Tangent: All I Want For Christmas by Mariah Carey is the best Christmas pop song, and pretty high on the list of bestest general pop songs ever.
Now, back to my life and what's happening in it...
I've been busy lately... I've also been ill. I've had a cold and sore throat and such like since I got back from London, which is pretty rubbish, but I'm managing. More rubbish is the fact that baby Beth is now ill, and is waking up in the night and hacking and coughing and generally not being very happy. Pretty naff really.
So... what's been happening? Well, we went to Leicester over the weekend. It was pretty tiring, given the non-sleeping nature of Beth, but it was good to see all our old friends and go to church there and such like. So while the trip felt kinda hard to justify when we were getting lost en route or being woken up at 4 in the morning (in someone else's house - even worse) it was worthwhile in the end. Pretty good on balance.
It's nearly Christmas. This is good for various reasons, not least because I really, really need a holiday. I'm tired in the extreme and need a break from work. I do like my job, but I am about ready for some time off. It's the training that's hardest to be honest - it's not easy doing a full day at work and then coming home and having to do homework on top of it. It's worse than school, I swear. It's certainly worse than university, hands down.
I've bought some CDs just lately. Here's my thoughts:
Sam's Town by The Killers
This is a pretty disappointing album really. The single, When You Were Young is about the only genuinely good thing on there. The new single, Bones, is a horrendous invitation to treat (if I may abuse the
terminology of contract law for what might better be described as a blag for a shag) with an absurd horns section that makes the whole thing sound like it was produced by
Andrew WK. There's a couple of good tracks, like Reasons Unknown and Read My Mind, but the rest of it is just bland and forgettable. It would appear that The Killers have a limited amount of quality per album, so while their debut had extreme highs in the singles that make up the first half of the album and extreme lows in the latter half, this follow up is just consistently middling. As an esteemed colleague of mine said, there is nothing remotely anthemic here - there's certainly no All These Things That I've Done, and the aforementioned When You Were Young is just barely as good as Somebody Told Me, which isn't the highest praise. I really cannot recommend this album in any way.
12 Stops And Home by The Feeling
This, I can wholeheartedly recommend. It's unabashedly poppy and bright, but is that a bad thing?
Wikipedia cites the mighty ELO as one of their influences, which explains the full and exciting sound, and also goes some way to explaining why I like them. The album is quite varied, but it flows well from one thing to the next. Love It When You Call is probably the high point for me - joyous 80s hair rock that The Darkness never quite managed to deliver. Probably the best CD I've bought this year.
Black Holes And Revelations by Muse
Ah, Muse... I'm going to do a bad thing and compare them to Radiohead, simply because their musical path is somewhat reminiscent of Radiohead's route from The Bends and OK Computer (cf. Muse' Origin of Symmetry and Absolution) into the realms of weird experimentation on Kid A and Amnesiac. Black Holes seems transitional in the same way that Kid A and Amnesiac were. In and of themselves, these albums aren't all that much to listen to, but they led to the mighty Hail To The Thief (which, tangentially, some lady on the train was listening to this morning - pretty heavy for 8 in the morning. She also had it on random play, which I consider a crime) which is one of Radiohead's finest works. Will Muse follow up Black Holes with a similar masterpiece? I don't know, but I do know that I hope that this record is not the end of the journey. It's not that it's not musically accomplished or uninteresting... it's just... unsatisfying. There's too much stuff on there that feels out of place or out of character, as though it's a test of different styles. In the words of Roy Walker, it's good, but it's not right.
So, that's music for you. I also picked up
High Fidelity on DVD, which we watched last night. It's a great film, and it's a rarity for a film to be different from the book that spawned it, while still being as good. I love both the book and the film - they paint such a good picture of a certain type of man, a man that is pretty much me. The lead character is a person I could have been, given various twists in history, and it all feels very close to home. I love it.
Talking of books I could have been in, or written, I've just finished reading a book called
A Heartbreaking Work Of Staggering Genius. It's a sort of memoir about a guy's life after his parents died and how he looked after his little brother and so on. It's only loosely based on real life, and it certainly plays with the semi-fiction idea, being very self referential in an
Adaptation sort of way. It's good, and funny, and quite clever, but... It just doesn't seem to deliver. I'll try to explain why. The premise of the book appears to be that the writer is writing with a view to experiencing some sort of catharsis from the death of his parents, as though by thrashing all his experiences out on paper he will somehow be liberated from them. Alas, by the end of the book it seems to become apparent that this is not occurring, and that for all his attempts to get over things this way, he just can't, and he will always carry them with him. The trouble with this is that to me, the reader, it then appears that the book is a failure - as though I have read something pointless. The writer sought closure by means of my reading about his tortuous experiences, but he doesn't get it - have I then wasted my time? The thing that bothers me further is that this failure is acknowledged by the writer, as though he knows the book can never help him to get over the deaths in this way. So does that make it OK that he failed? If he knows he failed, and he writes that into the book, does that make it OK? It's a bit confusing to be honest. There's a paragraph in the book which might serve to illustrate this a bit better. The writer is in the process of throwing his mother's ashes into a lake, but things aren't going quite right. I'll transcribe the section below...
I am doing something both beautiful but gruesome because I am destroying its beauty by knowing that it might be beautiful, know that if I know I am doing something beautiful, that it's no longer beautiful. I fear that even if it is beautiful in the abstract, that my doing it knowing that it's beautiful and worse, knowing that I will very soon be documenting it, that in my pocket is a tape recorder brought for just that purpose - that all this makes this act of potential beauty somehow gruesome.
And that, in some sort of way, is where the book suffers. It's good, but it's pointless, but if he knows it's pointless, is it good regardless? It's hard to say really, especially when you're finishing off this post after coming home from the work Christmas party. Anyway. I guess you get the idea.
My one other criticism of the book is that it appears to be somewhat over edited, to give it the impression of being very cavalier and off the cuff, in a comparable way to
certain bands who apparently go out of their way to make their music sound as though it was recorded in someone's bathroom on a
Fisher-Price tape recorder from a jumble sale... but I digress. I'm not sure quite where the middle ground on this is, as the style suits the book, but I'm slightly suspicious of it, as it's clearly been carefully edited to make it look like it was never edited, if you follow me. Ho hum.
So... that's about that. I have indeed recently returned from the office Christmas party, which was good fun. The meal was good, the drink was free, and it was good to talk to everyone about something other than accounting! So, a good night all in all.
More sometime soon... Happy Christmas, if I don't blog before then...
