Waste Wars, by Alexander Clapp


Waste Wars, by Alexander Clapp (Little, Brown and Co., 341 pages)

When you toss a plastic water bottle in a recycling bin, you’re saving the Earth — or so we’ve been told for decades. But in recent years a more disturbing story has been emerging, with evidence that much of the stuff in our recycling bins is not being recycled but is being shipped, at significant financial and human cost, to developing nations.

In Waste Wars, journalist Alexander Clapp goes Dumpster diving for the truth, traveling the globe to witness what he calls “the wild afterlife of your trash.”

It’s a sobering story that’s being compared to Rachel Carson’s Silent Spring, which in 1962 launched the environmental movement with its examination of the devastating effects of pesticides. But Waste Wars is not so much about how America’s garbage is destroying us, but about how it’s trashing other countries.

Clapp’s introduction includes an astonishing statement: “Since the early 1990s, when your discarded Coke bottle first emerged as a major object of global commerce, China had been the recipient of half the plastic placed into a recycling bin anywhere on Earth.” In another decade, he writes, “America’s biggest export to China was the stuff Americans tossed away.”

But China got fed up and stopped accepting the world’s plastic, creating chaos in the global trash trade. “Within months, Greek garbage started surfacing in Liberia. Italian trash wrecked the beaches of Tunisia. Dutch plastic overwhelmed Thailand.”

The richest nations soon realized that the poorest could be counted on to take their waste — not just plastic and the remains of incinerated garbage (all that ash has to go somewhere) but also things like sewage sludge. The garbage and waste shipped to other countries is sometimes processed and sometimes repurposed, but often buried or dumped anywhere a truck driver thinks he can get away with it. In some areas sewage sludge has been broadly distributed and then paved over with “roads to nowhere.” In one area of Kenya, there are acres of six-story-high trash mountains seeping a poisonous soup that mosquitoes won’t breed in.

These sorts of arrangements have sometimes been brokered by government officials with no say by the citizens affected. In Guatemala in the early 1990s, for example, 200 families were “relocated” from their villages to make way for the processing of sewage coming from Miami, Galveston and other U.S. cities. In Turkey, a Kurdish farmer watched a truck stop outside his citrus groves, dump a load of garbage and light a match, the resulting fire nearly destroying his livelihood in the coming years.

Then there’s the e-waste. Clapp travels to a place in Ghana known as Agbogbloshie, which is a slum in which much of our electronic waste winds up. Perhaps, he says, your first cell phone and Game Boy, your DVD player, your college laptop, perished here. He writes about “enterprising young men in Ghana who have spent their lives rummaging through the piles of keyboards, desktop monitors, and smartphones that waste brokers in rich countries have shipped to Agbogbloshie; they are seasoned at restoring these busted electronics back to life — and, on occasion, using them to conduct epic long-range fraud against residents of the countries that sent them.”

At the same time, he writes, Agbogbloshie has become “a byword for ecological ruin.” Chicken eggs there contain high levels of chemical compounds, making them “probably the most poisonous on Earth.”

And yet the enterprise provides jobs. Clapp describes what he calls a “de-manufacturing line” — young men who sit for eight or nine hours a day dismantling and smashing trash: “old ceiling fans, motorcycle mufflers, speaker systems.” It is ironic, he observes, that some of the discarded objects being destroyed contain the world’s most advanced technology and yet it is backbreaking human labor — “of an almost unimaginably archaic kind” — doing the destroying.

Unfortunately, the problems Clapp uncovers have no easy fix, driven as they are by consumer demand for products that don’t just become waste themselves but produce waste, are literally wrapped in waste, every step on the way to your house, from their production to their packaging to the cash-register receipt you receive.

The book sometimes feels a bit like a lecture in which Clapp is chastising each of us for the contents of our closets and refrigerators. And yet we needed that Game Boy, didn’t we? Yes, water bottles are bad, we get it, but for many of us, so is our tap water. It’s easy to see the problem, not so easy to see the solution. Unfortunately, Waste Wars offers no way out of the mess we are in.

At the beauty store where my youngest daughter works, they recently tried to reduce plastic bag consumption by discontinuing plastic bags and offering a paper bag for 10 cents. They had to return to plastic bags within a few months because customers were so angry, they would storm out of the store.

Other countries are being more hard-nosed. In Indonesia, which is said to be the third largest contributor to plastic in the ocean (behind China and India), stores in Jakarta banned single-use plastic bags five years ago, levying a fine that amounts to $1,800. Dubai is building an enormous incinerator that it says will burn what amounts to a thousand trucks full of trash every day. But Indonesia also has plastic being sent there from other countries, and incineration has environmental costs of its own.

Depressingly, Clapp admits at one point, “As long as plastic keeps getting physically diverted by those who consume it the most, the farther from public concern — and political action — it is likely to remain.” Waste Wars is an eloquent and deeply researched call to action, even as it’s frustratingly unclear about what that action should be. AJennifer Graham

Album Reviews 25/04/10

Ingrid Laubrock, Purposing the Air (Pyroclastic Records)

Her fully caffeinated handlers describe Laubrock as an “experimental saxophonist and composer interested in exploring the borders between musical realms and creating multi-layered, dense and often evocative sound worlds.” In this album the composer pairs single instrumentalists with lone vocalists to futz with the poetry of African-American poet/essayist Erica Hunt, whom I’d imagine might be a little taken aback (or totally not) by this LP, which, at 60-odd short compositions, is a Whitman’s sampler of modern alienation, its half-written/half-improvised passages offering seemingly random bite-sized chunks of psychic turmoil. There are sing-song thingies about kites, general observations on everyday items and such (I lost track), fleshed out musically by an acidic, often noisily played cello for the first 16 pieces (undergirding Fay Victor in noise-scat mode) and a much tamer but equally animated piano, played by Matt Mitchell for the next set, over which our old buddy Sara Serpa unleashes her inner songbird (as in actual bird, seemingly). If you want unapologetically urban ambiance, this is one-stop shopping. B+ —Eric W. Saeger

Art Nation, The Ascendance (Frontiers Music s.r.l.)

Seems to me — mostly because I haven’t heard a lot of this kind of stuff — that melodic metal may be starting to move in an emo direction, that is unless this Swedish trio is startlingly original. Here we have the speed of Good Charlotte and the hormone-tugging angst of Trivium without the low end; I suppose the short version is Iron Maiden as its most highly evolved Pokemon character, if that makes any sense. The thing these guys do really well is bring the hooky, operatic melody without making it as indecipherable as those things can get; there’s almost no punk element to this tuneage but it’s quite powerfully done. And boy, the sound is pretty huge, which one wouldn’t expect from a trio, not that that can’t be explained by multi-tracking of course, but yeah, they shoot for the rafters. Past the obligato ballad (“Julia”) you’ll find songs like “Lightbringer,” which is like a cross between King Diamond and Pendulum, i.e. next-gen tech metal. High marks for sure. A+ —Eric W. Saeger

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Happy weekend, rock fans, it’s your weekly ray of musical sunshine and blind hope for humanity, back with another fresh Dumpster-load of albums from rock stars, nepo babies, comedy bands whose silly monkeyshines amuse unfunny people, and whatever else is in this list of new records coming out on April 11, don’t mind the stench, I hope you guys all brought clothespins for your noses! Jeezum crow, look at all these darned albums, durn burn it, this is gonna make a freakin’ mess! Since I probably should, I’ll launch the festivities by drinking five much-needed fingers of scotch and heading to the YouTube matrix to listen to something from Wisconsin-based soft-rocker Bon Iver’s (pronounced “BONE ee-VAIR” for you readers who couldn’t care less about mispronouncing his name and will continue to do so regardless, sticking to the New England-centric pronunciation “Bawn EYE-vah”) new album, SABLE fABLE, see what he did there, with those modern Latin alphabet letters [shocked face emoji]? No, I kid Bon Iver, his first record was done in total DIY fashion; he played a borrowed old Sears brand Silvertone guitar, which has become sort of a cult instrument among musicians, hilarious as that may seem. I don’t hate those things myself; my first guitar was a 12-string Silvertone, and its sound was pretty neat, so I won’t argue about it, but that doesn’t mean I approve of any Bon Iver music I’ve ever heard, because I don’t, but maybe this new record will change my mind about this crazily overrated dude, let’s go. So the album opens with “THINGS BEHIND THINGS BEHIND THINGS” (in which Mister Ivah continues his capitalization gimmick, which, to the average reader, is pretty rude, like getting yelled at on Facebook by someone who really, really wants you to LEAVE ELON MUSK ALONE). With all that capitalization stuff I assumed I’d be hearing a new Ivah-meister, maybe even packing a little aggro-metal attitude, but nope, it’s yet more sleepytime music for awkward millennials, just like during the Aughts, when Ivah-bro was relevant, when millennials hated music and music hated them back. I suppose the tune is nice if you ever wanted to hear Coldplay doing some unplugged twee-Americana hybridization, so if that interests you, by all means, go buy this album and stay away from me on my socials, that’d be great.

• Speaking of the Aughts, look who it is, guys, it’s OK Go, with a new album, And The Adjacent Possible! You rock fans all remember when this Chicago band filmed the most epic music video of all time for their yelly indie-pop song “This Too Shall Pass,” the one where they built a gigantic Rube Goldberg machine (you know, like the kids’ game Mousetrap, but a million times more elaborate) in a warehouse and it was awesome, right? Well, times change, so the video for the new single “A Stone Only Rolls Downhill” is a wickedly elaborate shoot that involved 64 smartphones; the tune is kind of like something you’d hear if Maroon 5 were kinda funky. They’ll be at the Royale in Boston on May 30.

• Ecstasy-gobbling Norwegian soundsystem Röyksopp releases True Electric on Friday; it looks like a bunch of re-rubs of their more explosive techno tunes. Fever Ray guests on a version of “What Else Is There” that’s basically a repeat of the Trentemöller remix you may have heard on the HBO show Entourage back when our planet was still managed by dinosaurs and giant dragonflies.

• Lastly it’s the posthumous album from Flaming Lips fixture Nell Smith, Anxious. The title track is a pretty little twee-ish mid-tempo thing; the only thing wrong with it is the occasional tremolo effect on her voice (probably Wayne Coyne’s dumb idea). —Eric W. Saeger

Featured Image: Ingrid Laubrock, Purposing the Air (Pyroclastic Records) & Art Nation, The Ascendance (Frontiers Music s.r.l.)

Heartwood, by Amity Gaige


Heartwood, by Amity Gaige (Simon & Schuster, 320 pages)

“Any woodsman who says he’s never been lost in the woods is a liar. It’s inevitable,” says Maine game warden Beverly Miller in the opening pages of Heartwood, a new novel about a woman who goes missing while hiking the length of the Appalachian Trail.

“Up here, we tend to think of being lost as something you can be good at,” Beverly, who goes by Lt. Bev, explains. But for some people who get lost in the woods, panic sets in, and “loss of mental control is more dangerous than the lack of food or water.”

And with that, we are propelled headlong into the search for Valerie Gillis, the 42-year-old nurse who vanished about 200 miles from the terminus at Mt. Katahdin, where she was supposed to end her three-month trek. Valerie’s voice is present throughout the novel, however, in letters she is writing to her mother as she tries to stay alive in what’s known as the Hundred-Mile Wilderness, growing weaker by the day.

“The first thing I should say is that you were right. You didn’t want me to hike the Appalachian Trail,” she writes, acknowledging that a “thru-hike” — the insider’s term for walking the trail straight through — “isn’t a reasonable thing to do.”

“Anyone who wants to walk two thousand miles in a row does it because they find beauty in the unreasonable. All that misery, that’s the point. The high probability of failure, that’s motivation,” she writes.

Meanwhile, her parents and husband are part of a search effort that grows larger as each day passes, even as the odds of finding her alive drop as the days tick on. “Ninety-seven percent of the time, we find lost people within twenty-four hours. The other 3 percent, we know those stories like scripture,” Lt. Bev says.

The story unfolds, not only through the narration of the game warden leading the search effort, and Valerie’s letter, but also through the eyes of Lena Kucharski, a 76-year-old disabled resident of a retirement community who becomes something of an an internet sleuther, eager to help in the only way she can.

Interspersed throughout, we are introduced to people who met Valerie on the trail — members of her “tramily,” as AT hikers call each other — as well as various tips that are phoned in by psychics, do-gooders and other concerned people. While it’s assumed there has been some sort of accident that has befallen Valerie — maybe a bad fall or medical episode — there is also the concern that someone she came across in the woods harmed her, and or that even someone she knows was involved in her disappearance.

Meanwhile, we learn of a secretive facility near where Valerie disappeared, a real-life military operation identified by the acronym SERE — Survival, Evasion, Resistance and Escape — which is training for members of the Armed Forces and civilian contractors who might one day be trapped behind enemy lines. It sounds like the stuff of video games, but a SERE facility exists in Rangeley, Maine, among other locations.

The story has good bones, for sure, but its heart is in the development of four characters:

– Valerie, who became a nurse to “fix things” but was exhausted by the challenges of caring for patients during the first year of the Covid-19 pandemic; who had come to question her love for her husband while on the trail, where she assumed the name “Sparrow” while making new friends and writing quirky trail poetry like “Ode to My Spork.”

– Bev, one of only two female wardens in the state, an imposing 6 feet tall, but with a mother, now dying, who didn’t understand her daughter’s line of work: “It’s just so unusual. For a woman to want to drive around chasing criminals,” she’d said.

– Ruben, the 260-pound Black man who decided to hike the trail on a whim and became Valerie’s companion for a while and kept her laughing with his stories of trying to find hiking clothes and boots that fit, while also trying to fit in, so to speak, on the trail: “Man, do you have to be friendly when you are a Black man hiking. You have to start waving, like, a mile away. ‘Hey, ya’ll! Beautiful morning, innit?”

– And Lena, the lifelong voracious reader who lives alone in a retirement community, where she rebuffs the attention of other residents in favor of foraging for edible plants and chatting with an internet friend who goes by the name TerribleSilence.

Gaige gives all of these characters such warmth and depth that they could each hold up a novella on their own, but she weaves their stories together and manages to keep the tension thrumming until the last few pages.

As someone who has technically been on the Appalachian Trail but never felt the compulsion to actually hike it, I found this story compelling not only as a novel but in its ample nonfiction detail. Gaige, the author of four other novels, hung out with real-life game wardens in Maine and heard their stories while researching this book, and it is full of the language, customs and experiences of thru-hikers.

Gaige has said she has been long haunted by the story of a 66-year-old hiker who died of starvation and exposure after getting lost in Maine in 2013. There are similarities between that hiker’s story and the fictional Valerie Gillis’ — both started their trek in Harpers Ferry, West Virginia (Valerie plans to complete the upper stretch, then the lower), and like the real hiker, Valerie is afraid of the dark and takes anxiety medication, making a terrible situation even worse.

In simple and sparse narration that blooms with lyrical descriptions of New England landscapes, Heartwood manages to be part mystery, part thriller, part how-to-hike-the-Appalachian-Trail guidebook — or it might convince you to never set foot in the woods again. Either way, start Heartwood and you’ll likely be a thru-reader, all the way to the end. AJennifer Graham

Featured Image: Heartwood, by Amity Gaige (Simon & Schuster, 320 pages)

Album Reviews 25/04/03

Michael Rudd, Going to the Mountain (Invisible Road Records)

Although one would naturally assume that Bob Dylan viewed Townes Van Zandt as a competitor, the two were quite respectful of each other; like the Stones and The Beatles, one couldn’t exist without the other. Thus we could wax hyperbolic and say that there are only two types of roots-folk fans in the world, and this K-8 school principal, an Albuquerque resident who left New Jersey to concentrate on writing, lumps into the “darker please” category, preferring muddy examinations of slovenly desperation to Dylan’s more laissez-faire, metaphor-stuffed acquiescence. Rudd’s second album begins with “Before The Demon Came,” and immediately comparisons to Eels and Tom Waits spring to mind, along with the usual suspects, T. Bone Burnett and such. In that, the tuneage is more appropriate for an American civilization that’s creaking awkwardly around on its last legs; sung in a baritone that’s both weary and indestructible, Rudd weaves a tapestry comprising dream fugues (“Going To The Mountain”), quiet soul-searching (“End Of Days”) and spidery unplugged honky-tonk (“Walk My Way”). Boy, would I like to hear local folkies lean into this approach. A+ — Eric W. Saeger

Carriers, Every Time I Feel Afraid (self-released)

This band’s leader/frontperson is Curt Kiser, formerly of indie rockers Pomegranates; in this project his focus is fixed in the direction of War On Drugs (for reference, old people should think David Essex fronting Pink Floyd). There’s a similar airy quality to these songs, and in fact Kiser’s infatuation with WOD is a little off-putting: The title track is a little too close to WOD’s “Suffering” for my comfort, not that that should necessarily dissuade you from checking this out, and besides, a little melodic helium does fit our zeitgeist a lot better than that of Bon Iver and such, especially given that the Aughts-indie period has finally been consigned to the recycle-bin of history where it belonged on Day 1. What am I even saying, you ask? I mean that it’s melodically pure if derivative in spots; where WOD’s “Under The Pressure” is more Joy Division-ish, Kiser selects A-ha’s “Take On Me” as his spirit animal for the push track, “Motion.” Hey, either way, at least I don’t have to stomach more Sigur Ros verisimilitude, put it that way, which is always a good thing. B — Eric W. Saeger

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Hooray, the most pointless month of the calendar is over, good old March, goodbye forever, hasta la vista, arrivadertch, but oh goodie, here comes March’s annoying little brother, April, the month when we all hit Target at 7 a.m. the morning after Easter just to stock up on Reese’s peanut butter eggs at 50 percent off, what else are you supposed to do in April other than start a really inadvisable romantic relationship now that the alcoholic bars are serving their gourmet cheeseburgers outside, when there isn’t a “freak” (in other words normal for April) snowstorm? Well, OK, there’s always that other thing you can do, go to Strawberries or Rockit Records or Bradlees or K-Mart or Amazon to buy bad albums, but you can do that every week, when Friday strikes, with its Easter basket-load of new albums! Just look at this one, streeting this Friday, April 4, a collaborative album between Elton John and Brandi Carlile, titled Who Believes in Angels! Now hopefully, Elton, who recently celebrated his 3,000th birthday at his vampire pyramid-castle, had some vague idea of who Brandi Carlile is when he was doing these recordings and didn’t think she was actually Lorde or Madonna or Brenda Lee, who can even keep up with all this nonsense, you know? In case you’re also a mega-old vampire who doesn’t know who she is: Carlile’s a famous folk-rocker who wrote a bunch of tunes for Tanya Tucker, so maybe Elton’s handlers told him she was actually Alison Krauss (of frequent Robert Plant-collaboration fame) to get him on board, but either way, I’m sure the circumstances of their collaboration are bizarre indeed, but belay all that, folks, let’s go listen to the title track of this collaborative collaboration between the 3,000-year-old mummy-vampire and Carlile, whom some of us professional rock journalists refer to as “No, Not Bonnie Raitt, The Newer One.” Yikes, you should see the video for this song, they’re trying to revive Elton’s most famous antics, the stage set in the video revolves around his Captain Fantastic-era optics, you know, when he was into high nonsense-art a la Hieronymus Bosch (but nice!), and then we move to the song, which is in the same vein as “Candle in the Wind,” Elton’s famous ode to Princess Diana. What am I saying? Well, basically I’m saying that there was no need for this mutually collaborative collaboration-a-thon to ever happen, but I’m sure there are some 80-year-old National Enquirer readers who’ll love it, and Elton looks really good for someone who’s been preserved in a Dracula coffin with ancient tanna leaves since Carter was president.

DOGGOD also comes out on Friday; it’s the third album from L.A. Witch, an all-girl garage band that launched when the singer’s boyfriend forbade her from playing with male musicians, and instead of dumping him on the spot she decided to go with it, because boyfriends don’t just grow on trees, you know. “The Lines” is a cool ’80s-goth-dance thingie, evincing the band’s love for The Gun Club (and by extension X-Ray Spex, but don’t tell them that). It’s fine, sure.

• And yadda yadda, here’s another one, The Ophelias, with their new LP, Spring Grove! Oh, it’s not the California psychedelic band, it’s the Ohio indie band, what are we even doing right now? The single, “Salome,” is a grungy filthy indie-grinding mess with a really catchy groove, I approve of these people, whoever they are.
• We’ll put this week to bed with New York noise-poppers Sleigh Bells, who are selling a new album, Bunky Becky Birthday Boy! The single, “Bunky Pop,” is like a Nintendo-ized ripoff of Outkast’s “Hey Ya,” and yes, it’s as artistically important as it looks. — Eric W. Saeger

How to Win at Travel, by Brian Kelly


How to Win at Travel, by Brian Kelly (Avid Reader Press, 304 pages)

It’s hard to say whether Brian Kelly really founded the travel website known as The Points Guy, or whether his father actually did, because it’s Kelly’s father who set him on this path. When Kelly was 12, his dad let him arrange the family’s vacation using points he’d accumulated from airlines and hotels, and a traveler influencer was born. Before he even had a driver’s license Kelly was hooked on the game: how to travel the world, in style and at minimal cost.

As an adult, he went on to start a website in order to share his strategies, and “The Points Guy” took off after he was featured in a New York Times article in 2011. Now Kelly is a dad himself, he’s sold the website, and he has compiled a couple of decades of travel wisdom into a book that arrives just in time to help navigate your summer vacation.

Kelly calls this the “platinum age of travel,” arguing that it’s never been cheaper and easier to go so many different places if you know what you’re doing. Problem is, he says, most people don’t — unless they travel a lot for business, or grew up in a family that had the resources to travel, most people have never learned to travel well — it’s not something that’s taught.

“You may think travel is horrible across the board, but it’s amazing when the system works for you. When I travel, I rarely wait in lines. I don’t pay for food and drinks in airports. You can do the same, and I’ll show you how,” he promises.

Kelly begins by inviting readers to decide on “travel goals” and to set a travel budget, which right away may lose him some readers whose travel budget allows a day trip to Worcester, Mass. There is a smattering of generic advice in this section, some of which seems obvious (“Stay at hotels if safety is a concern or if you’re traveling alone”), but some of which is surprising (he advises travelers to wear backpacks on your front in crowded areas lest a thief slice the bottom of your bag without you knowing it). There’s high season and low season for travel, but there’s also “shoulder” season, the bridge between the two that is often the best time to go. And so forth.

From there, Kelly organizes the book into how to win at different aspects of travel: booking, earning and redeeming rewards, accessing perks, navigating lines, traveling with family, staying healthy, dealing with problems that arise, and managing fear of flying.

Again, some of the information he shares is intuitive: Your odds of having a flight delayed or canceled are the lowest earliest in the morning, for example. The more prestigious airlines (read: Delta) are usually more reliable. Where he gets into the granular stuff is where it gets interesting, as in one of his tips for booking cheaper flights. If you are, for example, in Oklahoma City and want to go to Tokyo, he advises that you buy a ticket from Oklahoma City to Los Angeles, and then book a separate flight from Los Angeles to Tokyo, thus (by his calculations) making the trip half of what it would have cost booking from Oklahoma City to Tokyo. This is a practice that travel junkies call repositioning flights.

The points and miles redemption chapters are where Kelly gets deep into the weeds, and readers will need to already have some knowledge of this game, or a burning desire to learn, or a couple of over-the-counter headache relief pills to keep up. He describes the machinations involved in getting the best values by accumulating points and moving them around and looking for “sweet spots” and planning “open-jaw” itineraries. (To be fair, Kelly does acknowledge, “If you’re a beginner, this chapter may get confusing.”)

Nor did I particularly enjoy reading about all the luxuries that all you people with access to airport lounges are enjoying while I’m waiting outside my gate. (You have showers? And buffets and VIP customer service?) I’m getting a bit grumpy at this point, I will acknowledge, since Kelly had promised me that I, too, could enjoy all the perks he’s enjoying, but he didn’t mention that I might need a Platinum Amex and elite status on Delta (which requires spending $28K a year).

As for easing the pain of lines, his advice is not novel (TSA PreCheck, CLEAR and Global Entry), and there have been reports lately of PreCheck lines being longer than regular since so many people have it, so that’s not even guaranteed to help.

Things get interesting again in the “flying with families” section because, despite having flown with four kids over two decades, I did not know that there is a debate over whether children should fly in first class (Kelly has done so) and that some people fly with “sorry gifts” to offer people who are upset by their crying or misbehaving children — like George and Amal Clooney, who once gave noise-canceling headphones to others seated near them on a flight. (Kelly’s against it — “Babies have a right to fly just like anyone else, and these types of gifts set an unnecessary precedent that we need gift packages to tolerate small humans.”)

Finally, Kelly offers some valuable nuggets on dealing with the inevitable problems, such as politely asking to be upgraded to first class on a flight to make up for the inconvenience if you are bumped from a flight or miss a connection because your flight was delayed. He also suggests contacting the airline via a DM on X if your flight is running late, asking them to “protect” you (hold a seat) on another flight in case you miss your connection. “Not all airlines will do this, but it never hurts to ask. Plus, asking to be protected makes you sound like a pro traveler and someone they want to keep happy as a customer.”

Kelly is a likeable guy who is enthusiastic about what he does, and he can make you think a little harder about how to improve the travel experience for you and your family. It’s unlikely that this book will overhaul the travel experience as promised for the casual traveler, and it feels a bit long for the amount of useful information gleaned. But at least those of us still without lounge access can save money by dispensing with the “sorry” gifts. B-

Featured Image: How to Win at Travel, by Brian Kelly

Album Reviews 25/03/27

Idle Heirs, Life Is Violence (Relapse Records)

Relapse continues to be one of the two or three (tops) metal-focused record labels I actually appreciate getting new stuff from, and the debut LP from this Kansas City crew is yet another spine-crunching assault, if you’ll pardon the metal-centric hyperbole. The “RIYL” (“Recommended If You Like”) list, so they told me, includes Deftones, Mogwai and Cult of Luna (in all honesty I was pleased that anyone knew Cult Of Luna even existed) and that’s right on target. I’d also add Isis as a more-or-less-soundalike, not that this record is as, I don’t know, polite as those guys; what I refer to is the raw intensity. We start with “Loose Tooth,” which lifts off with one of those balladic-acoustic patterns, with Coalesce singer Sean Ingram floating in mellow mode for a bit, and then the thing just explodes as Ingram lets out a Crowbar-worthy yowl that seems to go on forever (it sort of made me chuckle insanely, thinking about the last time a tooth was bothering the heck out of me). Anyway, it’s all overhead-speaker ambiance for Hell, as promised, not for the squeamish. A+

Roi Turbo, Bazooka [EP] (Maison Arts)

Fun act here, comprising two brothers named McCarthy, who grew up in Cape Town, South Africa, with music-loving parents and abandoned their drum lessons for autodidactic strategies (Conor played along to Bloc Party records; Ben learned via YouTube). I liked ’em already just based on that, but what’s even more hilarious and exhilarating is the underlying gay-disco-but-not-quite-gay-disco vibe of “Super Hands” on this five-songer. It’s pretty relentless, really, semi-seriously dabbling with Afrobeat and subsonic Aughts-era house cavitation; it made me think of YouTube’s Hulett Brothers, you know, the guys who do the trick shots with ping-pong balls and whatnot. These are party jams for sure, mildly gritty, slightly Ed Banger-ish instrumentals guaranteed to get heads a-bobbin’, for example “Dystopia,” with its faux-yacht-techno steez, which is punctuated with monkey sounds and ’70s-pop sweetness. They’ll be (very appropriately) supporting Empire Of The Sun at The Music Hall in Boston on May 24. A+

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• And lo, unto the masses the lord (or someone pretending to be Him) commanded from his brunch table, “Let there be new albums dumped unto those peeps on March 28,” and thus it will be, this Friday, because I have no say in the matter! Yes, it’s another new release Friday, as we await “second winter” after a bunch of 60-degree days, but I’m ready for it! Why, you ask? Because I stored a turkey in our freezer in January, back when Market Basket was charging negative ten cents a pound for them or whatnot, so when this year’s Second Winter’s cruel frost sets in, I am going to be eating Second Thanksgiving Dinner, in my house, and then an entire blueberry pie, and then Petunia and I are going to go Christmas caroling in our neighborhood, dressed like Grinches, for the amusement of all the little children! Important note, I saved last year’s Detroit Lions’ Thanksgiving Day game on DVR, so I could watch it on Second Thanksgiving, so please don’t message me to tell me what the final score was, that’d be great, I just want to enjoy Second Winter in style, snoring on the couch! But where were we, oh yes, albums, and look at this, guys, the first thing to hit my radar is none other than Based On A True Story, the first album in 20 years from insane slapping person Will Smith! Wow, so that explains why he keeps coming up in “my socials” and by extension why my Twitter is full of slapping jokes! I was like, “Why is everyone suddenly making fun of the stupidest moment in the history of awards ceremonies, isn’t that old news,” but this explains it: The guy actually thinks we forgot about that incident with Chris Rock, my third favorite comedian after Doug Stanhope and Elon Musk! Well I’ll tell you, I haven’t forgotten, but I suppose there’s always the possibility that his new duet with Big Sean, “Beautiful Scars feat. OBanga,” will be so awesome and underground-hip-hoppy that I’ll be like, “Maybe Chris Rock actually deserved it for all his rotten ‘literally being a funny person’ antics, can’t we just pretend it’s 1990 again?” Nah, it’s awful; as you know, Big Sean peaked with Detroit 2, this is just corporate-hip-hop nonsense, with Auto-Tune, because of course there’s Auto-Tune. Some online person just said something about “Will should do a diss track of Jada Pinkett Smith and have Chris Rock spit some lines.” Ha ha, wouldn’t that be funny, OK, let’s move on from this horror, I’d love that.

Mumford & Sons, they’re still relevant, aren’t they, or are we already past believing any good music came out in the 2010s? Well, doesn’t matter, the Mumfords’ new album, Rushmere, is getting uploaded to your Spotifys as we speak, and it will include the title track, which is another one of those urgent-sounding galloping-horsie indie-meets-bluegrass tunes those guys specialize in, so yes, it’s cool, if hilariously redundant. You know, they really need to make up their minds about what to do next while they figure out which Vegas theater will give them a residency after their inevitable Grand Ole Opry phase (ack, did that sound cynical, I can never tell).

• Speaking of horsies, there’s pop-metal band The Darkness again, with a new album, called Dreams On Toast, featuring their horsie-voice singer, Whatsisname! The new tune, “I Hate Myself,” sounds like 1970s-era Sweet but super-boring, has anyone ever actually cared about this band, like really seriously, pinkie swear?
• In closing this column, I’d like to say that Deafheaven is still around, as they have a new album coming out momentarily, Lonely People With Power! “Heathen” starts off sounding like Sigur Ros, and then they do their usual black-metal nonsense. I don’t actually hate it, make of that what you will.

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