyhow, they have a new band member as of now, namely David Kendrick, who was formerly with Sparks and Devo, which is probably why he looks as old as Santa Claus. But never mind that, let’s see if I can tolerate more than a minute of the teaser single “Maybae Baeby,” I doubt it but let’s just see. OK, this is just noise nonsense, a bunch of clanging wind-chime things or whatever, all while some lady recites some deconstructionist manifesto about how everything is sooo confusing and awful. I’d expound further on all this, but my stomach’s had about enough of it for today.

• OK, very good, so next up is The National Parks, with their fifth album, 8th Wonder. This American folk-pop band is from Provo, Utah, a slightly underrated city that’s known for — well, Mormonism and a few pockets of enthusiastic anarchists to balance things out. For the last couple of years the band has gone in a more pop direction, but meanwhile they also embarked on a “Campfire Tour” in which they played intimate shows in small venues, all to prove that they haven’t made up their minds as to what they want to be when they grow up, or some such. Right, so I’m listening to the title track from this new album, and it’s very light and wimpy, like if Guster were possessed by Ben Kweller. It has all the rebellious antiestablishmentarian gravitas of the Brady Bunch Band, but that’s OK, because we can always use a band that begs to be ignored.

• Kali Uchis, a Virginia-born R&B-reggaeton-whatever diva whose real name is Karly-Marina Loaiz, is releasing her third full-length on Friday, Red Moon In Venus. Uchis guested on a couple of Gorillaz songs on their 2017 Humanz album, and her second, Sin Miedo, album did pretty well. The new tune, “I Wish you Roses,” would fit in fine in your Spotify between Lana Del Rey and Mitski; it’s OK overall.

• We’ll close with — good grief, what even is this, Daisy Jones & The Six is a fictional band in a real TV show of the same name, about a Fleetwood Mac-style band in the 1970s, except there’s a real album out, called Aurora, which has a plodding, maudlin single titled “Another Love.” The dude singer sounds like Peabo Bryson a little. Have fun with this nonsense, haters of good music.

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).

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