Last week, I was pleasantly surprised to have come across the Criterion Collection edition of Jean-Luc Godard‘s Pierrot Le Fou (1965) selling at one of the neighborhood DVD shops – of all places in the whole wide world, I thought, and hats off to geographical convenience – and I just can’t resist shelling out for it, having not seen the film in many years.
I guess revisiting this film, one of the first few of French New Wave films I saw, brought me back to when I first became an avowed admirer of the staggering inventiveness of Godard’s most vintage works, and Pierrot Le Fou has aged ever so ravishingly. Jean-Paul Belmondo plays the lovably confused intellectual wannabe Ferdinand, who abandons his TV executive job and married life to go on the run with quirky gangster moll Marianne (Anna Karina).
These two most implausible fugitives scurry across France with typical insouciance and a zeal for disorderliness. While Pierrot Le Fou zooms in the pair’s lowlife charisma and their misadventures with an intoxicating sense of narrative spontaneity, I can’t help but be strangely enchanted by Ferdinand’s seeming rediscovery of his artistic passion as a writer, Godard peppering the film with a great welter of literary quotations and references that would make their way into the film as part of Ferdinand’s ravenous journal entries – quite an interesting reversal of the incorrigible petty thief Belmondo played to perfection in Godard’s monumental debut Breathless (1960), in which his loutish character Michel wanted to know whether his girl fucked William Faulkner.
As Ferdinand and Marianne’s road trip hurtles toward catastrophic consequences, Pierrot Le Fou, in all its ineffable beauty as filtered through the drippy galvanic colors Godard utilizes throughout the film, begins to echo the muzzled frustrations of an intrepid filmmaker turning his lens on his own hang-ups. More than one critic has made the breakdown of Godard’s romantic relationship with Karina as an essential point of reference for discussing this film (their marriage would be over around the time the film was released), which makes it all the more poignant that it is on Pierrot Le Fou that she gave probably one of her most creatively provocative performances – perhaps a performance that reinforces the fact that Anna Karina, who appeared in so many of Godard’s early films that I’ve enjoyed, will always remain my ideal of a dystopian dream girl ever prone to fits of pique and tantrums.
“Distopian Dream Girl” captures quite possibly one of the most luminescent pop moments in the repository of memorable Built to Spill songs, and you got to love how Doug Martsch chew out the throwaway lines in the song’s chorus (“If it came down to your life or mine, I would do the stupid thing/ And let you keep on living”) like he’s trying to convince himself that he actually believes in what he’s singing; it’s the sort of counterintuitive sentiment that would not be unfamiliar to Ferdinand in Pierrot Le Fou, I suppose. The band’s brand of ponderous indie rock would bulk up considerably on their first two major label records on Warner – Perfect from Now On (1997) and Keep It Like a Secret (1999), both awesome albums – and Martsch has deservedly developed somewhat of a reputation for being an unassuming guitar hero, but I think I am no alone among Built to Spill fans who have a soft spot for There’s Nothing Wrong with Love (1994). – keith.
mp3: built to spill – distopian dream girl
the difficulty with being a “fan” of elliott smith or xiu xiu lies with how hard it is to “like” the pain and brutality exposed so starkly in their music. the same goes with the debut album by perfume genius, a moniker that thinly veils the confessional songwriting of mike hadreas. while the subject matter is similarly bruised and battered, learning takes a rather different path from smith’s underdog poetry and jamie stewart’s tragic theatrics, opting instead for feeble harmonies more reminiscent of the less ornate offerings of sufjan stevens (heartbreakers like illinoise‘s “casimir pulaski day” come to mind). comparisons aside, learning stands on its own as a record of much sadness, present not only in the words but more pervasively in hadreas’ breath and consequently everything he touches. the simple piano intro of the penultimate track “perry” attempts to clear the air, but only for a moment before the sadness returns with a greater heaviness, which i frankly don’t know how to deal with. – dan.
mp3: perfume garden – perry
learning is out now on matador records.
It’s probably a good thing that Libraries, the lovely second album by The Love Language, sounds not that far off from their well-received eponymous debut (which was one of the more outstanding first efforts from last year, in my opinion), as the band continue to tap into a rich vein of fuzzy garage rock crossed with rapturous summer pop sensibilities. The music generated from these psychedelic Libraries is delivered with confidence and zeal, while a spirit of nostalgia holds sway over its most knowingly retro moments. The frenzied bloom of “Heart To Tell” sculpts all that aching wistfulness into two and a half minutes of knockabout pop wonder, adding an enlivening presence to an album awash in dreamy enchantment. – keith.
mp3: the love language – heart to tell
Libraries is available on Merge Records.
after two promising eps, singaporean songstress inch chua has come of age with her debut full-length, wallflower, an album she approaches with both youthful, girlish enthusiasm and a fair amount of retrospective maturity. woven with experiences quaint and intimate, it’s the place in which she wrestles with fundamental questions of identity – the core of who she is and where she stands in a world seeking to homogenize and colonize. hello world, she asks in the title track, first with trepidation and later with growing courage on how she doesn’t fit in its mould and probably never will. still, it bothers her enough to dwell further on this conflict, as mirrored in the tension between her dreamy strings and the defiance of the harsher guitar strokes, drawn out perfectly with her impish vocal throwback to joanna newsom. yet, while newsom captivates from a mystical distance, inch draws you closer in no less enchanting terms to this pretty wallflower that’s coming into bloom even as we speak. – dan.
mp3: inch chua – wallflower
as with all her releases, wallflower is available as a free download. get it, and do support her at her album launch at the esplanade recital studio, 30 july, friday, 9.30pm.
here at i’m waking up to, we pride ourselves at bringing to you the best of established Singaporean acts (like our favorites the observatory and b-quartet) as well as up and coming local bands to look out for, as featured on the monthly international music bloggers’ collective, the music alliance pact. this month, brian koh handpicks cheating sons, whose debut album due later this year is already eagerly awaited here. enjoy!
SINGAPORE: I’m Waking Up To…
Cheating Sons – The Last Queen
Look at some Singaporean cliches and you’ll be faced with an urban cityscape with sterile modern amenities. But scratch the surface and you’ll remember that we were once a humble fishing village that actually remembered how to relax. Cheating Sons sounds like a band that is in the process of retracing those roots, turning over every leaf and scribbling notes in the margins of journals. To say they’re updating a nostalgic country-rock sound would be downplaying the creativity behind the band’s songwriting. While they’re still recording their debut album, they were nice enough to share this demo with us because everyone back home is so excited about the music these boys are making. – brian.
Posted in mp3
Tagged cheating sons, map
This is probably a song no contributor on I’m Waking Up To would ever write about, so I’ve made it my mission to introduce it to the world (not that it needs any introduction; we’ve probably heard it on commercial radio or at a wedding, gosh). Melee’s “Built to Last” is one song that makes a perfect candidate for satire, perhaps on a music column titled ‘What’s Wrong with This Song?’. Well, I’ll tell you what’s wrong with this squeaky clean American pop-rock number – it sounds like U2/Coldplay/Firehouse on Ecstasy; it appeals to the same high school crowd as Justin Bieber does; and it’s got words like ‘fireworks’, ‘candlelight’, ‘sun’, and ‘universe’. I don’t think there’s a song that aspires to be as blatantly romantic as this. (Usually songwriters DO get self-conscious at some point.)
Am I going to ask you to listen to it like a music connoisseur should, i.e. close an eye (or ear) and have a laugh with it? Hell, no. It’s a feel-good song, but that doesn’t mean you can’t take it seriously. Today I woke up to the feeling of ecstasy. I feel inexplicably overjoyed, and I feel everything is awesome. (This is real, and this is good, it warms the inside like it should.) I feel that it’s speaking to me, and I’ve played this song about thirty-six times in a row. If you’d just drop your guard and listen to “Built for Last” once, it will be the sun in your universe, and there’s no escaping it for you. – song-ming.
mp3: melee – built to last
Song-Ming Ang makes art about music. Write him a letter and get a mix CDR in return: www.circadiansongs.com