Jamila throttles into the lobby of the library; there is blood in her eyes, which forces her to squint deep.
She wants the name of the motherfucker that told her mother the only place she can work is Dollar Tree.
She wants his name, his motherfucking badge number, and the FICO score of his old lady.
I tell her I am the motherfucker she is looking for, which comes out all wrong (I don't clinch the emphasis).
But, that I never would have told her mother the only place she can work is Dollar Tree. I tell her, I told her.
I told her that the only place that might accept papers applications in this neighborhood is Dollar Tree or Family Farms.
Jamila in a NY JETS jersey and sparkly sandals; Jamila, tough customer on a vendetta query, looking through motherfuckers.
Jamila, all employers force applicants to pilot their websites, so they can assess their protocol-pulse and proclivities.
Jamila, I would like nothing more than to be the motherfucker that helped your mother get a job, but I can't.
Bring her to my computer class on Wednesdays so she can learn some new skills and come hang out in the air conditioning with us.
Jamila, libraries love your mother, libraries love mothers in general, libraries are full of motherfucking mother-lovers, Jamila.
Thursday, June 15, 2017
Monday, June 12, 2017
JESUS ALDANA-ALBA REVIEWS CAVITY'S "AFTER DEATH"
Cavity, After Death, 2017
by Jesús Aldana-Alba
This is ugly music for ugly people with ugly friends who like it that way. Now, I’d never heard of Cavity before being asked to review this album, so, I’m not going to be comparing it to any of their past efforts.
I’ll start by saying that, “After Death” is reminiscent of so many other records that have done that sound well. Nonetheless, it is far from a mediocre endeavor. Whereas Sleep is heavier; Neurosis more intellectual; Boneworm, more psychedelic; and, Sub Rosa and Pallbearer, more elegant, Cavity’s latest is as reliable as winter rust.
By the 3rd track “Fangs On Beyond” the album begins to sound exactly like what you might guess it sounds like from the title: a couple of bare, mid-paced, super-aggressive tracks that pound away on heavy, dirty distortion-drenched guitars and vocals, exemplified on side 1, for example, by tracks like “Scalpel A.D. and Neanderthal.”
The vocals are captivating throughout though; they do have a very scratch-your-eyes-out sort-of feel to them. And the lyrics - what I could make out of them, anyways - are thoughtful
The cymbal work on the first track gives it a bit of Industrial flavor, at first; then, the track gives way to a slow, bluesy churn that makes one want to get ink. “Neanderthal” starts to feel like an unfolding, of sorts. Maybe, it’s the slight wobble between the instruments, as if the time signature is just a suggestion, but, this unmooring ends up working in Cavity’s favor.
I imagine that if you could slow time down to a crawl, and be a fly on the wall inside of an Internal Combustion Engine, you’d hear the sounds of After Death’s side 1. After that roar, naturally, follows the paranormal rust and blues of side 2. If you’ve ever heard Neurosis’ Sovereign, (Cavity’s track) “Fangs” will sound familiar. It’s noisy and jarring and tribal--a bit Sci-Fi, too. The track scrapes across the sky like nails on a chalkboard (but we, that is my ugly friends and I, like a little pain here).
The album’s closer, is gold. “Collision” is so sparse, at first, that it feels quiet, despite it being loud, as loud as an unexpected thrah-rattling while walking alone in the desert. The percussion is adroit. And the vocals - THE VOCALS!!! - they go from sweet and delicate to reckless, ebullient hooting, like Michael Jackson at a Mr. Bungle hostage situation.
All in all, After Death is a very satisfying record, perfect for drowning out unruly neighbors while you solder cables or cycling through your yoga routine. Personally, After Death has a meditative quality you might want to blast while you slap some glue on some art, which if you think about it might be the highest compliment one could pay to a band.
Buy the album, here: https://www.secretserpents.com/products/cavity-after-death
by Jesús Aldana-Alba
This is ugly music for ugly people with ugly friends who like it that way. Now, I’d never heard of Cavity before being asked to review this album, so, I’m not going to be comparing it to any of their past efforts.
I’ll start by saying that, “After Death” is reminiscent of so many other records that have done that sound well. Nonetheless, it is far from a mediocre endeavor. Whereas Sleep is heavier; Neurosis more intellectual; Boneworm, more psychedelic; and, Sub Rosa and Pallbearer, more elegant, Cavity’s latest is as reliable as winter rust.
By the 3rd track “Fangs On Beyond” the album begins to sound exactly like what you might guess it sounds like from the title: a couple of bare, mid-paced, super-aggressive tracks that pound away on heavy, dirty distortion-drenched guitars and vocals, exemplified on side 1, for example, by tracks like “Scalpel A.D. and Neanderthal.”
The vocals are captivating throughout though; they do have a very scratch-your-eyes-out sort-of feel to them. And the lyrics - what I could make out of them, anyways - are thoughtful
The cymbal work on the first track gives it a bit of Industrial flavor, at first; then, the track gives way to a slow, bluesy churn that makes one want to get ink. “Neanderthal” starts to feel like an unfolding, of sorts. Maybe, it’s the slight wobble between the instruments, as if the time signature is just a suggestion, but, this unmooring ends up working in Cavity’s favor.
I imagine that if you could slow time down to a crawl, and be a fly on the wall inside of an Internal Combustion Engine, you’d hear the sounds of After Death’s side 1. After that roar, naturally, follows the paranormal rust and blues of side 2. If you’ve ever heard Neurosis’ Sovereign, (Cavity’s track) “Fangs” will sound familiar. It’s noisy and jarring and tribal--a bit Sci-Fi, too. The track scrapes across the sky like nails on a chalkboard (but we, that is my ugly friends and I, like a little pain here).
The album’s closer, is gold. “Collision” is so sparse, at first, that it feels quiet, despite it being loud, as loud as an unexpected thrah-rattling while walking alone in the desert. The percussion is adroit. And the vocals - THE VOCALS!!! - they go from sweet and delicate to reckless, ebullient hooting, like Michael Jackson at a Mr. Bungle hostage situation.
All in all, After Death is a very satisfying record, perfect for drowning out unruly neighbors while you solder cables or cycling through your yoga routine. Personally, After Death has a meditative quality you might want to blast while you slap some glue on some art, which if you think about it might be the highest compliment one could pay to a band.
Buy the album, here: https://www.secretserpents.com/products/cavity-after-death
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