Sinister: life should be full of strangeness, like a rich painting ... i want to be in it but to see the strangeness, too

[Youn J. Noh]

Hello, Sinister.

ian nicolson wrote:
> so, are any other proud bus pass carriers somewhat
> perturbed by stuart's new car? ... but i
> hope it doesn't mean we'll be subjected to a glut of
> chris rea/brian may type songs about being in love
> with a car, or indeed, 'cruisin' down the 'highway'. 

I was thinking more along the lines of "Spring Rain", or maybe a song
about potholes (is that what you call them, too?), as he's mentioned them
before.  Owning a car in Scotland would be nice.  Maybe Stuart wants to
take a drive around Loch Lomond or even further north through all that
beautiful dramatic scenery.  One could probably make the same trip by bus,
but it wouldn't be the same.  One might need to be alone.

Robin wrote:
That interview with Stuart was interesting because it revealed a
bit about how he thinks ... So it's nice to know that
Stuart's critical of his songs. It's a good way to be. I just hope he
doesn't listen to the ramblings of the slightly bonkers and
frighteningly named Sinister List organisation. Nutters.    

Yeah ... I was wondering if Stuart just didn't care about B & S as much,
if he was blinded by love, or ???  But what he said in the interview made
me think that it might be better that he is decent than for him to insist
that they just do his songs, etc.  I just hope he writes all the songs he
has in him.  I don't think he gives enough credit to IYFS, though.  If
you've heard the version of Fly that's on Time of No Reply and compared it
to the studio version, you must see that sometimes production just gets in
the way.  

I love how the Model starts with the harpischord then the drums bringing
all the other instruments in.  It's funny how Stuart gets the lyrics
wrong.  Somebody mentioned chastity as a reason for chest/breasts, but I
like to think of it as a girl who's skinny raw rebellious and so it's more
appropriate to say chest.  And the lines that Stevie sings seem like
an inner voice of self-quotation.  It's natural.  The whole mood of
confrontation mixed with fondness - it's so keen.  (Let this be Stuart's
kind of love song.)   

If only Stuart had read Katarina's email before he wrote the Chalet Lines,
the part about the bus stop where she was told about it.  I think the most
evocative part in the song is the part that's not in the first person,
especially "her face was just a smear on the pane".  The song is just too
weary and after-the-fact.  People have suggested that denial or withdrawal
may be a part of it, but it seems that only those who have had life
experiences to support the themes in the song have enough to go on.
There isn't enough tension to suggest that something is there behind
what's not expressed.  What exactly about rape is so horrible?   (not that
it isn't horrible, but isn't it possible that the reactions to it could
be appropriated?  what got me thinking about this is what Peter Miller
wrote about Stuart as a Butlins chaletmaid - flippant but acceptable
whereas with females it wouldn't be appropriate to talk about it that
way.  so there is an established pattern of reaction, at least for males
vs. females, streetwise vs. traumatized, etc.)
  
So I got to hear Eric J. Lawrence's show on KCRW (89.9 FM - LA area) and
he played Baroque Plastique, a song from Stereolab's new album, and it has
that chord progression (sounds like scales to me) sort of thing in it that
Nick mentioned in There's Too Much Love and it's really cool - in both
songs. I think this song could do without the strings.  Overall, I like
the sound of the new album a lot, but I wish they didn't make such an
effort to have the album sound of a piece.  Tigermilk isn't that way.  I
like odd angles and unforeseen connections.

Yours,
Youn


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