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Messages - moleshow

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i think it sounds like it's not a Rz song because the vocalists are all seemingly unique to that song. the first portion sounds a bit like their cover of Satisfaction, but there isn't much else. the second section sounds like it could fit into the more recent Rz stuff if it were a bit more MIDI and a little clearer-sounding. but it's a weird one!

i thought that, since we might as well head down a road of creepier and creepier albums/projects in the coming weeks, that it would be wise to go for this one. a Fan Favorite. so, voila! DUCK STAB! BUSTER AND GLEN!

since DDA was my entry point into the RZ (around this time of year, 2 years ago), it is really, really special to me. it does this cool thing where it just makes me cry like a baby. the track that made it all start to click into place was The Car Thief. it was the live version- the slow sadness in Molly's movements with that mask grabbed me by the heart and threw me face first into the pavement. my entry track, though, was Baja. that one took 2 tries over 2 years and man... it weirded me out. red demon man (why is he red? and naked?), holding an eyeball with a top hat (why an eyeball? why the hat? why is it bleeding?), on a background of fists (???). but that confusion drew me right on in.

while i am not fully capable of understanding a pre-9/11 world (since i was mostly preoccupied with eating and sleeping at that time), the album still manages to strike a chord with me. the feeling of disconnected sorrow runs through every track, manifesting in a different form for Loss, Denial and The Three Metaphors.


all the tracks on this section are marked with a dreamy pessimism, a hazy sense of futility. which is fitting for loss as a concept.

Mr. Wonderful is all about "if"s. he does not actually think that there is any hope for his life to get any better, despite how little he expects. his life is at a dead end, but his disappointment is curbed by the fantasy of a life that would be, in his eyes, wonderful.

The Weatherman is more directly pessimistic, with a slow-ish beat, strange guitar, and violin that sounds almost as if it is crying. it sticks out to me as a sign to the listener that, no, none of the album will be directly about 9/11 itself, but about the feelings that came from it.  this track calls to mind Inner Space from Animal Lover which, considering the circumstances under which these albums were made, sort of makes sense. the lyrics here seem more helplessly tragic, though. the two share the common point of referencing specific imagery.

You're always calling me, but I'm never needed. I'm needy, I'm needy, I'm needing a new home.

Ghost Child strikes me as being a part of a 3-part story, told in reverse. it is the end of the tale told with it, Mickey Macaroni and Make Me Moo. the interpretation feels grim, but fitting, to see this track as being told by a child trying to navigate the afterlife, unable to move on. there is something that has happened to her that she cannot move on from. (the fact that the child is referred to as 'she' seems irrelevant to the 3-part story, since i am more focused on the position taken up, and that position is simply 'child'.) the child is in a purgatory of sorts, and since no harm can be done in it, no healing can occur either. it is purgatory, it is nothingness and the lived experience of it and its inescapable nature. it made me very sad when i realized that when the Singing RZ's voice is saying "She'd hold her breath for ever and ever", the child is saying "I'd hold my breath for ever and ever". that disconnection and helplessness is simply tragic. the observer and the victim are incapable of interacting- though i wonder who is who.

Caring is moody, but OH SO CATCHY. it, like The Weatherman, calls to mind a track from AL, Mother No More. the story in this one is really... i dunno, weird. this shows up in other tracks on the album, where the story is sort of unclear but the feeling is definitely there. this is a song about betrayal and preoccupation. the narrator tells that story, and tells us that those two aspects lead to an inevitable withdrawal into nothing. things became "too much", maybe.

Honey Bear, in all its forms (specifically the WoW version), is heartwrenching. right from the start.

Tell... me... why... I... am... so... scared?

AAAAAUGH. that one just stings. it's like they cranked up the dismal outlook of Mr. Wonderful to 11. the need to be loved, to be worth something again is powerful on this track. the narrator- he was someone, and he has experienced Loss with such clarity that it seems to have wrecked him. everything around him needs to be fixed or rebuilt in some way, but his fear of staying where he is and never being someone who is loved withholds him from moving on. he will take anything he can get.

Now I wait for you to gag and grease me. Now I hope you'll hold me by the hair.

The Car Thief. where do i even begin on this one. the narrator (who, at this point, i will just call Ms. Wonderful), has experienced Loss in her own way. it seems that she has escaped a physically abusive relationship and experienced the loss of that individual who had hoped to render her passive and weak, but through her anger seems to have found relief from this in destruction. the burning car being compared to a shooting star is a particularly interesting image. setting it aflame contained her wish. she is refusing to carry the burden of her pain any longer. she may be bitter, but she knows she is not in the wrong.

Neediness brings us the first mention of the Demon, though it is present throughout the whole album. Mr. Wonderful, here, had made the strange choice to attempt to embrace and befriend the complicated being that is the Demon. staying in the cycle of grief and all it entails is not a good thing, but he believes that the Demon can be brought to the light and change, while never having to leave! for its own good, at that. in reality, he is begging the issue that got him in his current position to help him to not have to leave it. the cycle has become so familiar that he cannot imagine leaving it. he triggers his own Loss- by convincing himself that the Demon (which he believes can be known and can feel, act, and think as a person would) is leaving him.

i hear the singing at the end in two ways- "We need someone who needs someone," and "It's all gone wrong and it's all gone". the latter is probably correct, but it makes for interesting interpretations.

We all need someone who needs us.

that phrase, after the pained yelling of Mr. Wonderful sums up the issues in Loss pretty nicely. for some, that someone is a specific person. for others, it's anyone. or, it could be the world as a whole.


the track that opens this section, Thundering Skies captures the idea of this section really nicely: let's ignore the fact that we have crossed the rubicon- the present and past are a confusing mess of events that we cannot help but look away from! nothing could possibly get worse, no.

Mickey Macaroni is the 2nd part of the story of the Child. at this point, the Child is clearly unaware of the severity of their situation. soon, the Child will go home and learn all that was unknown before. the Child expresses an angry innocence- Denial- about anything going on around them. they want whatever will call to mind a sense of familiarity and safety before they have to go "home".

Betty's Body is weirdly voyeuristic. Mr. Wonderful clearly longs for Betty, but Loss haunts him. he longs more deeply for Mother. his experience of Denial is that he does not face the fact that he misses her deeply, and he denies himself the possibility of Betty reciprocating his feelings- he cannot even imagine such a thing. he is more than shy, he's lonely. Betty reminds him of these feelings. so, he could never be her lover, or so he thinks.

My Brother Paul is, in my eyes, one of the most mainstream-sounding RZ tracks. ever. it has that vague storyline aspect that Caring has. they both seem to detail an experience of betrayal, but through different lenses. in this case, Mr. Wonderful experiences Denial by refusing to acknowledge the fact that, as far as i can tell, his brother was killed by someone he trusted, for that person's (possibly financial) gain. and he is being forced to accept that he has been betrayed.

Baja is silly skeleton island music and it threw me for a loop when i first heard it because i couldn't tap my foot to it. 10/10

The Three Metaphors

one would logically wonder where Anger, Bargaining and Depression lie in this album? well, here, i assume. they're all out of order and they all contain traces of each other.

The Beekeeper's Daughter would appear to have the withdrawn appearance of Depression. Ms. Wonderful focuses on the event that has made her so, so upset- a situation that she seemed to have been powerless in. the background has a chorus singing "Run, Daddy, run"- this sounds to me like her internal monologue as she reflects on it and possibly even relives it to no end. she experiences Anger here by trying to shut out others and bargaining by telling of how her father escaped his situation with a song- not something that seems realistic.

Leave me alone, I'm on the phone. I wish you'd only leave me alone.

she is not looking to work through what has happened. she wants only to be left alone to experience it in her mind in the hopes that she would be able to relieve herself of her sorrow.

Wolverines is a little bit more vague in nature, but still seems like it could be Anger. the description of children having their fingers bitten by seemingly harmless wolverine puppies evokes images of Anger, for sure. the adult animals trying to protect their young and failing due to those vulnerable members crying out invokes psychological imagery of attempts to protect the wounded self. but the wounded self, too, is not powerless or harmless. But to cause harm to either of those is not justified. through Anger, it may seem so. thus, Mr. Wonderful begs for forgiveness- placing the blame on something or someone else- the feeling, and by association- the Demon. and he experiences Bargaining through this. the experience of Depression is sung by the chorus:

No one succeeds if they scatter their seeds where the wind and the weeds are pleased.

there is no hope, apparently, for the wolverines. they have done just that- but so have the out of towners with their children.

Make Me Moo- here lies the beginning of the story of the Child, for us. something has occurred and the Child is now trying to find a way out of the hurt. that attempt, through wanting to be a cow, is the Child's experience of Bargaining.  the Anger and Depression are harder to trace on this track- though the former could hypothetically be found in the demanding tone of the chorus of the track and the latter can be found here:

My heart was broken, broken. Cows are so open, open.

it seems as if things only get worse from here on out for the Child.


of course i would not neglect to mention Tongue. the story has a cyclical nature- similar to the cycle of grief. the same wound continues to be opened, allowed to heal, and reopened again. Tongue attracts people that, in the end, seem to be destroyed by his presence. despite this, he falls in love over and over, to the point where he does not know what to do. he is powerless in the face of the Demon- both his ability to attract and the inevitable death of those who he draws in.

Demons Dance Alone

this final track fits comfortably as an end to Neediness- the perception of the Demon as harmless, kind, almost sweet causing a painful, humiliating downfall. grief does not just leave if you play nice and treat it as a momentary experience- it seeps into every nook and cranny. and through isolation and confusion, it overstays its welcome. Mr. Wonderful tells of the hopelessness of his situation. in ignoring the truth of who and what the Demon is, it laid claim to his life. and so he dances alone.

RZ General Board / Re: DOUBLE TROUBLE!
« on: September 17, 2017, 09:33:12 pm »
i feel as if i have the holy spirit in me as i watch this. that Dustin fellow there also played the Butcher for the Shadow Stories.

i get the sense that he MAY also be the fellow in e.17 of Randyland, though they could just be similar-looking. i just doubt that his name is Bucky, y'know?

also, this really has a very wonderful feeling to it- as if the Rz seeped into the world and were the undercurrent for all happenings.

fixed that typo. thanks for pointing it out.

and so it begins once more.

to get us back in the swing of things, here is an introduction from CH for DDA.

Demons Dance Alone is a 2002 concept album by The Residents about the emotional effects of the September 11, 2001 attacks.

The album is a tryptich, "Loss", "Denial", and "The Three Metaphors". Preceding the tryptic is "Tongue", interspersed are tracks without titles. In a tryptich, the central panel is, generally, the largest. The "Tongue" of flame is symbolic in Christian Iconography of the deity as spiritual inspiration.

Demons Dance Alone is a 2002 concept album by The Residents about the emotional effects of the 11th of September, 2001 attacks. For some Americans, even that subtle shift to European Style date notation is an affront.

It is sixteen years since the events. America seems to have found no language that describes anything other than the raw emotional impact of what happened. Anybody seeking to explain without howling becomes demonised. Stockhausen is a case study.

'What has happened is - now you all have to turn your brains around - the greatest work of art there has ever been. That minds could achieve something in one act, which we in music cannot even dream of, that people rehearse like crazy for ten years, totally fanatically for one concert, and then die. This is the greatest possible work of art in the entire cosmos. Imagine what happened there. There are people who are so concentrated on one performance, and then 5000 people are chased into the Afterlife, in one moment. This I could not do. Compared to this, we are nothing as composers... Imagine this, that I could create a work of art now and you all were not only surprised, but you would fall down immediately, you would be dead and you would be reborn, because it is simply too insane. Some artists also try to cross the boundaries of what could ever be possible or imagined, to wake us up, to open another world for us.'
(Karlheinz Stockhausen, Hamburg, 16 September 2001).

".... The journalist in Hamburg completely ripped my statements out of a context, which he had not recorded in its entirety, to use it as a vile attack against my person and the Hamburg Music Festival.
This whole situation is regrettable and I am deeply sorry if my remarks were misconstrued to offend the grieving families of the brutal terrorist attacks on New York City and Washington D.C. I will continue to keep the victims of this outrage in my prayers." (Karlheinz Stockhausen, September 19, 2001)

Stockhausen was pilloried and translations of his words do not communicate exactly what he said. Hunting down different translations serves to illuminate how different the world has become since Stockhausen felt able to juggle metaphors. Like the three ball cascade, the three metaphor conversation seems to be unfashionable.

Which makes any interpretation of Demons Dance Alone almost impossible for an American Audience. The next President of the USA will be elected by people who were not born. Their lives will have been lived in the twin shadows of Denial and Loss. There will never be a time when they were not living in the tryptich. Every single sound, picture and word from that day has become a metaphor and the Electors will be fed those metaphors in return for votes.

The Residents have provided a wunderkammer of emotion in Demons Dance Alone. It is not selling or persuading or demanding or even proposing anything.

When Bob was asked whether he held his tongue because he was a fool or for want of words, he replied "A fool cannot hold his tongue". (Plutarch A.D.46 - A.D.c.120)

The Residents are not foolish. A wonderkammer of emotion has far more resilience and value to the serious historian than any amount of demands for truth. As though truth were to be some commodity purchased by weight from the Verity Chandler and rushed home before the sell by date turns the words foul. The Residents hold more than their tongue. They hold a key to approaching the History of Emotional Experience.

Demons Dance Alone.

"I had hoped to fill my years with
 More than melancholy tears
 But the demon makes me dance alone."

while the little condensed versions are expertly put together, what really interests me is the Roosevelt section- History Mystery.

the Teds songs are just so particularly wonderful! with the knowledge that it was going to be about two Teds who were halves of a whole, it makes for some interesting ways once could interpret the Teds tracks. of course, working with so little makes theorizing utterly pointless. but Teddy and Struggle manage to be some of the catchiest songs that the Rz have ever made, in my opinion. Teddy, and all versions of it, have a really nasty, dirty kind of rhythm. i'm very much into it. the lyrical content is similarly sludgey. sorta sticks to my brain. one bit that i am super fond of is this:

He didn't need much money, but he needed me... a lot.

that was always super good.

that being said, i super-duper love tracks that aren't from The Teds. tracks like Siren Song (of the Shrunken Head) and Ugly Beauty create such vivid imagery, especially the latter. there is something about the strange storytelling in it that calls to mind Buckaroo Blues. the part that grabs me the most is this:

And I guess it's also true, I may come back to you. And what you see, and what you do, and what you think you do. But I'll be mine inside the blindness that we have to live, but I'll still smile my smile for you and give what I can give.

there is a gentleness in the lyrical delivery that reminds me, somehow, of Toddler's Lullaby. i really, really like it.

plus, this section made way for the release of Roosevelt 2.0, which has some of the craziest packaging i've ever seen. really cool stuff.

RZ Buy/Sell/Trade / Re: Bunny Boy Comic
« on: July 09, 2017, 11:07:04 am »
sorry to hear about the passing of your partner. :(

could you list your email on your post?

that was a wonderful little story! lovesit

in honor of """"America"""", this one seemed fitting.  the History Mystery section seems the most rich in terms of discussion, but hey... that's just my opinion. disregard it.

RZ General Board / A Thread About Projects of the Week
« on: June 27, 2017, 01:32:47 pm »
what would you all want to discuss?

there are certain projects, like Sam's Enchanted Evening, that i would personally love to have as the PotW, but the content available from certain projects is minimal, to say the least. but what projects do you all have in mind?

PotWs will resume as normal next week with Our Tired, Our Poor, Our Huddle Masses. because america.

oh, i meant just taking a picture of the item or something.

would you mind linking to imgur uploads of these?

it is just that. Stars and Hank Forever.

this side of the album is actually why i bought it on vinyl- to hear it at 45rpm.

at 33rpm, i was mildly amused at best by it. but for some reason, hearing it sped up made it click. their dedication to replication is clearer here, and the whole side is practically dripping with an undeniable respect and adoration for Live at The Apollo. there is clearly rough experimentation throughout, but i would consider the James side to be one that sets the tone for future works- specifically the Black Barry section of Cube-E.

the addition of crowd noises actually makes it pretty exciting to listen to. it is, of course, at a faster pace than what was "intended", but the manic energy of the start of Night Train consistently manages to make me want to get up and dance.

about the album as a whole- it lays down a few stones in the "reflection of American culture through music" path that they started with their first few albums (TRnR, Eskimo, Commercial Album, MotM, you get the idea). while the music on this album may seem underwhelming to some, its importance cannot be stressed enough in the context of their future works. it would seem to me that the roughness is due to the fact that the Mole Show really beat them up pretty badly financially and they may have been eager to step away from storytelling for a hot minute (a hot minute, in this case, is 5 years.)

but more on that after the Hank side of Stars and Hank Forever.

RZ General Board / Re: The Residents in Japan
« on: June 13, 2017, 03:09:39 pm »
i don't think US fans got those.

why is japan always so good at merch? i would easily fight someone for that poster. and they just give it out for free.

this merch famine is wrecking me.

RZ News and Non-News / Re: What's next Doc ?
« on: June 13, 2017, 03:06:49 pm »
well, i assume they're working on a couple of things.

-we've heard talk of two new albums, so that.
-Double Trouble, which is probably taking a while because movies is hard. a storyboard frame was posted, although it didn't really circulate because of the source (Leigh Barbier's instagram)
-the God in Three Persons stage production... which is also going to take a while. they have to workshop various pieces of it... but they're working with Travis Chamberlain on it, which is incredibly exciting because they worked with him for Sam's Enchanted Evening (<3 <3 <3)
-assorted videos for Ghost of Hope, which we WERE promised. i assume the techniques used are going to be new ones, and the videos won't be... well, traditional.
-and of course, they have to get ready for In Between Dreams.

on the topic of a physical release of Sam's Enchanted Evening, i know damn well they have footage of it. that being said, the only fan that owns a physical copy of it is forbidden to share it.

that image alone brings forth a primal hunger in me.

but, a Mole Show DVD reissue would be nice too, i guess. that being said, i NEED to see footage of Sam's Enchanted Evening as a whole. it would be nice to see footage from the shows that went down in.... i wanna say Brooklyn? because they were different and changed on a night-to-night basis. from what i have seen and heard, it really carves out a deep, gaping hole in my soul. it cuts deep.

NOW.... we move on to the James side of George and James.

pretty simple stuff, i'd say.

since i'm not much into the originals, the covers that make up this side don't really do much at all for me. that being said, i enjoy the presence of this side of the album in the context of Bobuck's later, solo works. his experimentation with pre-existing music and his inclination towards utilizing present technology to execute ideas comes through loud and clear.

but, outside of that... i dunno. it's not something i'm super into.


with the PotW being the American Composer Series, one may ask: all at once? to which the answer is nope.

this week is specifically about Side A of George and James. the George side. next week will be the James side. then, after that, we'll move to Stars and Hank Forever and do the same thing. hopefully that explains "Part 1 of 4".

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