How to Tell if You’re in a Belle & Sebastian Song

the-bbc-sessions-520da3ea5629eYou have zero interest in getting married unless it would help save a nice girl you met at a party from having to go back to Ukraine.

You work in the acquisitions department of a small independent book shop, but dread your nightly walks home through the park for reasons that are not entirely clear.

You told your homeroom teacher you were tardy because your judo class ran over, but in fact you heard a Hammond organ playing somewhere down the hall and had to investigate. You met a handsome, bookish stranger and sang a duet with him, but left without getting his name.

It’s your last year of high school and you cope with the stress of family life by pretending you’re the lead singer in a band called Belle & Sebastian.

You are quietly mesmerized by a patch of winter sunlight.

You were inspired when your sprightly friend let down her hair and danced at a concert, so much that you wrote about it in your diary for a month, but have never actually danced yourself.

You work in a nail salon, you’re always late to parties and you’ve crashed your car twice in the last month. You’re in love with a girl across town who doesn’t know your name. (Her name is Belle).

You once spent an entire day being inexplicably happy and have devoted the rest of your life to finding out why.

Right now you’re wearing a striped scarf, a woolen jacket, and argyle socks. You have a friend of the same sex who’s wearing a cashmere cardigan. You might or might not fancy them.

You once contemplated murdering a stranger who spoke to you on the subway.

You had a small outburst in the café when you realized how old you’re getting. You’re sixteen.

You missed the train and now you’re standing at the station all alone. But it’s late autumn and the world is lovely around you.

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“If You’re Feeling Sinister”: A Look Back

if-youre-feeling-sinister-belle-sebastianIn 1995, Stuart Murdoch’s life did not seem to be moving anywhere fast. The twenty-seven-year old Scotsman had been suffering for upwards of six years from the effects of myalgic encephalomyelitis, better known as chronic fatigue syndrome. Because his condition made even playing on the piano an exhausting endeavor, he was unable to find work.

Living in Glasgow on public assistance, Murdoch joined “beat box,” a government program for the unemployed. He would later compare it to a “refugee camp for unemployed musicians.” The unemployed took a music training course and played music together. Once a month they were given access to a recording studio.

It was here that Murdoch first connected with the people who would form Belle & Sebastian; and it was here in the summer of 1996 that they recorded what are now widely regarded as two of the best albums of the 1990s, Tigermilk and If You’re Feeling Sinister.

Though the beloved indie band has covered a range of genres in their nearly twenty-year career, from folk to shoegaze to chamber pop, and has stylistically referenced bands as disparate as The Left Banke and The Smiths, the elegiac wistfulness of If You’re Feeling Sinister has become their defining sound. Even after they gained renewed critical acclaim and an unprecedented level of public attention with The Life Pursuit (2006), a collection of irresistibly danceable power-pop anthems, critics and long-time fans rightly pointed to their earliest work as their magnum opus.

Writing and recording twenty songs in the space of a few weeks would be a career-worthy accomplishment for any band. But Belle & Sebastian went a step further, crafting songs that seem to have been whispered out of the ether, songs that don’t so much seem to have been written as captured.

Take, for example, the Satie-like simplicity of “Fox in the Snow.” With piano, guitar, violin, and vibraphone, the band conjures up a serenely autumnal world in which soft-hearted youth have fallen on hard times. For me the special gift of Belle & Sebastian, my all-time favorite band, has always been its ability to evoke the rhythms and changes of the seasons, using lyrics and music to engage the senses so fully that it really feels as though the listener is standing on a wintry street corner in Edinburgh.

Fox in the snow

Where do you go

To find something you can eat?

Cause the word out on the street is

You are starving

If the lyrics are precious, they’re also devastatingly effective, compressing whole years of hope and despair and angst into the space of a few verses. “Fox in the Snow” showcases what would become one of Belle & Sebastian’s hallmarks, their knack for writing realistic, sharply observed character sketches about people who are young and lost and very much in over their heads.

Just prior to the recording of If You’re Feeling Sinister, Stuart had moved into a bachelor flat above a church. There he worked in the parish hall and sang in the choir in between writing songs for the album.

“I always wanted to write about normal people doing normal things,” he recalls in a Pitchfork documentary about the making of the album. “Because I wasn’t normal, I was out of the game. It was very attractive to me what normal people were doing.” So he set out to write songs about the “normal” folks he ran into in the streets and on the buses of Glasgow, though his own sly perceptiveness was always winking through, creating vividly eccentric figures who are instantly recognizable and yet somehow bigger than life: a track star who was driven to fame by the lure of getting to wear terry underwear; Hilary, who’s into S & M and Bible studies; Judy, who walks the streets dreaming of horses.

Of the ten songs on this album, the penultimate song, “Boy Done Wrong Again,” is the weakest, a slow sleeper that saps much of the energy from an otherwise rollicking back half. Like Tigermilk before it, the album begins in minimalistic fashion, with only the quiet plucking of strings to accompany Murdoch’s voice. But as “Stars of Track and Field” progresses, the rest of the band gradually joins in, adding new instrumentation (organ, trumpets) layer upon layer, building slowly and progressively to a powerful conclusion that promises good things to come. “Seeing Other People” is a near-perfect evocation of early morning and the ambivalence of two people trying to let go of each other but not being able to. “Me and the Major” explores the unbridgeable gaps between classes and generations with lyrics that are both spirited and resentful: “We’re the younger generation / We grew up fast / All the others did drugs / They’re taking it out on us.”

In terms of pure atmosphere, the next two songs are probably the album’s high point. “Like Dylan in the Movies” recalls Murdoch’s experience of having to walk through Kelvingrove Park, a shady Glasgow park. The combination of guitar, strings, and xylophone powerfully evokes a sense of the year ending, of autumn, and twilight. “Dylan” is followed by the wintry and underrated “Fox in the Snow.” The placement of these two songs on the album, and their musical kinship, seem to suggest that one is a continuation of the other. It’s worth listening to the two back to back.

“Get Me Away From Here, I’m Dying” is a light rocker about a naïve young man. Musically it’s as good as anything on the album, but the lyrics are achingly, almost embarrassingly sentimental. “I always cry at endings,” Murdoch sings, and then, as if already regretting this exercise in vulnerability, adds in the next verse, “Oh, that wasn’t what I meant to say at all.”

However, the shortcomings of this song are more than offset by the eerie brilliance of the one following. If You’re Feeling Sinister’s title track is also the album’s standout, with a backing track of children playing and enigmatic lyrics that have been variously explained as a satire of organized religion and the final thoughts of two people preparing to kill themselves.

 

Finally, “Mayfly” is a jangly guitar ballad in the style of The Byrds, while “Judy and the Dream of Horses” closes the album in high spirits with an almost pure distillation of pop craftsmanship.

Not satisfied with the production quality of the original recording, Belle & Sebastian recorded a live performance in 2005 for All Tomorrow’s Parties. It’s worth hearing just to assess the differences between the two recordings—in 1995, the band was young and unproven, while in 2005 it was one of the most successful indie rock bands in the world. But the original is the reason for their breakout success, and it remains the better version of their best album.

Two Stories About Bells

Vertigo 02One thing you learn in writing stories is that certain objects have a mysterious and almost magnetic power that defies words. Castles, swords, rings, goblets, buried treasure—the appearance of any one of these in a story is like a radiant stone that vibrates with its own intensity. Perhaps that’s why I became Catholic, because as a storyteller I was naturally drawn to a religion that invests material things with sacramental power: holy water; crosses; bells, books, and candles.

 

Bell towers have fascinated me ever since I saw the movie Vertigo when I was nine or ten years old. Recently voted the greatest film of all time in the once-a-decade Sight & Sound poll, Vertigo tells the story of a retired detective (James Stewart) hired to trail a young woman (Kim Novak) who may be possessed by the ghost of a long-dead ancestor. He pursues her to an old Spanish mission, the Mission San Juan Batista, where, at the very top of the bell tower, tragedy strikes. And then strikes again.

 

The understated use of Hispanic and southwestern folklore in this movie slowly worked its way into my brain, taking root in dark corners. During my first couple of months at Southwestern University, ten years ago this summer, I was enchanted by the beige limestone, the rounded-arch doorways, the old chapel at the heart of campus with a door leading up to the tower, a door that was only unlocked on the rarest of occasions. I remember being struck with a sense of the history of the place.

 

It was there that I had the idea to write a series of children’s books, books that would draw on the cultures and legends of the Celts (my ancestors) and the Southwest (my adopted home). This summer in going back and rereading some of the folklore and mythology of England I’ve been struck by how many stories center around the ringing of bells. In the days before telephones and wireless, sometimes the cathedral bell was the only means of communication between one town and another, or between the church and those in peril on the ocean’s dark waters.

 

One such story from County Surrey tells of a man, Neville Audley, who was captured fighting on the wrong side during the long-ago War of the Roses. Arrested and sentenced to die when the curfew bell tolled on the next night at Chertsey Abbey, he realized that the only hope of being spared was to obtain a pardon from the king.

 

Neville conferred with his girlfriend, Blanche Heriot, and their mutual friend Herrick. Herrick agreed to ride towards London to seek pardon. But on the next day, with only five minutes left before the bell tolled, Herrick was seen flying towards the town from half a mile away—still too far away to save Audley’s life.

 

The minutes passed. The townsfolk awaited the tolling of the bell. But the bell did not ring.

 

Just as Herrick arrived in town, the sexton, accompanied by soldiers, went up into the tower to investigate. There they found Blanche Heriot, dashed against the bell and frame but still clinging to the clapper with a tenacity born of desperation. Luckily she had hung there just long enough to save her beloved, who was spared from death by the king’s timely pardon. The two were married shortly afterwards.

 

Another story with a less happy ending is told of the tenor bell of Burgh le Marsh church. The people of Burgh le Marsh once made a living off the debris of doomed ships, lighting the beacon on Marsh Hill to lure poor sailors to their deaths. Once the sailors were all drowned and the weather had calmed, the townsfolk would scramble ashore to loot the broken vessels.

 

As the story goes, in 1629 the Mary Rose was sailing from Leith, Scotland along the Lincolnshire coast on its way to Flanders. A storm began to gather. The wind howled and the rains beat against the ship, while the people of Burgh watched from the shore with growing excitement.

 

But not everyone was pleased by the buffeting of the storm-tossed ship. The elderly sexton Guymer, when he learned what was being planned, begged them not to light the beacon. No one listened.

 

A crowd made its way towards Marsh Hill and the beacon was lit. Captain Frohock, seeing what he mistook for a lighthouse, called out to his men that they were safe. The crew turned the ship in the direction of the light.

 

Back on shore, desperate to avoid the collision that was imminent, Guymer ran towards the church. Ascending to the top of the bell tower, he grabbed the rope and rang the bell with all the strength he could muster. Captain Frohock, realizing how close he was to shore and certain death, ordered the Mary Rose back to sea, away from the treacherous sands.

 

Enraged by the tolling of the bell, the townspeople stormed into the church. Breaking down the belfry door, they found Guymer, still clinging to the rope, his dead body swaying to and fro. His heart had burst open from exhaustion.

 

When Captain Frohock returned to the village a year later and learned what had happened, he bought an acre of land known as “Bell String Acre.” He ordered that rent from the land be used to buy a silken rope for the bell. It’s said that he married the sexton’s daughter.

“One More Dawn, One More Day”: 3 Moments of Storytelling Brilliance

Frodo-Sam-image-frodo-and-sam-36084502-1920-800

A good story, whether in the form of a song, novel, TV series, or movie, should give the illusion that you’re experiencing something new and unprecedented. There’s a moment near the end of the story where the heroes find themselves in a unique situation facing extraordinary challenges, and the hair on the back of our necks stands on end because we know we’re witnessing the culmination of a series of choices, and if any of those choices had been different, this moment would never happened.

It’s thrilling. It gives us a rush because we know life is like that. There’s a grandeur that invests even the smallest moments because we have a dim appreciation of what it took to get here.

The following are three of my favorite storytelling moments across all media, moments where a protagonist revealed his or her true quality and the brilliance of the narrative mechanisms on display were like nothing I had seen before.
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“I made a promise, Mr. Frodo”: Fellowship of the Ring (2001)

With all the computer-effects wizardry and operatic spectacle of the later films, it can be easy to forget the promise of Peter Jackson’s first foray into Middle Earth, The Lord of the Rings: The Fellowship of the Ring. The genius of the first movie (and, to a lesser extent, The Two Towers) is that they somehow married the scale of an epic fantasy story with the intimacy of a small character drama. This was never more apparent than in the under-stated denouement of Fellowship, in which human warrior Boromir dies protecting two Hobbits after nearly betraying Ring-bearer Frodo Baggins. Frodo makes his escape by boat, thinking to finish the journey alone. But his gardener Sam Gamgee has other plans, and it’s in showing how the two of them end up together that the films have one of their best moments.

 

The Death of Krishna: The Mahabharata (1989)

The ancient Indian epic The Mahabharata, the longest poem ever written (two million words in 17 volumes), has a cast so large and a story so convoluted it rivals the Lord of the Rings, featuring demons, gods, weird monsters, vengeful reincarnations, and a magical weapon with the destructive capacity to annihilate an entire planet. But the narrative thread holding the story together (and keeping it from buckling under its own weight) is the conflict between the Kauravas and Pandavas, two halves of one family who are determined to exterminate each other.

Hovering in the background of this out-of-control family quarrel is the mysterious figure of Krishna, who for much of the story seems to be just another member of the family (albeit one who is revered by all parties), but who reveals himself, in the poem’s most famous set piece, to be more than they had ever guessed. Naturally the question arises, “If you are a god, why can’t you stop this massacre?”

Peter Brooks’ five-hour 1989 film The Mahabharata plays up the more enigmatic aspects of Krishna’s character, suggesting that perhaps there’s a more sinister agenda behind his ostensible attempts at peace-making. But the film’s best moment comes at the end when Krishna, wounded and dying, reveals that he’s just as confused and vulnerable as anyone else in the story. A young boy asks him, “Krishna, tell me quickly: why all your tricks and your bad directions?” Krishna responds with his last words: “I fought against terrible powers, and I did what I could.”

 

“One Day More”: Les Miserables (the Musical)

Victor Hugo’s sprawling, relentlessly poetic 1,400 page novel Les Miserables, which tells the story of an 1832 student uprising in Paris, boasts some of the most brilliant character arcs in literature. (The culmination of the longstanding feud between Javert, the police inspector, and Jean Valjean, the criminal-turned-mayor whom he has hunted for twenty years, deserves its own place on this list).

The musical Les Miserables takes all this plot and condenses it into a lyrical and at times devastating two-and-a-half-hour saga of war, vengeance, grace, redemption, and romance. The entire last half of the story functions as a series of climaxes. And while the tear-inducing lament of Marius on re-visiting the barricades where his friends met their grisly end is probably the emotional high point of the play, in terms of sheer narrative power, praise is owed to the entire sequence where Marius, Cosette, Eponine, and their love triangle is introduced, and especially the song “One Day More,” which takes the emotional journeys of ALL the characters, crystallizes them into a few simple verses and chorus, and reveals that in spite of their many conflicts, our heroes (and villains) have far more in common than they would ever admit.

 

Thirty Days of Poems: She’s Ubiquitous (Day 3)

05-02-2013i            She’s ubiquitous

            She wouldn’t call herself a genius

            but I know she is

            A novelist, an actress

            She’s on billboards and Broadway

            The writer, star, director

            of a one-woman play

 

            She’s pale as the sun

            as quiet as the moon

            and she doesn’t

            understand the world

 

           

            She’s ubiquitous

            she wonders what the moral of the story is

            she takes her coffee black

            she stays out past midnight

            sipping Chardonnay and reading

            N. T. Wright

 

            She’s ubiquitous

            but lately she’s been feeling nervous and listless

            She’s sick of putting up with boys

            and their pathetic grandeur

            and wishes she could meet a guy

            who understands her

 

           

            She’s pale as the sun

            as quiet as the moon

            and she doesn’t

            understand the world

 

            (and sometimes late at night

            we take that desert road

            out where the stars are street lights

            and when we hit the end of that trail

            where the dust shines like fog

            and the grass hums around us with a million voices

            I pull out my flamenco guitar

            and she dances).

 

A Poet of the Margins

BreakingBadFelinaThe whole first half of this year I was so sure I wanted to write a “mundane,” realistic fantasy story about the boring lives of ordinary people.

 

But when I went out to dinner with Spencer last night, he said, “You, Boze, don’t have to write something realistic.”

 

And then today I was writing poetry as part of Teryn’s “Thirty Days of Poems.” And I started reading the lyrics to some of my favorite songs. And I realized there’s a thread running through a lot of them, and it may be the same thread that’s got me reading Flannery O’Connor and that made me fall so much in love with Breaking Bad.

 

Maybe the reason I loved that show so much wasn’t because it was gritty and realistic (a lot of critics said it wasn’t), but because it was all about people living on the margins. And maybe that appeals to me after all I’ve been through, as I begin to see more clearly the outline of the crucified God.

 

I wrote on Twitter, “I’m realizing that a lot of my favorite songs are about people on the margins, dreaming, fighting, desperate, struggling to get by.” And then quoted Walt Whitman: O you shunned persons, I do not shun you. I will be your poet.” And said, “Like Whitman, I want to be a poet of the forgotten and unsung.”

 

And I think that’s the kind of story I need to be writing, because that’s the kind of person I’m becoming. A person who sees life’s ragged edges. Who listens to the hurting, gets to know them, hears their stories. Who loves those who are trapped in desperate places.

 

Up until now, as Spencer pointed out, my story hasn’t really had a center. I think this is the center. These are the kinds of people I’m called to write about.

 

Thirty Days of Poems: Darren and Me (Day 2)

casablanca023

Darren and me

 are sitting in his apartment

 drinking rum and soda.

 

 The glow of the screen

 illuminates

 our tired faces

 as we gaze upon our heroes.

 

            “Clooney’s the MAN,” I say

            and Darren nods a little sadly.

            “I could be like him.”

 

            “Naw, bro,” says Darren.

            “You gotta get yourself a car.”

 

            “Hugh Jackman, man,” I say.

 

            “Hugh Jackman,” he avers,

            and we are quiet.

 

            *           *           *

 

            Darren and me

            we stay up talking

            eating hazel nuts and almonds

            with the clarity that only comes

            from sipping vodka

            after hours.

           

            “Dude, I gotta find myself a girl,” I say,

            “I wasn’t made to live this bachelor kinda life.”

 

             Darren says, “Well, what about Rebekah?”

          

            “Bekah ain’t interested in a guy like me.”

 

            “B. S.!” He points a shaky shot glass at me.

            “You should see the way she looks at you.”

 

            “Ain’t no one ever looked at me that way.”

 

            “Have you ever even asked a girl out?”

           

            “Dude, not if I really liked them.”

 

            Darren sits back on the couch

            and pours us both another glass of Evan Williams.

            On the TV, Louie’s eating dinner in Manhattan.

            Chicken rolls, lamb pasanda, flatbread.

            I grab another handful of pretzels.

 

            “What about you?” I ask him.

            “When you gonna find somebody?”

 

            “Some day, maybe.”

            He never takes his eyes off the screen.

            “Romance is great and all, but man,

            I got so many dreams.”