It’s Hard to be an Animal, by Robert Isaacs

Meet Henry Parsons — although he’d rather you not.

Henry is socially awkward and reticent; he’s most comfortable in the third-floor New York apartment he shares with a roommate he’d found on Craigslist and two betta fish. He likes “sitting on his own frayed, moss-green couch, in the company of familiar books and plates and towels; they gave him a sense of belonging. Life anywhere else in the city required breathing borrowed air, occupying temporary space, infringing on someone else’s territory.”

So the conflict-averse Henry moves cautiously about his life, going to work, seeing a therapist every week, trying to recover from a friendly break-up three years ago. And things are mostly fine until animals start talking to him.

That might be nice if the animals were friendly, like the woodland creatures who helped Snow White clean the Seven Dwarfs’ kitchen. But the animals talking to Henry in Robert Isaac’s It’s Hard to be an Animal are wicked snarky, with a vocabulary that would make a sailor blush. Also, they seem to hate everybody.

The first time it happens, Henry is in Central Park on a blind coffee date arranged by a coworker. Molly Bent, his date, is admiring a bird, which Henry knows is a magnolia warbler, when it unleashes a torrent of profanities at the pair. But only Henry can hear.

Later, when he goes home, he watches in bewilderment as the two betta fish hurl Shakespearean insults at one another. (Example: “Malodorous and repugnant though you be, I am indebted to you for one thing: your cursed, unenviable existence serves as a sobering corrective to my own baser instincts.”)

After a couple of dogs being walked mock a woman who petted one of them, Henry fears he is losing his sanity. The therapist, who always keeps Henry waiting, is of no help at all. But before Henry has a chance to fully process what is happening, a new problem arises: he learns — from a couple of subway rats — that bodies are being dragged into a tunnel below the subway and left there to rot. “Maybe it was all rat bravado,” he thinks. But maybe not.

Meanwhile, an elderly neighbor that Henry is friendly with is hospitalized and asks Henry to pick up her crotchety Pomeranian, who is at the vet. This is an alarming development — not only will it take Henry away from a planned lunch date with Molly, but it will expose him to a disturbing number of animal conversations, as will a later visit to a dog park in the city.

It all sounds quite absurd, but surprisingly this is a novel with unexpected heart, revealed early on, when Henry is asked to watch the young daughter of a co-worker for a few minutes and the two instantly develop a rapport. Henry, we quickly realize, isn’t quite as maladapted for the world as he initially seems.

Nor is Molly, the human sprite who is making Henry’s heart flutter with hope. She is an effervescent soul who works at an anti-poverty nonprofit and, like Henry, has conversational skills above her paygrade. Their banter is as delightful as the baleful betta fish.

Talking animals isn’t a new literary device — hail, Charlotte — but in Isaacs’ hands, these events feel fresh and whimsical, particularly since most of the animals here are full-on trash talkers, contemptuous of the humans that surround them.

“Although he’d grown up with no pets of his own, due to parental allergies, Henry had always accepted as an uplifting, feel-good truth that humans had ‘befriended’ certain animals thousands of years ago, brought them into their warm, dry homes for comfort and companionship, fed and sheltered and doted on them. … Did all our fellow creatures hate us? Every last one of them?”

This is the first novel by Robert Isaacs, who the publisher notes “in his youth supported himself as a juggler and unicyclist on the streets of San Francisco” and went on to become a Grammy-nominated musician.

Whatever his life experiences, they prepared him well for fiction, and It’s Hard to be an Animal is both charming and witty, despite the dark mystery at the center of it. Will Henry and Molly become a couple and survive a relationship-threatening event? Will they survive an REI-outfitted excursion in an underground tunnel looking for the corpses which the rats foretold? How did the corpses get there? Is Henry having a psychotic breakdown? Is he really hearing voices at all? And most importantly, what will happen to the warring betta fish, who are the breakout stars of this ridiculously endearing show?

And we haven’t even talked about Henry’s Eastern European roommate whose burgeoning English vocabulary is informed by a bathroom thesaurus and doesn’t always come across the way he intends. Or Gracie, the Pomarian, whose philosophical observations about the world differ sharply from those of the other animals that Henry hears.

Some books you don’t want to end because they are absorbing; some, because you love the characters so much. It’s Hard to Be An Animal achieves both. A+

Featured Photo: It’s Hard to be an Animal, by Robert Isaacs

Album Reviews 26/06/11

Kristian Montgomery and the Winterkill Band, Soul Family (self-released/Bandcamp)

We’ve talked about this local musician before, including how he lost his home and all his belongings in a fire last year, and about his ongoing battles with the elements that lord over the Boston rock scene. We’re more than casual acquaintances now, online at least, where I heard some rough demos of the songs on this album while they were still babies. Anyhow, as always, there’s a lot of great stuff to be heard here, beginning with opener “This Is How We Roll,” which he’s sculpted into a really amazing tune that combines the beat from The Outfield’s “Your Love,” adds some Allmans hubris and tops it off with a pseudo-Millennial whoop for good measure. That tune also signals a leaning toward riff rock and less Tom Petty pop than we’ve heard before, which we hear in “Brotherhood Of Ghosts,” a cross between Zep’s “Black Dog” and early Mountain. On the lighter side, ballad-adjacent Cajun-rocker “The Last Time I Loved You” floats an instantly hummable verse and some techy layering; “Home” is pure Gregg Allman-style Southern bombast. Sooner or later this guy’s hitting on a hit, I assure you. A+

Rich Willey, Laid Back Vol. 1 featuring John Swana (self-released/CDBaby)

Just in time for the hot weather comes this appropriately named if imperfect collection of seven jazz compositions from trumpet/tuba player Willey and his band of 11 guys, whose sound is slightly bigger than that number would indicate. As far as vibe, you should be thinking Caribbean, Spyro Gyra, reggae and that sort of thing, perfectly innocuous, but it’s not quite as simple as that, given that some of the sounds are a little, well, unconventional, starting with Paul Mutzabaugh’s antiquated-sounding B3 organ, but more to the point is the presence of Swana, the wild card in the deck: He plays an “electronic valve instrument” (EVI), of which Willey is apparently a fan, unfortunately. Where Geof Bradfield and Jim Gailloreto’s saxes fit quite well with the trumpet played by Willey and Carey Deadman, the bizarre, often high-pitched, alien sounds from the EVI become something of an unwelcome distraction and would work much better in a more, I don’t know, progressive setting. Willey loves the thing, though, and wants it to become a more commonplace sound within jazz, which is noble, but, again, I wouldn’t have used it on this album. B-

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• Look out everyone, the next New CD Release Friday looms over us like a, you know, a looming loomosaurus, June 12 to be specific! As you know, I’ll try anything once, and that includes pop divas who want to turn our schoolchildren into twerking zombies. I will give anyone a chance, because I am a professional at this, and professionalism requires constant sacrifice, so for the moment my mission is to try to see why the new Olivia Rodrigo album is more musically profound than the ones from the last few child-ruiners, like Ariana Grande or Sabrina Carpenter. Why do I do things like this? Mostly because when people send me hateful Facebook messages yelling at me for selling out and writing about corporate pop music instead of obscure bands who purposely try to sound weird just to get attention from their former college roommates, I learn things, and it also provides me the opportunity to practice my yelling at people over the internet, which will be a very marketable skill when the AI bots take all our jobs. But I also have a certain curiosity about popular culture, so it’s nice to know what people like Ms. Rodrigo sound like, given that they are hip and groovy and important to our children, sort of like how Cyndi Lauper was in 1986 and Annette Hanshaw in 1934. I do try to spot new pop trends too, not that there’s been much to do in that regard since Madonna discovered trance music and put a bunch of it on her 1998 (where does the time go, I ask you) album Ray Of Light, after which most of the new shrinkwrapped, corporate-molded pop divas copied her, the way all the divas ape Chappell Roan (who’s basically a humorless Cyndi Lauper, if you think about it) these days. Anyway, the new Olivia Rodrigo album is titled You Seem Pretty Sad For A Girl So In Love, a Chappell Roan-inspired title if I ever saw one, but apparently there is depth to this vacuousness, as the LP is divided into two parts: One side is dedicated to first love, and the second half is about how being in love won’t solve your anxieties and personal problems (such depth, folks! I’ll tell you, if my first love had been that introspective at age 20, my life would have turned out differently, that is unless it wouldn’t’ve). The single “Drop Dead” starts out all slow-techno-y, like Chappell Roan, then the epic chorus comes in and it totally rips off Chappell Roan’s “Casual” but all the children will be too scared to say anything, so all this derivative nonsense will continue until further notice.

• On the older pop diva front, now that Bebe Rexha has reached her mid-30s she’s adopting a “cool auntie” (not my expression, by the way) attitude for her new album Dirty Blonde, her first record to be distributed independently under Empire Distribution. Free at last to do whatever she wants, her main goal is to “sound unlike anyone else,” so let’s go see about that. The second single, “Sad Girls,” features Rexha teaming up with boring house producer David Guetta but nevertheless it is good, mostly because it sounds like half the songs trance soundsystem Above & Beyond did during the Aughts (anyone noticing a pattern yet?).

• Until now, Fruit Bats albums have mostly comprised Eric Johnson playing over click tracks, but the new one, The Landfill, features his actual band. The title track actually does have a pulse, sort of like Smashing Pumpkins meets Train.

• Lastly we have prog legends Yes, with Aurora, an album whose seven-minute title track showcases some fairly cool guitar bits from sole original member Steve Howe, some orchestra stuff from the Czech National Symphony Orchestra, and some particularly lifeless vocals from Jon Davison, whom the band should fire.

Featured Photo: Kristian Montgomery and the Winterkill Band, Soul Family and Rich Willey, Laid Back Vol. 1 featuring John Swana

Like an 8-hour movie

A look at some TV with movie ties

With The Mandalorian and Grogu putting TV in movie theaters, let’s look at some movie-flavored TV.

The Other Bennet Sister is currently in the final third of its 10-episode run on streaming service BritBox. Whether you’re a fan of the Jennifer Ehle-Colin Firth 1995 Pride and Prejudice BBC miniseries or the Keira Knightley-Matthew Macfadyen 2005 Pride & Prejudice movie, this sequel/sidequel miniseries based on the book by Janice Hadlow is worth a $10.99 one-month BritBox subscription. (The 1995 miniseries is available on Britbox and Peacock; 2005 is available for rent or purchase.) In Jane Austen’s book, Mary was the spinster-in-training sister of the five Bennet girls. Here, the action for Mary (Ella Bruccoleri) really begins after the death of her father. Mary heads to London to serve as governess for her uncle, Mr. Gardner (Richard Coyle), and aunt, Mrs. Gardner (Indira Varma), and she’s introduced to a new circle of family friends.

One of those friends, Thomas Hayward (Dónal Finn), seems as nerdily smitten with Mary as she is with him but he unfortunately has a preexisting “understanding” with the kind Ann Baxter (Varada Sethu). While Mary breaks out of her shell, she still sometimes finds herself trapped in her “the awkward one” persona, especially when she runs into Caroline Bingley (Tanya Reynolds), one-time Lizzy-competitor for Mr. Darcy’s affections. Caroline pours on the mean girl when she realizes that Mr. Ryder (Laurie Davidson), the new fella she has her eye on, has his eye on Mary.

This TV show very much catches the tone of both book-Austen and the beloved BBC series. Bruccoleri, who I probably only knew from her role in Call the Midwife, does a good job of selling both Mary’s initial awkwardness as the quiet one in a family of bigger personalities, and the character’s hero’s journey through the marriage market.

Want more of Mary’s cutie Dónal Finn? Catch him on Young Sherlock, released in March on Amazon Prime Video. Though not necessarily of the Robert Downey Jr. Sherlock Holmes movie universe, it does share those movies’ director, Guy Ritchie, who co-created the show and directed two episodes, according to Wikipedia. Ritchie gives us characters who, in tone at least, could age into the people we meet in Sherlock Holmes and Sherlock Holmes: A Game of Shadows (both available for rent or purchase), particularly when it comes to Finn’s James Moriarty, just a hot-headed student at Oxford here. He seems to permanently wear a bemused smile and encourages young Sherlock (Hero Fiennes Tiffin) in assorted hijinks. Sherlock is sent to Oxford to serve as a porter as a way of keeping him out of trouble — a plan by his older brother Mycroft (Max Irons, son of the Jeremy Irons) to keep his younger brother from messing up his budding government career. Sherlock and Moriarty quickly find themselves tangled up in assorted crimes that all seem to lead to larger conspiracies, and the show has buoyant fun with the various capers and ye olde spycraft. And yes, the Sherlock actor is one of those Fienneses (a nephew of Joseph Fiennes who shows up to play the Holmes boys’ father).

Another TV show running sort of in parallel to its creators’ movie universe, also on Amazon Prime Video, is the eight-episode late May release Spider-Noir, starring Nicolas Cage, who also voiced the Spider-Man Noir character in 2018’s Spider-Man: Into the Spider-Verse (available on Netflix), though the show’s Wikipedia page says that this character is a different version than the one in the movies. Here, Ben Reilly (Cage) is the rumpled 1930s gumshoe who was once the masked crimefighter The Spider. Though he still has web-slinging and spidey-sense abilities, Ben gave up the fight five years earlier when his fiancee was killed. That doesn’t stop his friend, reporter Robbie (Lamore Morris), from trying to convince Ben to get back in the game as the city sinks under the crime and corruption caused by Silvermane (Brendan Gleeson), a mob boss with his fingers in all the pies. All dames and crooked cops and scampy street urchins, this series (which I am a few episodes into) is a fun watch that won me over with its classic detective mystery vibes and its smart deployment of Cage’s whole goofy deal. And you can watch the show in black and white or color — while the color has its charms, I particularly enjoyed the shadows and rich contrasts of the black and white version.

A direct movie-tie-in series is Disney+’s eight-episode Wonder Man, a “Marvel Spotlight” series released in January, which features the character Trevor Slattery (Ben Kingsley), who first appeared in 2013’s Iron Man 3 and later in 2021’s Shang-Chi and the Legend of the Ten Rings. (Both are on Disney+.) Introduced as the terrorist “The Mandarin” in Iron Man 3, Trevor is actually, as Tony Stark discovered, a middling actor who agreed to play the part of the villain in exchange for a good-time mansion and an endless supply of drugs. Here, he meets our hero Simon Williams (Yahya Abdul-Mateen II) as both men are at an audition. Williams, who has just had his small guest part cut from a TV show after he had too many ideas about his role, is desperate for work, especially for a role in the upcoming reboot of Wonder Man, Simon’s favorite superhero movie as a kid. Simon works to convince his agent, the film’s casting director and the film’s director that he can be Wonder Man — while also trying to hide that he kind of is Wonder Man. Because of a tragic (hilarious) incident that led to the disappearance of Josh Gad (gamely playing himself), studios won’t let actual superpower-having people work in Hollywood. The unmasking of Simon’s powers — kind of non-specific, energy-related abilities — is his greatest fear, as it would mean the end of his Hollywood ambitions.

His ambitions make Simon a regular-guy super, not an Avenger wannabe. And his relationship with Slattery — who has his own secrets as well as long-standing actor-y issues, such as his rivalry with Joe Pantoliano (also gamely playing himself) — give this show an enjoyable The Studio sensibility.

Also in the Hulu-verse, you’ll find the just-finished first season of The Testaments, a sequel to the Hulu series The Handmaid’s Tale but a show that, perhaps because of its star Chase Infiniti, feels like it shares some vibes with Oscar winner 2025’s One Battle After Another as well. Like Infiniti’s Willa in One Battle, her Agnes in The Testaments is a teenage girl doing teenage girl things (going to dances, trying to assert some independence from her home life) during weird civil unrest. The Testaments picks up in the alt-America country Gilead, a Christian theocracy that segregates and oppresses women, where Agnes is expected to soon marry and “be fruitful.” A student at a finishing school for the daughters of the elite men of Gilead that is run by Aunt Lydia (Ann Dowd), Agnes is assigned to show the ropes to recent convert Daisy (Lucy Halliday). Or maybe Daisy is meant to spy on Agnes, as her fellow girls at the school warn her. What we in the audience know is that Daisy is a spy — an anti-Gilead plant picked by former handmaid June Osborne (Elisabeth Moss) herself to infiltrate the school.

As the series goes on, we see Agnes develop a kind of steely strength and absolute loyalty to her friends that feels very spiritually connected with the government-fighting rebel-in-the-making that is Willa in One Battle. Infiniti also does a good job of selling the teen-girl-ness of Agnes, who, as Daisy explains in a later episode, has regular teen girl feelings and desires despite the oppressive society she’s growing up in. The relationships between the school’s girls — the ones headed for marriage, the ones who fear they might be left behind — is compelling and keeps you watching even when the Gilead of it all feels too much. (And if you need some “viva la revolución,” One Battle After Another is available on HBO Max.)

Featured photo: The Other Bennet Sister

Yesteryear, by Caro Claire Burke

(Alfred A. Knopf, 391 pages)

One of the stranger things to emerge from the internet is the tradwife influencer, a woman who uses the most modern of technology to promote a lifestyle that is decades or even centuries old.

Natalie Heller Mills is that woman, though the fictional creation of Caro Claire Burke’s soon-to-be-blockbuster novel Yesteryear. Think Ballerina Farm or Nara Smith or any other influencer with millions of followers who makes her own butter in which to fry eggs that she has collected from her yard in a flowing dress. Then give her an affable, aimless husband who is part of a political dynasty, a $5 million infusion in cash and a staff. It’s a novel made for our time, which is why Amazon has already acquired the film rights.

Burke brings a cynical eye to the enterprise, not so different from the “Angry Women” in the Instagram comments that Natalie is always complaining about. A blurb on the book cover calls it a “bold and biting satire,” but it’s darker than that, and Yesteryear tests how long a reader is willing to stick with a narrator who is deeply unlikeable.

When we meet Natalie, on “the last day of the life I imagined for myself,” she is living her best life, or at least the best life she presents to the world, on a 500-acre farm in Idaho, where she lives with her husband, Caleb, and five improbably named children: Clementine, Stetson, Samuel, Jessa and Junebug. Other than giving birth, she does very little mothering. Or farming. Two nannies who share small quarters in a barn do the child care and homeschooling, while Natalie mostly putters about being filmed while she does things like make sourdough boules with herbs positioned in the shape of a Nativity scene.

Natalie’s followers on social media love her and hate her. She mostly hates them. “It was a symbiotic relationship. I was a shark, and they were five million tiny fish, nipping at the nutrients along my belly,” she observes. “Little idiots. They were desperate to eat me. They had no idea I was the one who was keeping them alive.”

She built a profitable business, follower by follower, by showing them carefully curated images of her idyllic life and then selling them things in her online store. She has no moral qualms about putting her kids out into the world on social media, “Their best selves preserved inside the four walls of my phone like little bugs preserved in amber.”

But there are signs that things aren’t quite what they seem to be. She’s estranged from her sister, who also has five kids, and is mildly obsessed with the career path of her college roommate, Reena, even while having contempt for the life Reena has chosen. Clementine, turning 13, suddenly doesn’t want to be photographed. Her producer and videographer of two years has suddenly given notice, leaving a cryptic note that says, “I don’t think you’re a bad person. I think you’re just confused.” There are allegations of assault and adultery.

As bad as all that is, nothing is as bad as Natalie waking up one morning, freezing cold, in her house that isn’t her house anymore but is a rough cabin with no modern amenities, showing the date as 1855. In this house, she has a husband, also named Caleb, and four children, who look somewhat like hers but aren’t. But they all seem to think she is their mother.

When Caleb and Natalie had moved into the ranch they called Yesteryear, they’d spent untold money gutting it of modern renovations and making it look old but in a luxurious way: It had modern kitchen appliances but all hidden from view, a clawfoot tub “dripping in natural light” and a $30,000 chicken coop with doors that open and shut automatically. This was pioneer living, the kind that her great-great-grandparents lived. Terrified, she tries to flee, but finds this new version of her husband has turned abusive.

From there, we go back and forth into Natalie’s old life, and Natalie’s new life, slowly learning how the magical, fictional Yesteryear world came to be, and trying to figure out, with Natalie, how and why she came to be in this new, horrible place. Is it a reality show that she’s been deposited in without her consent? Is she going mad or being drugged? Which world is real?

It is a long time getting to the answers; Burke has shrewdly plotted this corn maze, although she overplays her hand with symbolism that is rich with contempt for religious zeal. Natalie was raised by a religious woman, and she makes a show of piety herself in ways that at times seem overly calculated. In one memorable line, she muses, shockingly, that Mary Magdalene was a woman who understood her assignment. It’s a line that will thrill the secular elites, but perhaps not land so well in the deep South. Then again, as we learn from the opening pages, Natalie is not meant to win our hearts, but to mess with our heads.

This is not a book that will warm your heart in any way, but it will keep you engrossed as it spins you every which way like a clothes dryer (which you will appreciate all the more for having spent some time in Natalie’s 1855 world). I closed the book wanting to shake it off like a bad dream. Will I watch the movie, which Anne Hathaway has already signed on to? Absolutely, because once she is in your head, Natalie will not easily leave. She’s not the Hannibal Lecter of tradwives, but she’s definitely no Ballerina Farm either — or rather let’s hope Ballerina Farm is no Natalie Heller Mills. A

Featured Photo: Yesteryear, by Caro Claire Burke

Album Reviews 26/06/04

Aaron Bilodeau, Lid Licker (self-released/Bandcamp)

So here is a fellow from Milford, N.H., whose trip is experimental art-rock, unless he’s pulling my leg, but I’m now pretty much convinced he isn’t. The latter bit I have to mention because this was nothing like I’d expected in the area of loudness (let’s admit it, New Hampshirites, most of our local bands don’t know how to be really noisy) or seriousness, but this guy does seem to be on a mission, bless him. He apparently has a lot of projects, but this is him unfiltered, and by the way, he’s currently looking for Milford-area musicians to do some live shows with this collection of tunes, so look him up on Bandcamp if you’re interested. Anyway, the music is fun in its way, very hard to pinpoint at first, but in the end it evokes a three-way cross between Blue Oyster Cult, Screamin’ Jay Hawkins and Captain Beefheart. To wit, there’s a lot of blues-rock going on here (turbo-powered by a Deep Purple-style Hammond organ and the usual guitars and such), some (a bit too polite) spazzing and a healthy dose of alternative weirdness. I personally think he’s on to something that might really work with the right collaborators, so please give him a shout. B

Midge Ure, A Man Of Two Worlds (Chrysalis Records)

Let me scramble the usual lead-in: What can one say about this 72-year-old Scotsman that someone who was born in the last 40 years should even know? OK, he was in legendary New Wave band Ultravox, but he was also in Thin Lizzy, let’s start there; he hasn’t released an album since 2014, and “Midge” is his real name, Jim, pronounced backward. So he’s a firebrand and a loose cannon, as you now know, but he’s also an elite-level songwriter (he co-wrote the charity single “Do They Know It’s Christmas” for the Band Aid project in 1984) who hasn’t lost his edge or writing ability at all; in fact he’s upped it by embracing his maturation. Half of this all-new double-LP set showcases his songwriting for vocalists, with single “Just Words” reaching for the show-stopping epicness usually reserved for new-jack divas like Taylor Swift, whereas the other half delves into commercial instrumental tuneage that sometimes gets a little mawkish (“The Space In-Between”). Put it this way, don’t pretend to understand what old people grew up listening to without knowing thing one about this guy. A

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• June 5 is when we’ll see the next bunch of new music CDs hit our Soundclouds, but first this message about the Manchvegas music scene! Some of you know that during the Precambrian era, when we were all just amoebas with only slightly less artistic taste than we have now, I was in a punk-metal band that made some records. This was before we amoebas crawled ashore and became humans, at which point I decided I liked money, so I gave up making records and became a software guy, then got totally sick of having any money at all and wrote some books. Anyway, when I was a simple amoeba, making records and playing at local clubs like the Granite Rock Club in Nashua, we played several shows with a local Manchvegas fellow who called himself Jonny (sometimes spelled “Johnee” or “Jonhee”) Earthquake. Now, let me tell you little twerking brats about the Manchester, New Hampshire, rock ’n’ roll scene back when Abraham Lincoln was president, it was a dangerous place, like half the bands were associated with the immortal and hilariously insane punk rocker GG Allin, who used to go on stage and — well, never you mind what he used to do on stage. Fine, I’m getting to it, so, we played around nine million shows with Jonny Earthquake when he was also making albums, and all I knew about him was that he loved Nick Cave the way you kids love Justin Bieber and Raffi today. Back then, Jonny dressed like a pirate everywhere he went, with a Captain Hook hat and coat and the whole works, so if anyone had asked me two weeks ago, “Is Jonny still around,” I would have assumed he’d either become a software engineer, bought an Arby’s or decided to become an actual pirate and moved to Aruba or whatnot. Funny thing, I was in the Manchester Market Basket (pronounced “MAH-kit bass-kit”) the other day and spotted a literal pirate buying some stuff just as I was leaving. There he was! It’s official, Johnee is alive, folks, I had no idea, and he still dresses like — you know, Jack Sparrow, around Manchvegas! We made some small talk about Nick Cave and the corporate greed Apocalypse and I told him who I was, the music-journo dude at this fine family newspaper, and he was like, “Oh. You.” Apparently Jonnee hates my taste or something, or maybe the fact that I’ve never mentioned his band, but I am making amends now! Ahem, OK, kids, put away your Roblox soundtrack albums and go buy a Jonee Earthquake album at Newbury Comics if they have any, that’d be great, support your local pirates bands! And that deftly and sublimely segues us over to the new album from Death Cab for Cutie, a band that’s about as punk as a Lawrence Welk polka marathon! This album, I Built You A Tower, features the single “Riptides,” which I was prepared to hate, which is good, because it’s like a 1970s Bob Welch B-side that doubles as a sleeping aid.

• The title track to Lizzo’s new LP Bitch interpolates the bratty 1997 Meredith Brooks pop hit that everyone thought was Alanis. There are swears and rapping, because of course there are.

Liminal, the new album from avant garde London, U.K., composer Poppy Ackroyd, features a piano-driven instrumental titled “The Unknown” that reads like next-generation soundtracking, very nice stuff.

• Lastly, Modest Mouse releases their eighth full-length, An Eraser And A Maze, on Friday. Leadoff single “Look How Far” is pretty berserk, like if Strokes were possessed by Captain Beefheart, I don’t mind it at all.

Featured Photo: Aaron Bilodeau, Lid Licker and Midge Ure, A Man Of Two Worlds

Is God Is (R)

Twin sisters set off on a mission of vengeance in Is God Is, a film written and directed by first-time filmmaker Aleshea Harris, who has given this movie all the best elements of a first film — including but not limited to energy, style and a willingness to take chances.

Anaia (Mallori Johnson) and Racine (Kara Young) often call each other “twin” in their conversations, which can take place partially via a kind of twin telepathy of facial expressions and slight head movements — that’s how close they are. Racine, slightly shorter and feisty, has always been the one to loudly stick up for Anaia, who is taller and quieter. Though both girls are scarred from terrible burns they suffered as children, Racine’s scars are mostly on her arm whereas Anaia’s scars cover part of her face. When, for example, kids cruelly taunt Anaia about her appearance, it’s Racine who offers a violent response.

Now in their young adult years, they live together and work a job cleaning offices — at least until Racine takes offense at how one worker responds to Anaia. The two decide to visit their long-lost mother (Vivica A. Fox) — who the twins start to refer to, maybe playfully at first, as God — who has written to tell them that she is dying. She asks them to do one final thing for her — kill her ex/their father (Sterling K. Brown), the man who so grievously injured all three women years ago. Though Anaia insists they’re not killers, Racine — especially after seeing the extent of her mother’s injuries — says she’ll get it done if Anaia just keeps her company while they find him. Thus begin their travels, starting with Divine (Erika Alexander), a woman who dated their father while he was on trial for the burnings.

As the movie follows the girls on their hunt, we get a series of solid performances — as well as an examination of the relationship between the increasingly out-for-blood Racine and the increasingly ambivalent Anaia. It’s a nice bit of development that the movie is able to accomplish in its relatively short run time (a brisk, well-used, no-filler 100 minutes).

Every thing about this movie is well-built and smartly used. This feels like a first film in the sense that everyone is just going for it, not hemmed in by any second guessing, and giving us visuals that can feel like choreography and dialogue that can feel more lyrical than literal. These are big bold choices but they all work and create a world specific to this story and to the bigger themes about violence, family and forgiveness. A In theaters.

Featured photo: Is God Is

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