The Things I’ve Seen

alley view, south of Queen West

There’s a lot going on in the world, which accumulatively makes it difficult to address in a way that doesn’t sound glib or vague, so I’m going to keep this about the things I’ve been watching on streaming services lately.

The Pigeon Tunnel

Errol Morris (Thin Blue Line, The Fog of War) directs a documentary about author John le Carré? What’s not to like? Well, as someone who is an unabashed fan of both, I found the result to be perplexingly unsatisfying. It’s a near continuous interview with Le Carré (whose real name is David Cornwell), interspersed with research clippings, biographical re-enactments, and clips from (mostly BBC) adaptations of Le Carré’s work over the past 50+ years. Unlike their individual works, it simply never rises above what is a rather pedestrian affair. Plodding, lifeless, and visually uninteresting. It felt as if Morris went into this under the impression that, like Robert McNamara in The Fog of War, he would be able to peel away Le Carré’s defences and force him to confront the betrayals and complicities of a former low-level spy whose father was a serial con-man. It doesn’t happen, and it’s somewhat telegraphed right at the beginning when Le Carré addresses the art of interrogation. Morris, it seems, is simply unable to extract anything amounting to a confession or unguarded moment — I had to ask myself whether he’s ever interviewed an Englishman before. It’s also not lost on me that, given the author’s sons and estate weigh heavily in the production credits, there might have been some political interference also. Strictly for fans only.

The Fall of the House of Usher

I like what Mike Flanagan has done with mainstream TV horror. Starting with The Haunting of Hill House, he’s been able to assemble a troupe of performers in order to tell, in ways both chilling and accessible, stories that rise above their reference material (Shirley Jackson, Henry James and in the current case, Edgar Allan Poe) in order to address human connection, family bonds, and spiritual faith. Even efforts that are so-so (The Haunting of Bly Manor) have their moments of sharp observation, and his cast is typically strong. The Fall of the House of Usher follows suit and is undeniably stronger than Bly and more relevant (via its unmistakable reference to the fentanyl crisis sparked by the Sackler family and Purdue Pharmaceuticals) and engaging than Hill House. I still think the vampire drama Midnight Mass is his best work, but Usher has a lot going for it (for one, it doesn’t have MM‘s monologues). There’s an unfortunate tendency throughout the series which seems to correlate sexuality with corruption of character, but at the same time — unlike Hill House‘s very American family-first romanticism — it takes no prisoners. Nice to see Canadian actor Bruce Greenwood as the patriarch of a fate-ridden family.

Infinity Pool

I finally got around to seeing this (note: this is the director’s cut) and I was blown away by it. It’s my first time watching the work of Brandon Cronenberg, and while it’s hard not to remark on the body horror that it shares in common with his father’s oeuvre, it very much stands on its own. Its story about an aimless author riding the coattails of his wealthy wife, who falls into increasingly bizarre and existentially terrifying events involving a group of mysterious tourists he meets at an exclusive resort is as hypnotic as it is nightmarish. There is some excellent world-building here (the resort is in a fictional country with its own customs and language, which adds to the tension), and Alexander Skarsgård is solid as the self-involved protagonist who catches on too late to what is happening as he’s enmeshed in a series of violent incidents that are punctuated by hallucinogenic orgies. The standout here, however, is Mia Goth, who plays one of the fellow tourists who draws Skarsgård into a web of deception. She is at turns alluring and terrifying. Not everything makes sense here, but it stops (thankfully) at being too clever for its own good. Note: the director’s cut is much more explicit, fyi.

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Doing Research

A while back, I read a lovely piece about David Sylvian, vocalist with 80s new wave band Japan and an accomplished solo artist, and was struck by an observation he made, reflecting upon hearing a track by ambient artist Christian Fennesz:

‘What I liked about his work is that there’s a melodicism to it. It wasn’t all sample manipulation. lt really had a heart to it somewhere. I was talking to Ryuichi [Sakamoto] about two years ago and he said, “Do you still listen to music?” I said, “Well, I still tend to buy a lot of music and I listen to a fair amount of it. But I’m not touched by it. I’m not moved by it.” He said, “Yeah, that’s right. It’s just a process of education. It’s a means of finding out what is now possible with this or that technology. You’re no longer listening to music. You’re doing research.” And what I liked about Christian’s work is that there it all was: modern technology, but in the service of the heart. I always come back to the heart.

There are two things that stood out to me in this passage. The first was Sylvian speaking about how his relationship with music had changed. So, first, I suppose it needs to be contextualized that when someone is working in a creative field they should (unsurprisingly) not only be affected by but also actively familiarizing themselves with other artist’s works. The problem is that, after a number of years/decades, it can feel as if everything has been done. Note Ryuichi Sakamoto‘s question; it’s not Have you heard anything good lately. His question is distressing: Do you still listen to music? It raises the spectre of a rupture between an artist and their craft. Sylvian’s answer and Sakamoto’s response, while relieving also point to a sense of being lost. “Yeah,” says Sakamoto, referring to his listening habits, “that’s right. It’s just a process of education. It’s a means of finding out what is now possible with this or that technology. You’re no longer listening to music. You’re doing research.” In other words, the naive curiosity which can be so important for any artist has become dormant. Yes, you are still listening to music, but it’s become reference material; a question of keeping up; who’s doing what with which device.

I have not become anesthetized to music, and the reason for this is most likely because I am not a professional in that industry, and I’m thankful for this. I do relate to this situation with respect to TV and film however. Having gone to school and eked out a career in televised programming followed by long-form motion pictures, it became second nature to watch (and deconstruct) a wide variety of works. And having worked in the sausage factory for 20 years I must admit to feeling a resonant frequency with regards to moving pictures at least, reading Sylvian’s conversation with Sakamoto. Yes, I’m still watching shows and movies, but am I affected by them or am I simply filling in time with reference material? Let’s just say that I am not easily affected these days.

Which brings me to the second thing about this passage: deliverance. In coming across the track from Christian Fennesz, Sylvian seems to rediscover something. Cliché though it may sound, there is the sense of having faith restored. And who could not be struck by something that, while technically accomplished, is “in the service of the heart”? In other words, there is honesty in this work, and depth. Something that is ultimately restorative and worthy of kick-starting another artist’s relationship with their work once more.

I share this because it’s good to share stories of inspiration, and good to admit that sometimes inspiration can be hard to find.

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Writing Adv*ce: Constraints

Someone who is new-ish to writing is liable to want to have every option open to them when it comes to writing — this applies equally to fiction, creative non-fiction, and poetry. Get out of my way, this writer says to themselves as they roll up their sleeves, and just let me get to it. And there’s nothing inherently wrong with this ethos (most writing advice tbh is Janus-faced, in that the opposite could equally be true depending upon the context of the individual in question); writing can be (and often is) liberating.

But here’s the thing (because why else would I be writing this in my spare time if there wasn’t a point): sometimes having all the options open to you will have the opposite effect of liberty — it can incongruously create its own roadblock by virtue of being, well, too open-ended. If there are no boundaries it can often feel as if we are tasked with filling an abyss which might lead to a sense of paralysis. Do I write about this? Wait…what about that? The question of what you write about (or the angle you choose to write about it from) can be intimidating if there are no rules, no guardrails, no ceiling and no floor.

When I took part in a week-long writing intensive many years ago, which incorporated fiction and poetry writing, the end goal was for each of us to write a sestina. What’s that? It’s a form of poetry that carries with it very specific rules for how it is to be constructed and it is a massive. pain. in the. ass. Without exception, every person in my group — poet, non-poet, or (like me) something in-between — saw each day that approached the assignment deadline with a sense of dread. The sentiment could be summed as: this is bullshit. As in, this is bullshit, I should be free to write whatever and however I want. What is more freeing than Art, after all!? And yet, when I sat my ass down and began to work out how I would construct my sestina, which I admit was painful, I was also struck by how the constraint of the sestina form forced me to be very specific and focused on what it was that I was doing. Lo and behold, I ended up writing something I never thought I would’ve pulled off — and managed to impress the instructor in the process. It was an inspirational step forward to me, not just as an artist but as someone who reflects on the hows and whys of human behaviour.

A few weeks ago, a documentary was released on the band The Velvet Underground. Its director, Todd Haynes, an artist in his own right, set his own constraints on the project. Rather than having a bunch of present-day intellectuals and music nobility reflecting on the influence of the Velvets (ie how many music documentaries are constructed) he insisted on maintaining temporal and situational context in his choice of subject by only presenting people who were there at the time and place that the events unfold. For example, when the Velvets set out on an ill-fated tour of California he doesn’t interview anyone who was not part of that tour. No Warhol. No Jonathan Richman. Just whatever archival footage was available and/or surviving members of the band and entourage to speak to their experience. It makes for a fascinating and immediate way of telling the story without it being a nostalgic love-in or overly biased hagiography. You should see it.

What are other ways in which we might use constraints to help us focus? How about a police procedural with no police? A mystery told from the sole vantage point of a security camera? A poem expressing your current feelings but using excerpts/fragments from your teenage journals?

Constraints can guide and inform an artist’s work. Note I say can. Sometimes it’s good to go-for-broke and blow the doors off whatever it is you want to get off your chest without care for form. But whatever you do don’t forget that form itself can allow you, if counter-intuitively, to transcend your inner biases and intellectual confines.

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Arguments with a Musician

There’s a musician I follow on Facebook who is driving me nuts, but I don’t know whether what is bugging me about them has more to do with me than them.

I worked with them from time to time back when I was in the film/TV industry, since they worked as both a score composer and session musician. They’ve had a long and far-ranging career in music — period — let alone the Canadian music scene. Their stories (and friends’ stories) are typically epic to read as they drop references to Leonard Cohen and Ray Charles. It’s helped, too, that they were a consummate professional, and rarely overbearing (considering the twin music/TV industry connections I mean this as a compliment).

Despite being an icon and pillar of the Toronto music scene, like everyone, they were affected by COVID last year. The doors closed not just on a handful of gigs (live and recorded), but all of them in one fell swoop. And within a few months they began posting updates decrying the dire situation musicians were in, along with anti-government diatribes. Now, here’s the thing: I don’t blame anyone in their industry — pillar or acolyte — wanting to express their frustration publicly with the lockdown conditions (for anyone reading this outside of Toronto, there hasn’t been live music or theatre performances for over 14 months). I especially understand anyone wanting to criticize our provincial government’s criminal negligence during this time. They’re posts could also be petty, seeming to express more disappointment about they’re lost prospects than, say, the thousands of others out of work, but I told myself: it’s a pandemic, how about we not hold people to too high a standard?

But something bothered me, particularly when the complaining didn’t subside and began to feel like whining. In other words, another Boomer with a swimming pool in their backyard shaking their fist at the sky when inconvenienced. What bothered me was that here was this person, as mentioned, a pillar. This person has a street named after them. Shouldn’t that sort of prestige, I asked myself, not come with any sense of responsibility toward a role of leadership? A sense of indebtedness to those less fortunate in their trade, to the degree they might realize that stomping their shoes on the ground wasn’t just a bad look, it was a missed opportunity for advocacy.

It reminded me of so many people in the film/TV industry who ground their teeth over any missed opportunity, taking like a mortal blow to their ego what people like myself had to endure on a regular basis just to land a gig that paid decently.

This person disappointed me, and I feel that there’s some of my own shit in that. I had few if no role models during those 20 years, and those who came closest could still say or do hurtful things, often because of their inflated sense of importance, or plain ol’ toxic masculinity (which ran from hot and cold taps back then). I don’t write about the industry very often because my relationship with it is bittersweet; there was a shit load of misogyny and general bad behaviour, which makes writing about it that much more difficult.

I would love nothing more than for this person on Facebook to stand taller, to look beyond their four-block radius, to think what might encourage or inspire others, rather than posting things like “TOO MUCH BIG-GOVERNMENT!”. It saddens me when people of a particular generation who were entitled to many more advantages than subsequent generations can’t see beyond their immediate domain. Worse still, when brought down a level or two from their prestige, appearing aggrieved.

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Thoughts on The Queen’s Gambit

As someone who not only played a lot of chess in my early 20s (patzer-level) but read just as much about the players, I didn’t know what to expect from the Netflix production of The Queen’s Gambit. Here are some thoughts…

First, it’s a fine piece of entertainment. The pacing, casting, direction, and performances are pretty damn solid. Considering it centres on someone’s relationship with a game that has seen little popular interest in the last couple of decades since Searching for Bobby Fischer (with the notable exception of 2016’s Queen of Katwe, which didn’t seem to catch much wide attention) this is significant.

I love chess. I love it conceptually. I love it for its immense complexity, and its ability to appeal to audiences and players from a broad spectrum of society and aptitudes. There are many misconceptions and reductive hot-takes about chess out there: that it’s a nerd’s game, that it’s nebulous and reserved for STEM-types, that winning is strictly a question of whose memory is greater. There is passion in chess, as well as style and aesthetics. It ends up being a reflection of whomever is playing, whether intuitive or mathematical. As such The Queen’s Gambit does more for chess than anything I have ever seen portrayed on screen. Period. They nail it, and my gut clenched many a time watching the portrayal of championship matches.

But, it remains as entertainment, and by that I mean there are reservations I have about what is portrayed. First, a brief summary: the seven-part series portrays the fictional rise of a young ingenue in the 1960s played by Anya Taylor Joy, who, as an orphan, peers into the world of chess through the solitary practice of her orphanage’s janitor. As he invites her to play it becomes apparent that she is immensely talented, not only for her age, but far beyond the ability of adults around her. There is a struggle, however, in her unresolved neglect and abandonment as a young child, which leads her to dull/heighten her senses with pharmaceuticals. As she grows older and is adopted, both her chess playing and her relationship with substance-use becomes more profound. She eventually goes on to the world stage, beating opponent after opponent with ferocity. I leave it there so as not to spoil anything. The competitive action is riveting.

As I mentioned, it’s a work of fiction, which is neither here nor there, but it’s significant that the rise of a female chess player in a predominantly male environment is portrayed without much in the way of overt interference, sexism, or politics. Yes, it’s there, but it’s there in the way you might expect it to be portrayed in a breezy musical, not a modern dramatic production. Yes, there are disbelievers, there are doubters, there are frustrated male egos, but that’s it. I don’t want to be cynical, but I can’t help but think Joy’s character would’ve encountered much (much) more resistance in 1960s America than what is portrayed. There are no less than four consultants on the series — two general and two on-set chess consultants — and they are all male, and I don’t think it’s controversial to point out how short-sighted this is. To be fair, this is an adaptation of a novel, so I get the argument there is only so much the producers might have done without straying too far from the source material. Notably, the author, Walter Trevis, also wrote The HustlerThe Color of Money and The Man Who Fell to Earth, so there’s a pedigree to be mindful of — then again, how slavish was Nicolas Roeg’s adaptation of The Man Who Fell to Earth? Could they not have brought on a woman (there are no less than 37 female grandmasters currently) to provide some perspective? This is not an insignificant question.

Another issue is that its lone supporting Black character, Jolene (played by Moses Ingram), disappears for over half of the series, only to pop up toward the end, ostensibly as The Wise Black Woman. Again, could this not have been better managed during script development? It ends up being feminist but only through an aspirational lens that doesn’t seem to be able to imagine a wider perspective, or audience.

These failures aside, my dear hope is that this reinvigorates interest in this wonderful game, and that we may one day see children from all walks of life inspired by portrayals such as what The Queen’s Gambit contains.

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Memories of a Virus

I can’t help but think about Toronto in 2003. I had just started working with a well-respected performing arts film company in the autumn of 2002 after having been laid off from my previous job after the bottom fell out of their financing for an ambitious Grimm Brothers-based children’s TV series. Some context is important here. 9/11 had only happened a year before my lay-off. The effect of 9/11 was huge on the film and TV industry. One large factor was advertisers: they weren’t producing new ads — I don’t exactly understand the psychology behind this though I gather many were waiting for what the Bush Jr. administration would do as a response to the attacks. But, as I did start my career working in TV commercials, I can tell you that those 30 second spots pump tonnes of money (and jobs) into many parts of the economy. So, no new ads, no ad money to broadcasters, thus no budgets from broadcasters for new productions, which meant industry jobs were scarce.

Then came SARS.

I wrote about this for the Torontoist ten years after the fact, albeit in a more generally-geared way (not focused on the film industry). It may not be the definitive SARS essay, however it’s topical both as an overview of the what and how, and also as a point of comparison to what we are facing today, nearly 20 years later, in the early days of the coronavirus COVID-19 as it spreads its way across the planet.

As I wrote then, we were caught flat-footed as a result of economic downsizing (or to use more current parlance, austerity measures). And if 9/11 took the legs out of the film and TV production in Toronto, SARS was a squarely landed sucker punch. Even though the job I’d just landed paid much less than my previous one (don’t get me started), I had to be thankful because I ended up avoiding an industry-wide cull that left all but the best (or well-connected) in the industry. For a simplistic explainer, Hollywood movies shoot here in order to take advantage of rebates on labour costs, and thus undergird the infrastructure that the native Canadian industry depends on for their productions. They didn’t want to cross the border for risk of any cast or crew getting ill. Even beyond North America we were affected: the company who hired me was about to start pre-production on a feature shooting in southeast Asia — then like now a hot zone of the virus — when the plug got pulled for insurance reasons.

Even though we pulled ourselves out of it, it got bleak. It felt like Toronto was put in a sick ward and someone wrapped it in protective plastic from the rest of the world.

A lot has changed since then. Canada learned its tragic lessons — losing 44 lives and having a hole drilled through the economy will do that. Our medical infrastructure is now among the best prepared in the world. It’s a strange and unsettling deja vu to see other First World countries who weren’t affected by SARS struggling to stave off infection. This includes, coincidentally enough, film productions (as it stands, Toronto has become and remains a boomtown, especially since Netflix has invested in studio space). I am very thankful for the lack of social media (as we know it now) back in 2003. What I witnessed then was only a precursor to the more virulent online racism, xenophobia, and paranoia that we are seeing today.

I wanted to write that Torontoist essay in 2013 because it seemed nobody wanted to acknowledge what happened in 2003 — that somehow, maybe thanks to “SARSstock“, we could wash ourselves of it. The body count. The World Health Organization’s travel advisory. The second SARS wave that hit later that year. The economic downloading that made us so vulnerable.

I’m writing this now because I work in the middle of Chinatown, which has been unfairly punished by the association with COVID-19. Restaurants and businesses are suffering for no reason other than the public’s ignorance. I realize it’s early days for COVID-19, which has the potential of wreaking great havoc. My hope is that, where applicable, medical facilities are upgraded to prevent the spread of infection, people use common sense when travelling and — of personal importance — that populist governments do not use this as an excuse for clamping down on democratic freedoms (i.e. public assembly, elections). We shall see.

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Comedy

The next book is going to different.

I’ve given up on “the next book isn’t going to be an ambitious book” because inevitably I churn out something that ends up doing so, or at least attempting. That said, I would like to write something funny, which is hard — at least if you’re aiming for something that is consistently funny. Then there’s the type of funny. Not all funny is funny to all, and that’s the main problem with writing something comedic: it has to have a consistency that you wouldn’t necessarily expect from other genres (as long as a thriller contains a handful of thrills then it earns the merit badge of its title), and not just in terms of how populated it is with humour; there’s consistency in terms of the volume of material but there’s also consistency in terms of texture — is this a satire that a smaller number of people with more rarefied knowledge will appreciate (think of the film The Square, a wry satire of the upper echelons of the art world), or a broader, more bombastic, plot-driven variety (see Hitchhiker’s Guide)?

It’s intimidating and I may abandon the whole thing, but Radioland, my second book (hello, publishers at this year’s London and Frankfurt Book Fairs — my agent will be looking for you!), took a lot out of me and I’m looking to try something stylistically different.

Wish me luck!

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The One I Feed

If I’ve learned anything this year it’s the command, perhaps even the primacy, that music holds over my creative life, which is strange(ish) for someone who isn’t a full- or even part-time musician. Let me qualify “someone who isn’t a full- or even part-time musician”: I can play drums decently well, I’m barely adequate on keyboards, and I’m beginning to develop confidence on electric guitar. But there are no stakes for me: I’m not in a band, I’m not hoping to become a recording artist. So, as an established/emerging writer, what’s the deal?

The deal is that music presents as part of a triumvirate of full-blooded influences on me: music, film, and writing. I am incomplete as an artist without one of these. Don’t get me wrong, I love other forms of art — dance, painting, sculpture, etc (to infinity) — it’s just that my DNA is activated by music, film, and writing.

But the predominancy of music in my life sometimes has me worried.

Let’s start with writing. Music twists around my work almost symbiotically. The Society of Experience involves a character whose day job is a music supervisor for film and TV productions, and thus the narrative is punctuated with songs from the very beginning; the main character is sometimes haunted by the sound of a jukebox in the bar beneath his apartment. And yes, of course I created a soundtrack for the book’s launch (which features music mentioned within as well as inspired by the themes and subject matter). My next novel, Radioland, involves a “successful” musician having a nervous breakdown. The novel I’m working on right now, [untitled matt cahill project], involves the power of a DJ on a young boy in the country. If I could afford the rights I would quote song lyrics to introduce book sections.

Even when it comes to film, music has been immensely influential. From the quirky soundtrack of Brazil to the Wagnerian flourishes of Excalibur, I have not only fed deeply on music scores and soundtracks but have followed a countless number of rabbit holes. If it hadn’t been for watching Underground, I wouldn’t have spent a year chasing down recordings of Serbian brass band music. In film school, one of the best things I ever did was a one-take b&w short I shot on a wind-up Bolex that I played back w/ The Jesus and Mary Chain’s Reverence blasting in the background.

I care deeply about music to the extent that, on a social occasion where we were taking turns playing songs on a nearby jukebox based on a chosen theme, I was asked to choose 3 songs I hated. I said I wouldn’t. And I wouldn’t because a) it meant sitting through 3 songs I hated, and b) life is too short to listen to songs you don’t like. It made for an awkward moment and I felt somewhat precious, but that’s how it goes when you take a principled stand about most things.

So, my worries, however ephemeral, are whether I’m suffering from a blindspot in how I prioritize music. Is it a blinder? Is my appreciation for it distorting my perspective insofar as my writing (in particular) might suffer? I don’t know. I don’t have a lot of artist friends, and the ones I do have probably wouldn’t deem this to be something worth much concern. That said, sometimes I wonder: am I using one art form to inform and/or expand another, or am I misusing either/both? Should I be concerned when things become sacrosanct? 

These are not really questions that require answers, but as an artist who wishes to be reasonably self-aware, they are good to ask nonetheless.

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Ambient

I don’t know how or when I got into ambient music. I can tell you there have been a few seminal contributors: classical music, movie soundtracks, minimalist and so-called world music composers, and the more spacious actors in pop/rock music.

Let’s start with a sort-of definition of ambient music, and I will begin by saying that I have no formal education in this realm. Ambient music is typically experimental and tends toward spaciousness and a lack of traditional (Western) song structure; it has its roots in the likes of 20th century composers such as John Cage, as well, during its development, contributions from traditional music from India and Japan, as well as from jazz. It can be a formless and electronic haze, or it could be all about exacting pattern and repetition using traditional instrumentation. There is also often a sense of the tactile. I will include some examples toward the end of this piece to begin to provide some context. At the end of the day, what is and isn’t strictly termed “ambient” is often more a question of the composer’s intent. You will just as likely see genre labels such as “minimalist,” “drone,” and “experimental” instead, as the term “ambient” can be a sort of kludge.

As a primary influence on me, classical music is a no-brainer, and like a lot of kids who grew up at the time I did, we were treated (or as I like to say, inculcated) to classical music through Bugs Bunny and Disney cartoons. As an adult I love the flourish and bombast of Shostakovich and Borodin, and the aching lyricism of Vivaldi and Bach. However, there is something undeniably mesmerizing about a brief section of Act II of Wagner’s opera Siegfried, where, through gorgeous use of instrumentation and dynamics we are surrounded by the quiet stirrings of nature — it surrounds the listener and one has no choice but to surrender to its formlessness. This formlessness is not something we often associate with something so strictly structured as classical* music.

the cover of Twine, an album by Taylor Deupree and Marcus Fischer. This image shows 1/4" audio tape loops hanging from the top of the frame.

As a movie buff, it makes perfect sense, given my exposure to classical music as a child, that movie soundtracks would inspire my appreciation of ambient music. Even in an epic space opera such as The Emperor Strikes Back there are many moments — particularly the suspenseful, quiet bits — where John Williams draws from classical roots, but of course, in order to create mood and retain timbre, sections end up as long stretches of almost abstract-sounding composition. Another perfect example would be the use of György Ligeti’s Lux Aeterna in Stanley Kubrick’s 2001: A Space Odyssey during the monolith scenes. Funny how sci-fi tends toward this direction.

A movie and a soundtrack that shook my foundations as a teenager was Godfrey Reggio’s Koyaanisqatsi. While the imagery was both disturbing and inventive, it was my introduction to Philip Glass’ minimalist composition that entranced me. Its mantric dedication to repetition using an orchestral ensemble and use of church organ and choir during its more climactic parts was catnip to this kid. When, a year or so later after seeing this, I discovered that Glass had collaborated on an album with Ravi Shankar (1990’s Passages) I couldn’t resist picking up a copy at a classical/jazz record shop near where I worked as a photolab technician. It was love at first listen; while some might’ve thought that the two were at odds with each other — one an avant-garde composer, the other an Indian classicist — their collaboration (each took turns orchestrating the other’s compositions) was a major influence on me.

To save space here, I will briefly name three other significant musical influences: David Sylvian, Talk Talk, and Miles Davis. Sylvian’s Japan reunion of-sorts, Rain Tree Crow, only put out one album but it was a low-key combination of rock/jazz/experimental soundscapes with African rhythms that has had a lasting influence on how I decided to listen to music. Talk Talk’s last two albums — Spirit of Eden and Laughing Stock — are rightly hailed as experimental masterpieces of pop-meets-improv jazz however a single song deserves mention, from their comparatively more formal pop album The Colour of Spring: April 5th. You can see where they were going with only that one song (and the album is wonderful as it is). Lastly, discovering Miles Davis’ album In A Silent Way was another key piece in my ad hoc self-education: the tactile nature of the instrumentation has been hugely influential on composers of all genres since then (and you can hear a motif from this album used on Taylor Deupree and Marcus Fischer’s Twine).

Over the last seven or more years, I’ve become deeply involved with ambient/experimental works by composers such as Stephan Mathieu (who not only composes but masters others’ work at his studio) , Deupree (who established the influential ambient label 12K), and France Jobin, as well as those, like Ryuichi Sakamoto and Christian Fennesz, who dip in and out of the ambient genre.

In an age where we are bombarded with divisive and interruptive dialogs encouraging us to be outraged at every turn (not to mention the very real aspects of society that are worth our outrage, if only we had the time and energy to devote to them while being able to support ourselves financially), experimental ambient music allows me — on a good day — to reset my thoughts and tune into a more free-form sonic world. Ambient is not pablum. Ambient is not “new age music.” If anything ambient has been about transcending the boundaries of “instrument” and “technology”, something all genres of music have attempted at one time or another; hip-hop does this particularly well.

Here are some examples that have been influential for me:

Radioland, by Stephan Mathieu: https://schwebung.bandcamp.com/album/radioland-2

Perpetual, by Ruyuichi Sakamoto / Illuha / Taylor Deupree: https://12kmusic.bandcamp.com/album/perpetual

Duo, by France Jobin + Richard Chartier: https://matterlabel.bandcamp.com/album/duo

~~~, anna roxanne: https://anaroxanne.bandcamp.com/album/-

Arrow, by Richard Youngs: https://preservedsound.bandcamp.com/album/arrow

Tracing Back The Radiance, by Jefre Cantu-Ledesma: https://jefrecantu-ledesma.bandcamp.com/album/tracing-back-the-radiance

Allister Thompson hosted a blog, Make Your Own Taste, that contains a lot of ambient artists and contextual information on the genre. You would do well to visit if this is your thing.

*note: I use the term “classical” generically; technically I prefer the Baroque and Romantic periods best, truth be told.

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Content Discontent

I think I’ve had my fill of TV (streaming or otherwise) and mainstream films.

The first problem is mine, and is one of saturation. I worked in film and TV post-production for 20 years, watching everything from 15-second TV commercials to multi-part TV series, to box office-busting films. And part of working in film and TV is keeping up your fluency so that you can communicate effectively with each other (if a director makes a reference to Picnic at Hanging Rock you better be ready to watch it if you haven’t seen it already). Also, I’ve watched hundreds of films and countless TV shows over the course of my life — the seminal and forgettable, the laughable and the revelatory.

I’ve pretty much seen every storyline at least once. I’ve seen every twist and turn, every “surprise ending.” I’ve seen every plot device, every sort of villain, every sort of (male) anti-hero, every sort of Disneyesque sentimentality and every sort of nihilist purging of the arthouse soul. It’s hard for me to be taken in by a show or movie — either to suspend my disbelief or my anticipation of what the creators are going to do.

The second problem is out of my hands. In this age of streaming services, we are awash with content. Netflix, Amazon Prime, Crave, etc. all require things to put on their virtual shelves so that we can be enticed to part with our money in order to explore their goods. I have no problem with this business model — it’s basically turned into (back to?) cable TV. The problem is one of quality. It seems that, in the effort to fill the shelves  seasons are lengthened with filler and show renewals are rubber-stamped that end up being samizdat versions of the preceding season. Multiplexes are filled with the faddish (and profitable) notion that (see: Marvel) everything can be part of a franchise. If I hear another producer say “We originally imagined this as a trilogy/series in four-parts” I’m going to scream.

What bugs the shit out of me is how this affects what’s presented as upper tier programming. A good example is Good Omens, the heralded adaptation of Neil Gaiman & Terry Pratchett’s collaboration. I haven’t read the original book — I have a notion that it’s written in a larger-than-life, Douglas Adams-y style — but the show is painful to watch. It wants to be sly and slick satire and it has strong early moments, but it’s all so buffoonishly overplayed — the actors who aren’t line-reading chew their way through the scenery — to the degree where I had to wonder whether the producers might’ve considered making it for children. The worst is that for a six-part series there’s barely enough story to take up three. I lost count of how many time-sucking flashbacks and side-stories are introduced in order to lead to the telegraphed, overdue finale. Speaking of Gaiman, adaptations, and overdue finales, please see the meandering second season of American Gods (which I abandoned).

For the record, I don’t have a problem with the Marvel Universe franchise. They’re not hiding anything: it’s a stream of big-ass popcorn epics. They aren’t being released as exemplars of anything other than “hey, here’s a well-executed adaptation of a comic book most people haven’t read.” Sure, given the choice I’d rather watch an imperfect  Olivier Assayas film over Ant Man, but at least I can watch the latter and know where to keep my expectations dialled.

While I’m bleating, a trend I wish would die, pardon the pun, are films where it’s obvious the protagonist won’t get a scratch despite killing 100 hired assassins (see the three John Wick films, The Equalizer, and Colombiana). Where’s the suspense if you don’t allow the audience to imagine that, no, the protagonist might not make it. This is an inherent problem with films and TV shows that are made in the hope of infinite reboots: no suspense (see: Orphan Black, a prime example of where the producers missed multiple opportunities to draw more attention by killing off one of the clones).

Why can’t we make something, leave it be to stand on its own merits, and move on without exploiting its success with sequels and prequels and remakes and reboots? As good as the original was (and it is), who in god’s name, save for the cast and crew, asked for a second season of Big Little Lies? What part of that story begged for extended development? Note: Liane Moriarty, the author (whom I share a birthday with) whose novel was adapted into the show never wrote a sequel until the HBO adaptation achieved success (she ended up writing a novella by request, not exactly the way any author would like to work, let alone revisit characters, though I don’t blame her).

Anyhow, I sometimes wonder, in the industry’s effort to satisfy its appetite for content, whether we are sacrificing the magic of our relationship with entertainment for the sake of Say’s Law, the (questionable) belief that supply creates its own demand.

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