What conceited person hasn’t thought of the inherent interest in his or hers personal “audio diary”? I know I have. As I clacked my skee balls together for luck only to roll another 10 at the Buckshot Bar in the Inner Richmond, I felt quite satisfied and enamored with my company from Josh’s giggling confirmation. Audio diary this Bay Bridged!
In my quiet moments before bed I know that these are not truths and that my life is a shallow and narrow existence that holds little interest for friends and almost zero for an at-large listening public. Ah, but as Duncan Cameron (aka Dolphins into the Future aka Lieven Martens of Belgium) teaches us, all you really need is a good title. Martens calls his audio diary A Horseback Ride to the Temple of Montu, which clearly shows that he gets this.
A C20 (a twenty minute cassette for the uninitiated) out on tanzprocesz, A Horseback Rideâ€¦ is a very literal bird-chirping, hoof clip-clopping listen. Augmented by synthesized glyphs and phantoms, it’s quite effecting for someone who is into books on tape with sound effects. So my search for a good title to impress all with an unimpressive life is at hand.
“True history seeks, it does not answer,” writes Nick Tosches in his enigmatic study of the black-faced minstrel man Emmett Miller, Where Dead Voices Gather. “For the deeper we seek, the deeper we descend from knowledge to mystery, which is the only place where wisdom abides.”
I’m New Here, the first album by Gil Scott-Heron in 16 years, is a combination of pre-hipster spoken word and post-hipster auto tune rap samples. It screams authenticity and has a stench of dubious wisdom through experience similar to Johnny Cash’s American recordings. In all ways, it is a good record, enjoyable, informative and short, but perhaps Iâ€™m getting a better sense of American history from Miller and Tosches.