My 'Invisible Jukebox' feature with Mike Watt in this month's Wire.
I am bummed they took out all the instances of capitalized for inferences of YELLING and changed "prac'n" to "practising". They made him sound more normal, not like a beat poetry style free associative Tonto in a Hollywood movie circa 1950. The part about loving Bikini Kill and feminism's impact on The Minutemen where he says "D BOONS MA PUT ME ON BASS!"--he yelled it. Italics miss the point!
I think the new Antony record is out this week, isn't it? I was listen in the car and here is my initial diagnosis:
1. Its power is in its restraint.
2. Not a cryfest.
3. Every song sounds like one long bridge. There may not be choruses or verse, just interludes.
4. I imagined the entire thing was recorded in a ballet studio*. Both mood and acoustics made me think so.
5. It's drifty, gauzey, nearly hookless but not aimless. Its lack of anchor seems really purposed.
6. Sometimes Antony holds back the way Robert Planet did. Does. Did.
7. Way more the sound of theatre than the sound of rock music.
(Which made me think of Miighty Flashlight's "Ballet Skool". Dude was ahead of his time Miighty Mike.)