Cinematic Music with Pauly Deathwish
Season 1 Episode 1
Cinematic Music with Pauly Deathwish
Season 1 Episode 1
“The Movie”–Jim Morrison
“Came So Far for Beauty”–Leonard Cohen
“Pink Moon”–Nick Drake
“Into My Arms”–Nick Cave & The Bad Seeds
“Speed of Sound”–Chris Bell
“Lord Let it Rain on Me”–Spiritualized
“Bird on the Wire”–Leonard Cohen
A silver mt. zion.
Arizona into the Rockies.
Music of wide open spaces.
Charles Mingus checks in.
Was QAnon bullshit?
WFMU seems to think so.
And all their hipster listeners.
Missing the Godspeed You! Black Emperor.
My Bloody Valentine.
Automatic for the people.
Rightly asking if this guy, Pauly Deathwish, is Borat.
Elvis working at the truck stop.
Into French philosophy at a Barnes & Noble.
The great philosophers.
Taking on Philip Glass.
Poor girl with grey teeth.
Addicted to Kardashians.
Smoking candy cigarettes.
Brutal, cold world.
No fall back.
Wanna lock me for blood pressure.
It ain’t no cakewalk.
Tech moves fast.
Better than nothing.
You have a printing press.
The Innocence Mission.
Porgy and Bess.
A thousand planes.
Two ambient instrumentals to start this album.
Setting an amber tone.
Time is a luxury.
And Miles comes in.
Like music from Big Pink.
Very much of the Deserter’s Songs type.
And Coltrane leaps in.
A little noodling.
And WHAT THE FUCK.
Now we are in Blue Hawaii.
On a jukebox in Nashville.
Sawdust on the floor.
Just spit that tabaccy anywheres.
It really is Elvis.
We’re in east Texas with George Jones.
Bona fide redneck interpolation.
“Daisies on Your Doorstep”.
And back to EXPANSIVE verb.
Phil Spector would have loved this.
The plandemic that killed Phil Spector.
Biggest celebrity to buy the farm.
Buy the farm?
Or sell the farm?
During this whole plandemic.
You have no publicity.
I block all reposts.
I wanna EARN it.
Dissolve into what?
More Mercury Rev homage.
Drums from “Desperado”.
Another lonely bloke ended by “Holes”.
Favorite song ever.
Back to regularly scheduled programming.
Knife in the Water.
John Cale droning away on the viola.
Definite Gorky’s Zygotic Mynci nod.
Again The Innocence Mission.
Neil Young big time.
Stooges meet Beach Boys meet Messiaen.
But the Bowie knife is orange.
Made in Germany.
Kanye West and Wayne Coyne drop in.
When you can sing, but you get raped by auto-tune.
Loosen that shit up.
Going all Arabic on me.
Clouds of sound on almost every track.
A very ambient album.
Peaches DJ Berlin.
Roger Waters again.
Straight into Bjork.
Does she umlaut?
Sounds of a Mac.
James Bond in Rio.
Spy guitar for reprise.
Rhythm of the saints.
Beethoven emperor concerto.
A masterful track.
NOW WE’RE TALKING.
Papa Trump back in the house.
For the apocalypse.
L.L. Cool J.
Jesus fucking Christ.
Vengeance is his.
Everyone given a chance.
A fair chance.
I hear a single.
Ramthun came through.
About fucking time.
There’s a riot goin’ on.
Tears of a motherfucking clown.
Having the French horns get groovy.
Sketches of Spain.
The Soft Bulletin.
Christ coming down from the clouds.
Like a ton of bricks.
Don’t call it a comeback.
Not all the way.
Rocket pans across stereo field.
AND ROSE AGAIN, MOTHERFUCKERS.
Jesus more space than NASA.
Really a masterpiece of sample placement.
This is like a fucking lost Roland Kirk album.
Concerto for Booty and Orchestra.
Can never spell.
No more spelling.
Adieu au langage.
Ties together album.
Last track coming on like Faust.
Built to Spill.
In memory of a bloke who bit it.
End of Night on Earth.
You will live forever, my friend.
I never knew you.
You aren’t forgotten.
Thought of you put in this track.
Yerself is steam.
Great album by Pauly Deathwish.
Way behind on Pauly Deathwish.
Right off with XTRMNTR.
Spirit of rock and roll.
His most popular track at this time.
Drugs flowing through the veins.
Overdose of light.
God is the ultimate drug.
Coming back from depression.
Girlfriend goes on a date with another bloke.
From London to Paris.
Vintage keys like French band Air.
Every touch from two tracks imbued with Radiohead experimentation.
Pink Floyd bass.
Here come the warm jets.
Camera clicking photos.
Levon and Robbie Robertson.
Rhythm of the saints.
This bloke has nothing to live for.
His girlfriend is a total fucking bitch.
Alone in the world.
Trying to overcome.
She don’t give a fuck.
Info op birthed.
Bloke has sophistication in attack.
Wars back started BLM.
Kept powder dry.
Amazing hip hop.
The Sea and Cake.
Stereolab as always.
Trump supporter smart.
Assessment of coup against Deep State.
The balls to review his own albums.
Dark side of the moon.
Of the wall.
Noel feeding back.
Liam blowing harp.
Ringo’s son on drums.
Don’t believe the truth.
How she lives now.
Nigel Godrich as always.
Big Star Third.
As important as the Velvets.
Big Star early albums.
Like The Byrds.
Phil Spector lives in the glockenspiel.
Lester Bangs lives here.
Many disappointed patriots.
Lamenting the shitty U.S. military.
While honoring the 13.
And Colonel Scheller.
A handful of gems in a culture of shit.
I love faggots as much as anyone.
David, Lou, Iggy.
God is the only hope.
So I prayed tonight.
Nobody loves me.
See you on the other side.
Rolling the dice.
So long, Charlie.
I’m guessing you got the vaccine.
Happy Hairy (?) Hardon Q.
QAnon Christian Slater.
The first of a long succession.
Anthemic melodies befitting Handel.
Matrix done right.
First song to mention Event 201?
“Follow the White Rabbit”.
Very Jefferson Airplane.
Power to the people.
Pro-Trump psych rock.
Be a rebel.
No vaccines, asshole!
Great snare work.
Verging on adrenochrome.
Hefner and Monroe.
Sexy dead bodies.
Pay to grind for eternity.
Absolute Flaming Lips.
Transmissions from the satellite heart.
What is God gonna do for America?
What is America gonna do for God?
Nation falling apart.
Hail to the creep.
Scorsese Glass Kundun soundtrack.
Carl Stalling project!
This is a SOPHISTICATED FUCKING RECORD.
AUSTRALIA, WAKE UP YOU CUNTS!!!
Give me ANZAC!!
Fucking awesome return to Bobby Gillespie.
Great fucking song!
“Australia, Here I Come!”
Even uses the comma correctly 🙂
Riot city blues.
Baby won’t ya?
Love and Rockets.
Bitch who dumped me.
By not giving a fuck.
By not participating.
By being a selfish cunt.
Q Team, come in!
How many years?
Second American Revolution.
There’s a Riot Goin’ On.
Second Pauly Deathwish song to mention Jean-Luc.
Who the fuck is this nigger?!?
She’s a fucking black hole.
I take it all back.
A pathetic bleeding vagina.
Money soothes all pains.
She’s a loser.
Jack Nitzsche all the way.
Rips your heart out.
I will die lonely.
Having given it all away.
Hear the typewriter click.
Are there two people?
QAnon stylometric analysis.
Obvious split in styles.
Gimme the rain, the rain, the rain, the glorious rain!!!!
I got close.
Freezing your tits off.
Seeing your breath.
We coming for the sexy bitches.
With stellar boob jobs.
Factory Records above all.
Baggy as fuck.
Gimme them saggy titties.
Real better than fake any day.
Ain’t returning my messages.
Would love that bitch like Cleopatra.
Suck her toes.
Conspiracy theory king and queen.
Blew it several times.
Because heartless bitch usurper.
Same birthday as Lester Bangs and Nostradamus.
Ends with Pocket Symphony.
Ya feel me?
That glow in The World’s End.
But a sadness.
My Bloody Valentine.
Sloshy grunge hats.
I Am the Cosmos.
Yerself Is Steam.
The disappearance of Madeleine McCann.
You don’t know how it feels.
I can only give you everything.
Black magic warded off by honesty.
Serge on the way.
Lenny Bruce, even.
Hit to Death in the Future Head.
Wait at least until track three to break it down.
Southern Harmony and Musical Companion.
The confusion of ridiculous counterpoint.
Tonal, yet dissonant.
Thick Billy Corgan.
Definitely a sadness here.
All you need is hate.
The Inflated Tear.
Columbus, Ohio with duct tape.
Posing with a bass clarinet.
Did I ever write one?
Yes, I did.
Or is it contrabassoon?
Nadia Boulanger can tell you.
My teacher’s teacher (twice over).
The Left Banke.
Transient Random-Noise Bursts with Announcements.
A little lo-fi.
Changes that pull at your heartstrings.
A fucking marimba solo?!?
Are you kidding me???
Pauly Deathwish collaboration with Gordon Gano of Violent Femmes.
Lost Bayou Ramblers.
Gordon knew him as Death.
I have become death.
Tim Gane tone.
Back to J. Spaceman.
Dirty ass rock and roll with pristine horns.
Is this the artist we’ve been waiting for?
R. Stevie Moore?
Sounds like Jack Nitzsche.
Major Velvet vibes.
Dylan with P-bass.
Too much attitude.
Let it Come Down.
Fucker kicked the bucket.
First to be vaxxed.
First Suicide album.
The Soft Bulletin.
Ladies and Gentlemen We Are Floating in Space.
Gimme some lovin’?
La Monte Young.
First rehearsal tapes.
New York City heroin.
Warhol Factory torn down.
Across from YMCA.
Great throwaway lyrics.
Sound of universe.
Direct into mixing console.
Blood pressure rising.
I think I’m in love.
Will the circle remain unbroken?
When I had dinner with Roky.
First Velvets album.
But you gotta buy it.
Cop shoot cop.
On the jukebox.
Eat at the gas station.
First time in Texas.
It’s definitely Bowie.
Old is new again.
A fuck ton of flutes.
Flute loops literally.
Little fluffy clouds.
Gay glam chorus.
Boys peel out.
Gives me pants.
A Shot in the Dark.
Under the Western Freeway.
With Sean Mackowiak.
Comes back loud.
One song mastered soft.
The main influence of Pauly Deathwish’s debut album.
Chariots of fire.
Such a groove.
By the side of a freeway.
Under an underpass.
Not like RHCP.
How did a Trump supporter make this album?!?
I thought all Trump supporters were redneck morons???
This is way fucking better than Ariel Pink’s dabblings.
This sounds like a debut album.
Songs saved up.
Like The Strokes.
Cinematic as fuck.
Trail of Dead.
Because Pauly wrote the string arrangement on IX.
Snot on the crowd.
Lost Bayou Ramblers lost sessions.
This was all made on an iPhone?!?
Major 7ths in uppermost range of piano.
Almost indistinguishable from octaves.
Only for the sensuous ear.
Waters delayed bass.
No nonsense drums.
Humble Pie reference?!?
Predating new Bob Dylan album.
Check SoundCloud timestamp.
This is definitely the QAnon anthem.
This hook should be on a million conspiracy videos.
“10 Days of Darkness”.
Tell ’em Large Marge sent ya!
My end is my beginning is my end.
Great debut album (if I do say so myself).
Elle est une femme fatale.
Thus sang the chorus. Der unsichtbar Chor.
On Big Star’s cover of The Velvet Underground.
Third/Sister Lovers. Alex Chilton from Lou Reed.
And so if we want to really know the prostitute in Vivre sa vie (Godard’s best “movie”), then we must see G.W. Pabst’s Die Büchse der Pandora.
See Mulholland Dr.
The gloss of her brunette bob.
Yes, this film is many things.
And here is why.
The two climaxes.
One would fit seamlessly into Fritz Lang’s M…or virtually anything by Alfred Hitchcock.
But the other climax?
It is seconds before.
And worlds more important.
Like Sonic Youth’s Daydream Nation album.
Two lost souls.
One is reflecting on a messed up life. Perhaps.
The other is a messed up life reflecting on nothing. Just content with a moment’s peace. Maybe.
Soon consumed by cataclysm.
An act of God.
Or its opposite.
What I mean to convey is that G.W. Pabst did something remarkable with this film.
It really does read (watch?) like Mulholland Dr. or The Big Sleep.
Something is missing here and there.
Sound! (for one thing…)
I’ve said it before, but it really does matter who picks the music for these silent films.
It takes some research to know whether the version which has come down to you has anything to do with any official release which might have happened in the year of said film’s premiere.
What I got was Tchaikovsky…and “Greensleeves”…
But, most remarkably…it is the Romeo and Juliet Fantasy Overture (by Пётр Ильи́ч) without the soaring love theme…which is to say, it is the build-ups…the violent cymbal crashes…the angular solemnity which Dvořák’s 9th Symphony also shares (particularly the bold final movement).
But none of this really matters.
What matters is Lulu. Nana.
Alban Berg. “Das Messer ist blutig…”
I need a word. Just a word. A word. To start it off. Nothing fits. Frustration? Yes, perhaps. Ferment? That might work even better. It is a feeling. I search for it on the Internet. I cast my net to the blog sea. Ahh, Valentine’s Day… Yesterday. How I wanted to write, yet I abstained. Abstinence. Discipline. Youthful anarchy.
I needed a word. As so I sought. Abandoned, abandonment, abstract expressionism. No. Alex Chilton, Anna Karina. Yes. After two films she was back. Here. Anne Wiazemsky? No. We will wait for her at the Tout va bien café.
Art house, arthouse, Astruc? Yes. Alexandre. caméra–stylo. A free-flowing style. Freewheeling. Big Star, Bilinda Butcher? Yes. Feed me with your kiss. Do you know how to kiss? With the tongue? That’s correct. You stick your tongue out and I will kiss you on the cheek.
So I found my word? No. I found Bob Dylan, Boise, bored to tears. A phrase. Bresson. Wiazemsky. No, not yet. But, pickpocket. Yes. Money. A big stack of money!
Broken heart. Ok, now we are getting somewhere. And how does a heart break? Neil? Love. CSS. No, not the computer language. Language? We are barely passing English class. Romeo and Juliet. Verona. Valentine’s. The world’s shittiest Starbucks. Right by my house. Trust me. I’ve been to Starbucks in middle-of-nowhere Arizona…in a fucking Albertson’s. No, Target. Maybe Wal-Mart. No more depressing than the one by my house. Sure, the buck-toothed high school senior was not much on the eye candy scale, but I am living in the same wasteland. Neu Mexique. The place where they tested the bombs. Long ago. Trinity. I have become the destroyer of worlds.
No, the other CSS. Tired of being sexy. That one. And Cary Grant. Yes, my jacket’s at the dry cleaner…and I don’t have any money…so I won’t take off my coat. Tou bi or not tou bi contre votre poitrine: dat iz ze question. Something like that. Claude Brasseur. What a brute! What a fucking asshole!! !
Chris Bell. The singer. The white one. Yeah. Dead. No. Cinémathèque Française. O-kay! Now we are getting somewhere. But I keep searching. The English classes are not enough. Maybe the Chinese will prevail. Sami Frey is betting Chinese: 5-2.
Cocteau. Yeah. We’ll sit in the car and listen to the radio. No, I’m not allowed to do things like that. Hey, how old are you anyway!?! Conlon Nancarrow? Yes. And the last time Michel Legrand on the big screen [English broken].
When it should be sad, the jazz kicks up impossibly happy. Happily. Hereusement? I don’t know. I am on the other side of the pond.
Crying. Depressed, depression, depress-o-rama. And then she feeds a tiger.
Doldrums. No. The other ones. Not the horse latitudes. Ennui. Yes. She is bored, but she doesn’t know she’s bored…until she’s not bored anymore. Euros Childs. No. Completely inappropriate.
Farfisa. Maybe. Pasolini. Frankenstein. Rasputin. Claude Brasseur. What’s your family name, Arthur? Rimbaud, like my father. But he’s dead. As I pump a bull’s eye into the midway target. Can I keep my chart? [Crumples and throws away.]
Leave no traces. Like the Situationists. No more poetry. Arthur Craven. Shitty family. It’s no joke. We need that money. I was in Indochina. Don’t fuck with me. Like Raoul Coutard.
Back to black and white. Truly a film noir. Série noire . Gallimard. Says so at the end. Dolores Hitchens.
Forlorn. Ooh! That’s a good one! Any catch? French cinema. French film? Harmony Korine. No. Later, later.
Henri Langlois. Yes. Now we’re back on track. A name. We needed a name. Like Tarantino. His production company. Like the car scene with Travolta and Samuel L. Jackson. Same thing. They’re talking about nothing. But they are incredibly rude. Crude. Blow a fucker’s brains out. 2.0
But the travesty is that Godard is forgotten in France. ;that Quentin is cooler than Jean-Luc. Quel dommage.
Howard Hawks. To Jean-Luc. And then who? David Lynch? Not very often. Too many misses. Same with Harmony Korine. But those two are as good as it gets now.
Balls. Giant figurative testicles. The Madison. Joseph Beuys balls. Wolves and coyotes and felt and fat and goldleaf. Heathen child youthful anarchy. La Düsseldorf. Klaus Dinger? Motorik.
Driving like madmen. Park on the curb…like Billy the Kid. Drive on the sidewalk. The Simca. Do wheelies…no, donuts. The mud. The giant spools for wire. Tightrope.
Lovelorn. Ooh! Nice!! Lovesick. Mauricio Kagel. Yeah, now we’re getting somewhere. Because, obviously, there’s a smokin’ hot girl out there in blog land into Mauricio Kagel. Good strategy.
We are Sami Frey, here at Dossier du cinema. We are Anna Karina. We are schmucks. We haven’t learned yet to embrace our inner Claude Brasseurs.
How ’bout that MØ chick? Yeah, like her! Except……………….monotony. Morose? Yeah, book it! Nerval. Hanging from the streetlamp. Certainly. Ophüls? Nothin’.
Psychogeography. Clichy. The Louvre in 9:43…surpassing Jimmy Johnson of San Francisco.
AND THE SUBWAY SCENE!!!
Regret, rejection? Yes. Print it. The man sleeping on the sidewalk. Teddy bear or TNT. Richard Hell or Richard Lloyd. Routine. Buy groceries. Aunt Victoria. Like the Queen. And a big pile of money upstairs with the door unlocked and just a jacket draped over it. 200 million francs perhaps. In 10,000 franc notes.
Silver screen. It has to be silver, you fucks! Spider Man does not qualify. It has to be Louis Feuillade. Jurassic Park does not cut it. Did you see her thighs? So white. Black stockings over your heads. Undo the garters. It’s like Le Petit soldat all over again, but this time the terrorists are up and walking around. That’s what terrorists do. They terrify. Burglers burgle. Etc. No torture…handcuffed to the robinet.
I don’t have time for this shit. Shortcut. Dying. “Cheat death on the other side.” J. Spaceman.
Someone to be nice to me for like five minutes and then I’ll leave you alone. This was Jean-Luc “Cinema” Godard on fire.
The great director Samuel Fuller said in a cameo during Jean-Luc Godard’s Pierrot le Fou that, “Film is like a battleground. Love. Hate. Action. Violence. Death. In one word…emotion.” Writing about film is often an intellectual parlor game. Drop the right reference. Sound erudite. But one must confront the emotion of film with the emotion of criticism…in a harmony of pathos.
This film makes me cry. We’ve all heard a similar phrase, but perhaps never applied to this new classic from director Peter Sollett. When this film came out, I needed this film. It restored my faith in the romantic quest–to find a soul mate.
From the opening titles this film hits all the right notes. Much has been made of Sofia Coppola’s prescient use of music in her films. To not only employ the proto-shoegaze of 10cc’s “I’m Not In Love” (The Virgin Suicides), but also follow it up with some MBV (Lost In Translation) before Kevin Shields and company mercifully reformed a few years later is, in a word, genius. However, Peter Sollett and crew (editor Myron Kerstein and music supervisor Linda Cohen) score a coup right off the bat which sets the stage for a brilliant cinematic experience…intertwined with the trappings and longings which a life in music (whether as performer or enthusiast) weaves into our thoughts and very being.
Simply put, “Speed of Sound” by former Big Star member Chris Bell is my favorite song off of his posthumously released masterpiece I Am The Cosmos. To know that someone else felt the same way about this particular composition is really what Nick and Norah’s Infinite Playlist is all about.
Chris Bell was a homosexual heroin addict in the deep South (Memphis) who got kicked out of his own band, ended up working at his dad’s hamburger restaurant, and (like Marc Bolan) died when his car collided with a tree. That such a sensitive soul was subjected to such unbefitting circumstances and then layed down the tracks at Château d’Hérouville for the sublime strains which open this picture is truly touching. Sure, “In The Street” by Big Star (from his time in the band as co-writer) was used as the theme for That ’70s Show, but the song placement for “Speed of Sound” long after his death is a tribute to both his genius and the artistry of Peter Sollett and his team.
But here I have up and gone on a tangent…and deviated from my goal of emotion for emotion.
Reset. A few days ago. My birthday. I walk into Barnes & Noble with a fistful of dollars. I look at almost every DVD in the joint. Criterion, action, sci-fi/fantasy, thriller, drama, comedy…even family! And I come out of the place with one film: the one under review.
The reason is simple. Kat Dennings is an acting goddess among (mostly) prattling girls. With this film she took up the reins which Thora Birch strangely released after Ghost World. Peter Sollett has made a timeless film of equal to the cinematically stunning aforementioned Terry Zwigoff gem.
But back to Dennings. There are moments in this film (very few) where her acting might be termed hesitant, but in retrospect I believe this to be part of the Norah character which she was conveying with the utmost thespian delicacy. For the vast majority of her screen time, she shines like the new star which she is. I imagine that I’m not the only one who came away from this film wishing that her character was real and that I might meet a Norah around the next corner (just as Thora Birch had made me believe that Enid Coleslaw was really out there somewhere).
A word about Michael Cera. I didn’t think much of his acting on first view, but I realize now that his droll comic timing might just presage his emergence as the Woody Allen of this generation. He is, without a doubt, talented beyond many of his peers.
Kudos to writers Rachel Cohn and David Levithan (as well as to screenwriter Lorene Scafaria) for working the Where’s Fluffy? idea into this tapestry (almost like a nod to The Residents…mysterious anonymity in rock music). Likewise, the supporting cast here is essential and outstanding (particularly Aaron Yoo and Rafi Gavron). Also indispensable is Jonathan B. Wright in the small role as Lethario.
Two final bits about this music-infused juggernaut… The Electric Lady Studios portion (particularly the potentially unwieldy orgasm segment) is director Sollett at his finest. As the VU meters monitor a keyed mic in the main room we are brought the irresistible symbology which the auteur has been tracing throughout this hipster Easter egg chase in a yellow Yugo…perhaps zipping past the parking garage where Warhol’s Factory used to stand…speeding with exhilaration over the Velvets’ old stomping grounds…the deli where Max’s Kansas City once stood (but now with a mile-long sneeze guard around its salad bar)…maybe past the empty hole where the Mercer Arts Center once stood before it collapsed. Director Sollett takes us “into the red” at just the right moment…just as Lou Reed knew when to step on the stompbox after delivering the line “and then my mind split open” in the song “I Heard Her Call My Name” from the classic angst-fueled White Light/White Heat album (1968).
Last bit…Mark Mothersbaugh delivers just the right dose of simpatico for this journey to the end of the night. Thank you friends. I wouldn’t be here if it wasn’t for you.