It had seemed strange at first, of course. But now that the ratio of cephalophores to those with their heads still attached was roughly even, he scarcely noticed it anymore. They were just more bored New Yorkers, standing in line impatiently at the bank, making too much noise in the house across the street.
Then, one day, that all changed.
As the years passed, he remembered it like one would remember a car accident. Her glittering smile was the fragments of a shattered windshield scattered across black pavement, and nothing would ever be the same for him again. He had passed so many sleepless nights wondering how his life would be different if they had not crossed paths that day. He would have been saved from all the pain, but he could no longer imagine his life without her. She had been filling it up for so long, even if what she’d been filling it up with was the emotional equivalent of a full-body cast. Continue reading →
He had come to visit his friend’s farm in the Finger Lakes of upstate New York just for a change of scenery, really. The hectic pace of New York City was starting to bear down on him too overwhelmingly, to the point that working on his latest novel just resulted in endless frustration. He felt like his brain was in some kind of vise, being slowly squeezed until he couldn’t think at all. The constant hum of activity outside his Brooklyn apartment, usually comfortable, almost soothing, now just seemed maddening. Continue reading →
Caveat: A request to review KateGoes’ debut album Animals Who Want To Be Other Animals was met with an express stipulation from the band that they would sanction a review only upon the precondition that it be written in a (to quote) ‘geordie accent‘. Whether this represents a progressive female re-appropriation of the male critical voice or is a matter of ethics in indie music journalism is open to debate.
The Geordie version ran yesterday, and an standard English dialect version follows below the cut.
From the moment Zeke stepped outside, he could tell it was a most peculiar day.
If you had asked him what indicated this to him, he would not have been able to tell you—it was not anything that could be defined. But the clouds seemed to be bearing down on him, a succubus heavy on his chest, trying to suck the breath out of his lungs even as he desperately gulped in mouthfuls of the crisp mountain air.
He felt claustrophobic in spite of being outside. He couldn’t get somewhere much less confining, actually—there wasn’t another house for a good five miles. Still, he felt as if he needed to escape, even if he couldn’t put his finger on what was making him feel so unsettled. He decided to go for a walk. Continue reading →
Friend-of and occasional-contributor-to Kittysneezes Janet Bruesselbach has just started a Kickstarter for her new art project, Teleportraiture. It’s super cool — you can read all about it there, but the BASIC GIST is that she’ll paint portraits of people via tele-conference/video chat/whatever you wanna call it, and once she’s got a bunch of ’em, she’ll put them in a month-long gallery show in New York City. AND AND AND, people can visit both in person AND by said video chat/whatever. So that’s pretty awesome. Anyway, it’s been up for a couple days and she’s already 20% to her goal. If you’ve got money burning a hole in your pocket, go chuck it at Janet. If not, just keep an eye on this and share the link and whatnot. It’s a really cool project and I’m looking forward to seeing the results. Continue reading →
This is the first of what will, hopefully, be a series of reviews of excellent records lost to the mists of time. Some were later found again, like this particular record, the self-titled debut by Polyrock.
Polyrock was a post-punk/new wave band from New York City with a distinctive minimalist flair, owing in no small part to the involvement of Phillip Glass in production and performance. I suppose the closest parallel to Polyrock would be early Talking Heads, somewhere around More Songs About Buildings and Food, though the approach is totally different. Polyrock’s music was pattern-based, usually with a driving, mechanical drum beat, while Talking Heads were more open and conventionally pop in their arrangements.