Friday, February 27, 2015

New Poems



Mid-Poem

In the winter alley’s crystal darkness I wept
Listening to a song about American drug death,
My reserves uncoiling.

I backed myself against brick
While she played billiards in extreme unknowing.
The night pooled onward, this
Christian dimness ripe with unusual eviscerations.
I wish I knew her better. 

Oh for a local Noc list, open the door. She can’t
Compare to what I had found installed in her room
When she wasn’t there.
And furthermore.
And I staggered into an engagement with Cinema
Wanting to share what I had discovered with her.

She touched me appropriately on the arm and
Tried convincing me that all would be psychologically
Decent.
What was the secret of sunlight? We
Wouldn’t know in the back what we hoped to
Conquer. I returned to the bar/arcade. And
My face had been concealed by tribes of snow.
She wrote too, but not as much. Did she like living?

We blasted away at the previous together while I
Made payments to forgetting. Tim had a talk with
His woman that she’d heard thanks to me. She listened.
I asked her to listen. And listening she heard the aura.

Communicating through typed words found she
Couldn’t be accessed in that way.
Bastards buried in the unofficial snow. She was passed around
And hugged. She drank with us and obliterated feeling.

With her I became pictures. And we bunched ourselves
Together as friends if friends we were. She laughed mid-wave,
Her colorfully stocking’d thigh pushed out like euphoria’s island.
Would reading the same things she’d read broach a kind of
Alternative kiss, sidelining what she’d told me with friendly fire?    
I would never find out. Oh I must have been solved.

Happiness pulped
To a time-honored standstill. And we spoke more, and had shared
Interests though we could never be together, yet that was not
The reason I left. It would be maybe, in our future. Consequences
Dribbled and draped over the her she was becoming for me. Out of
The blue then, I walked up alongside her. And I elected to speak.  


---


Hosannas

Wet flesh,
A fire on your privacy
Kicked up one shiv
And globes were fallen and sucked.

Evil music bathed us
On top of you where I had moved.
The you I needed wanted me back
But you were the wrong you. So I
Moved to Abilene.

Grab them there, and collect.


---


Ample Problems

I am a film critic.
You didn’t know there were
Different ways of approaching
The art. We together make
Your experience brighter.
We hate each other and I stand alone.

So many films, how can they be
Reviewed in a timely manner befitting
Their heedless rush out the door? I love
The bad ones. They need me and I
Don’t know what to do with them except
Praise their dented incongruities.
I chase you at the movies.

Walking down 2nd Avenue I brushed
Sandpaper out of my eyes and stood
In truth at the corner of Store and Store. There
Were no interlopers at the spots where I tried to think
And while I didn’t know a soul I
Made it easier for myself to stroll after idle gardens.
When it becomes clear I’ll know. We checked with them.
Certainly the ottoman was becoming unstitched, and yet—
Yet—I forewarned you about stalling. It was a bad note.

We the jury find the defendant sexy.
And we thought there was a possible
Exposure in that. What I found were more movies than you would
  think
There were in the bucket. Tons. And I took them,
Absorbed, into my neon chest. Where they thrive to this day.  

There at the bottom
Lurks a problem even Griffith
Couldn’t solve with his awe
And power.

---


Supreme St.

If I could stop writing about this person
I’d make the effort. Lord knows they would appreciate
It. And my only reader wouldn’t mind. But alas
I opened my freezer yesterday to find an entire boy
Waiting to be dusted off and presented, he blinked
And the plan was to set him free when The Group felt like bending.

Could be a glen of sentences, all covering Pop Music. You
Really must try them. The fashionably overheard were right
There like a jar of pickles splintered and not presentable. You
Couldn’t just let it breathe could you, well I can, and did.
He kept writing to me asking about her health, and I lied
To him, yes, but only to protect a love I thought was prominent
But turned out to be counterfeit moonbeams.

So much of my life is oneiric and tinted.  
Oh Jonesy, did you survive? I can’t hold in rubber blood forever.

One day this will all be annotated, and you’ll understand.
However on the carriage ride it was his idea to kiss. And with
The train I thought about getting off two stops before my
Obvious departure space. Wouldn’t that be winsome. A
Saga of warmth eluded me, which is exactly why the confession
Lacked merit. There’s this problem I have now where I can’t do
The assigned readings but I can read all the rest of the sun’s
Offerings. Shoot me. Render it complete in its mystery.

Can you untangle her tingle? I stole that. Forgiveness is an
Entity this nation cannot get back, except though extradition. While
Her gams were perfect, there was something inappropriate about her Refusal to share them with the named monsters of the deep. Surrendering a grain of babble was out of the question. Stop. I could
Find a corrective. I wanted to press myself against you but instead Located your college boyfriend and tortured your favorite joke out of Him. I was in Paris when I unexpectedly dropped the ransom, which
Was 500 milligrams of shredded come. Keep following me if you like.

I got a text from her saying she was hyper busy
And even her closest
Friends didn’t know where she was, it was final, I wasn’t in the
Mood to respond but still I did because I’m like that, a “nice” guy,
Though really this didn’t take, she was out of control but free, too, and
Enthusiasms coalesced and swallowed logic, which painted reanimated
Flowers like they were Emmanuel. Everyone made pictures in 2005. His Poetry
Was late to the party though.

Took me fifty plays to see the song’s beauty, and agog I tried
To sleep in but breakfast beckoned and I ate wishing I was eating
With the creator of Blue Afternoon but I was a couple decades too late.
In America, the city remained unpublished. We have a funny Relationship, the girl and I, she explores and I can’t shut up. Understanding is important in alliances, sure, but what if obsession
Trumps blindness? What it means is I’m in love with a delusion. Of Course. I think really the problem was she had three first names, and
That was why she fucked him and left him for one of those Silicon
Valley poindexters and he only stopped coming to me about the trauma one year 
  later.

I should buy a house by the river. Worked for him. We could use Telescopes to watch each other sleep there, and while beauty fades
The auditorium still separates us by years and I had been blocked
Yet thankfully it was reversed. The other one guessed at a porn site
And I’m lucky I escaped with my balls. That family was weird.
  
While on Supreme Street it was required by law that you walked around
On stilts. Never could get accustomed. Damn things were bait for cats. On the other hand she wore black masks that should have been mistaken for a death aesthetic. I swear she looked like a phantom right out of a Feuillade serial. We have
To have sex like yesterday.


Friday, April 25, 2014

New Poems (Part 2)


Marked up

She didn’t answer my text.
She won’t.
Back in 2012 I texted her
As soon as I finished Ratner’s Star
And she told me she loved that,
Moments like that, when alignments
Routed the etherair to productive colors
And the world’s Hell was somehow inoculated by Duration.

I’ve lost touch with so many people.
You dip in and walk away, unless they do, but who first?
My closest relationship is with her
Who isn’t my lover, and with a website
Devoted to chronicling Vanilla republics.
Time is on my slide.

Right now I’m reading too many books
Some I’ll finish, some I won’t.
I’ve come across the word “Blighted”
In at least three of the books I’m reading now.
I also heard the word “Blighted”
In a Morrissey song I listened to
Months ago, when I did nothing
But listen to music. Now
Is now. Am I losing my passion
For music? What’s the gain of that loss
If a loss it even is? And where is that young
Woman right now in the gnomic Out There?

Snow-shielded
I found time’s wasted time
In the brush of a keening girl
Unflattered by their blooded compliments
And the nomadic fruit, that is
Her round eyes
A train station freckled by memory motes

5 men hooded in a field watching the tires burn
They hummed one dangerous ballad
I saw them and was slain
Black hoods and the Emperor knife
Lifted above a forest churning and morose
Each man half-bird
Sit down in the center and revolve.
We could go for hours

I woke to her shaking me and screaming
Moss had eroded their date
Endlessocity coiled bracketed by volume
Women pig women in eyes and shade only

I saw a battle in the sky
Paling orb
When it cleared who was the cherished Ambassador?
There were too many roving birds
Across that awful sky.
I carried you.
Thank me.

Don’t go in there, that room is
A threat to us. She has fallen silent. A ring,
On the center of trust, is our only falcon.
Not a thing will save us.


Can I

Can I prey on you?
Would there be a better option
The end of an elegy
Stokers tired of stoking
And furthermore
Not to sound bitter or anything
I came on light
Got it everywhere

She is in a semi-passionate repose
Eyes cocked left, her left
Breasts blue under shucked fabric
I hope I never have to meet her again
She is what all the leaves made

My love for this is the stain
Rattled bounty, tightness falls
It doesn’t matter where or who
Everything comes from C. 

I fell underneath the wheel
Of a poem. The same wheel that
Killed my dog. And we never saw
The lines bloated and a little titch insane.
Debate the matter until our eyes heal

A friendship ruined by the denied
Increased taillights marred by tenant’s ash
Store bought grooves I never thought to poach
Like my ex-uncle’s amphibious pornography
I remember viewing from across the room

Here I am. Looking forward to a
Book about water that probably won’t
Be published for another chaste year or more.
How does ruining happen?
Here we are, children of the haze.
A blue person wrecked the trap and
Made the blushing lie.

His nudity fetish sponsored their homecoming.
It was torture having to explain. She told me
Our generation was cried out, like the widow my family disowned.
The night didn’t want to impregnate you
Motors wrecked all my plans.
Fiona likes girls, especially the ones who
Spank her silly. Diplomacy isn’t me
But I’m gaining on my debts. So
I ask again, after ignorant sleeping:
Can I prey on you?


Bent


Suddenly there was a market for us online if we choose to go looking for one. Like all pornographies, we could choose between “Soft” and “Hard” crying. Softcore featured girls shedding transient tears, their eyes pinkish as droopy music played and they got over a fight with a friend or some boy’s heartless rebuff. Usually the camera was fixed on a tripod or a firmly grounded laptop monitor. Hardcore was for those of us who would only be satisfied by deeply gouged, unassailable misery. The harder videos sometimes began with a staged scene, the girl finding out that a relative had died. Another popular scenario had her taking a call from a doctor announcing that a fatal illness had been diagnosed somewhere inside the vessel of her body. In Hardcore, or “Gonzo” Crying videos, the camera was handheld by a jockish webmaster, buzzing in her face as she wept in thick, biblical gushes. Mascara staked double tombstones over her cheeks. Sometimes the cameraman would ask them, “what’s wrong, bitch?” or shake the performer a little to dislodge any remains from their overworked ducts.

In all the videos they wore clothes, sweaters, as many layers as possible. Our community wouldn’t have it any other way.

In a recent study by Dr. Malik, the country’s leading specialist on our bent, it was revealed that over 4% of Americans were (cursed?) sexually aroused by the ostensibly nonsexual sight of young, attractive women in this vulnerable state. No two of us were alike. Some were particular to a certain race, which created demand for sites like Asian Teers and BlackBawlers. Others could only get off to blondes crying, or brunettes, crew-cuts, redheads (my thing) etc. Some wanted women crying together, embracing, comforting, sometimes trying to comfort and being shrugged away-that particular action led to the popular “No Shoulder To Cry On!” blog, which actually crashed on its first day.

For twenty years I knew something was wrong terribly with me. I feared I was asexual. I dated women and men and glided along with whatever they wanted, my bedroom actions rote and executed with great joyless concentration. I became engaged to “Portia” in the winter of ’99. I was resigned to fake my way through a life’s arc with her. I reasoned that it was better than being alone. By then I had sampled every sexual coupling and pornographic option. She was kind, that suited me. Until the night she got a phone call from Huron with the news that her younger brother was in a coma after being rear-ended by a drunk driver on a highway at night. Her crying spurned me. Downstairs I mean.


Late Reversal

Have to resist the urge
to send a married woman
electronic messages
telling her all about His polluted airspace

The red-spotted Bride
realized a lily'd blemish
would stain her special dress
All she could do was avoid the stares
of his infinite kin
and find solace down trash’s tomb

She rolled in the sand before
pouring herself across the ocean
The red-spotted Bride couldn’t move
as she flew towards the rising sky
Swallowed by a zeppelin whale
she was Beast’s professional ocular iris for eight decades
where she was exempt from aging
and witnessed the curious double-takes of creeper species

Driftwood going driftwood
Orange rope was her, uncoiled
The water purified by Mrs. Betrothed’s miraculous aquatic doubts
After running to Copernicus and back
why did she remember me?
I should have been contextualized in her passage
as nothing beyond a freeway
closed indefinitely for cyclical repairs
why did she remember me?
Now she’s broken through other matters
like a lucky Tetris cube
forcing me to imagine
a Wedding and a Woman

Please leave me go
But don’t too


2006

She was a good ritualistic fuck.
Grabbing her ass when he came.
Her short hair (bottle-blonde, you know).
Her roommate’s bed empty and cold.
She told him her father was just learning to live without her mother.
Her blowjobs were too eager and teethtainted.
Walking to panties her ass flustered and finger smeared.
Weird guy who didn’t get to have her standing outside in the horrid cold.
Came up for air and went to town she wore sweaters from S. Army.
Barely ate.
Without a stitch she, her (Kelsey's) bald vagina fated forward.
He ate her little asshole and she head immersed in pillow squeaked.
Invited him home for Xmas to see that family and that father but No.
One class together something about Movies and Culture.
Sketched his face in her notebook where should have noted Taxi Driver.
He was horny but she was perioding and let H. cum on her face.
Swathed his hand through layers to her labia during a discussion on ?.
Brought in other girl once with awesome tits but who was more into her.
Wouldn’t even let him jerk off as she felinely licked her pussy had to go.
One weekend his her couldn’t be found anywhere.
She came back though soon and wanted to him in her again like before.
Her breasts were minor he could fit one in his mouth soft.
Everything about her was personal.
He felt like owning her but she refused him that.
Accelerated the distance between them, winter, singing Cat Stevens.
Next semester she was gone.
Deleted her Facebook page.
Changed her number.
She didn’t make many friends so he had no leads.
She flew from their bed in reverse.
And found the opposite side of a star.
And now exists for him no more.

Thursday, April 17, 2014

New Poems (Part 1)


Easter wrought

She’s not a fucking star
Too close for bottled snuff
Trans Norse, did she?...
Was she?...
Spectacular?
Who said she couldn’t fall

I love you.
I’m in love with you.
Nothing like it
U should try it
The hobgoblin sets the target up
And more, absolute
More abounding
I’m in love with you.
I was at last that

Ducts of consciousness plowed open
Rites of horn, Plenty Of Plenty
Ditched away
I am not in love with you, tragic flask
And if you
See one enthroned of two
You’ll stop
It drove you through the night
Nothing happened, except blindness
Scourge of 1,000 cellars
Wake up chained
You’re a website now

I’m in love with you.
Awe is the catch of the day.
Tunnels to the cellar
Gross contusions
An everyness of pale tinctures
Orbsnout, gallows
Each cellar is an eyeball on the cusp of J.
I don’t know what to do
I think there’s something in the thing
I think there’s thinging in the some
Let it go

I’m in love with you.
Drop eyes cellars pink with despoiled tusk
Aryan nazi death blood pink
I am underground, but wouldn’t it be nice?
You woman, you website
Splash me
Nothing comma nothing comma nothing comma nothing  

We’re engaged!
Loop the tape
I am air
Boulder, three knots
Ramshackle
I like that word, Ramshackle
I need to get you a wedding gift
How about spies for your womb?
Run and jump
Water=wet
Loop the tape
It’s Porno Pete
Satisfied, your breadth in cum

U kept a secret
Files claiming my words as
Stolen plastic
Onslaught and pine
She isn’t working there anymore
I’m in love with you.
Like a thing thinging ahead
Things thinking comma relics of horn

This should not
Bracing the crossed
Till they met
Scores of pine
I’m
I am
I’m in
I am
I’m on
I am not
I am
Glass of options
A mistake of tonal anthropology
Like a…thing
Thing much?

The everything devastates
Sickly ripples hiving for dance


Aj

Across the static a warmth was forged.
Two people in sink.
Bunnies and August roosted and stayed
Despite never dueling forms they twice decided.

Something that works is fragile.
Never trampled the magic is gem-like, severe in accepted glowing.
Can words be wielded?
Can the video compensate for one day maybe being that lost brightness too?

Shows them in others, the words their imperfections
Write it down and watch the bodies gouged.
Prisms of identity, connection seeping through
Smile strobe-like, lob it back and create   

Privacy undone and humor noctilucent.
Photos beamed and lives unduly fondled.
Boredom thrashed and cages opened with no key.
A universe bending upon the magus of a chance.

Friendship
That naked star humming unknown music
That transmission like home
That voice smeared with electric protein

Saying words
Saving time
Saying grace
Saying, “Thanks.”   

GIRL.COM

1.

Nude girl in a cage
Color of the moon’s knuckle
A push and she’ll swing
Hanging by a farmhouse in the marsh desert
Bound and wrought by his industrial heart

They met online. She responded
To an ad he placed looking for girls.
It was professional disrobing. She
Would get paid for herself.

Faux sadism elevates nudity to a standard
Of ignored mystery about one’s own body,
Air licking skin, don’t guess anymore.
Let her hang.

2.

My friend AJ saw the photograph
And posted it on her Tumblr.
There are pictures there of naked women
Kissing and there are pictures from horror
Movies and violent pornography.

There is one GIF of a woman's cum-seared face
And she's saying "I don't know what's left of me
But you can fuck it if you want."

I promised her I would write a poem
About the woman in the cage hoisted up
Beside the barn. I would grant her
A name, past, walk backwards with her
Through fate. Now I’m writing that
Poem and I’ve failed because I’m not
Writing about the girl in the swing but
About AJ's Tumblr which turns
Me on sometimes.   




For “K.”

Shape-shifting hair
Are you beautiful?
Drenched in something
That called me
Groping in word
Towards furnace Blue
And this Crimson beyond knowledge 
And not knowing was my undoing,
Until it was too late
And now when I see you I see vertigo 

Did you lie?
Or could our never being together actually not be.
I witness you in pictures and wonder how
I could have denied wanting you
For as long as I did.
A splash of face in night’s vehicle
Was my straw
The motto of that school should be:
“Preening people who will never become yours!”

I want to read to you until you fall asleep.
My words are your placenta, he self-pariodically said.
Would being intimate with you be broken buttons or heaven?

Monday, December 30, 2013

Review: The Wolf Of Wall Street (2013)




In a year where Noah Baumbach’s crack at Mauvais Sang turned out to be his Jason Reitman (pre Young Adult) picture, so Martin Scorsese’s The Wolf Of Wall Street has to be contextualized as the aging director’s Salo. Like Pasolini’s disgusting, objectively moral masterpiece, it has been quite misunderstood. David Thomson derided Salo as mere “Gay pornography” and academy milquetoasts have already how-dared-you’d Scorsese as having made the cinematic equivalent of coke up your nose. Of course it is that, but in filming the human beasts of Stratton Oakmont Marty cops the same tactic as Pier Paolo: show us the lives of monsters by indulging them on their own terms. Scorsese has never disliked the subjects of one of his movies more than in Wolf, but aside from stray bluesman music queues and a rivulet of tearblood running down Jordan Belfort (Leonardo DiCaprio)’s face late on, Scorsese hides his hand beneath pure, pumping chaos. Thomson might as well call it “Frat-suit” pornography and he would be just as wrong.

Wolf completes one of those unofficial trilogies most great directors have stocked in the oeuvre, capping a whattatimeitwas saga that includes the overrated Goodfellas and the damned underrated Casino. Like the latter, Wolf runs a tight three hours (feels like two) and is enmeshed with Belfort’s behind the curtain voice-over that has the sensation of a life’s DVD audio commentary. With breathless arrogance he introduces us to his mansion, color-corrected trophy car, lingerie-pocked trophy wife (Margot Robbie, excellent and seemingly dubbed over by Debi Mazar) before flashing back to when he was green “pond scum” on the phone floor. A kind of overture takes place during lunch with senior broker Mark Hanna (Matthew McConaughey), who instructs Belfort in the holy trinity of stock labor: Cocaine, hookers and masterbation. He pounds his chest, intoning a dirge-like battle cry, and one of the only flaws in a movie about flaw is that McConaughey vanishes soon after. Jordon takes over though, starting from the bottom but soon inhaling a penny stock hole-in-the-wall run by Spike Jonze (who is verminlike and surreal to watch here after you’ve downed his masterly Her) and, with the help of the reptilian Donny (never better Jonah Hill) starts a rogue firm that goes after “Moby Dicks” with the net of Belfort’s phone call script. Sleazy guys from the old neighborhood, mostly pot dealers with nicknames like “Rugrat” and “Sea Otter” join in, and soon S.O. is grabbing the attention of Forbes and, to Belfort’s eternal chagrin, an FBI agent (Kyle Chandler) desperate to deflate the Wolf’s shit eating gold grin.

At its orgiastic zenith--gangbangs in the office, substance snorted from between the mountainous ass-cheeks of another nameless hooker, dwarfs used for target practice and subhumanly categorized as “those things”, an airplane fuck fest that erupts in a turbulent blaze of fluids and Bolivian Marching Powder--The Wolf Of Wall Street is genuinely shocking. You feel things are not too far away from visual penetration (I never thought I’d be reminded of the XXX classic Wanda Does Wall Street in a Christmas Day screening). Hill is especially repellant, his thick shades and blindingly white chompers evoking some nebulous creature of the underground like Jamie Gillis (or one of Salo’s fat fascists-seriously, make it a double feature). It’s the kind of indictment-through-indulgence that Adam McKay and Will Ferrell botched in the unfunny and wretch-rewarding Anchorman 2. Scorsese/DiCaprio approach this material exactly right, by making Wolf a veritable advertisement for this lifestyle, letting fallout sneak in by frequently cutting to the apprehensive face of a secretary getting her head shaved in return for breast implant funding, just as Pasolini allowed doomed austerity to stand in for hand-wringing. Watching Wolf is a self-interrogative process: how much of this do we want for ourselves? How much would our own too much be? The brilliant final shot literally holds a mirror to the audience. Both times I’ve seen the film comments of “how awful this is” are silenced by that last composition. If you jerk off to Salo or The Wolf Of Wall Street you probably deserve to be locked up, but it means you’re human too, damn it.

The supporting cast happens to be the best Scorsese has worked with since Casino, with Rob Reiner being relevant for the first time since Spinal Tap as Mad Max Belfort, inclined to loose his shit when the phone rings during TV as he is to wax fondness for unshaved bush with his son. Robbie is a smoldering revelation, Chandler and the redeemed Jean Dujardin make for delicious foils, the ex-Artist especially smarting when allowed speech enough to call Belfort, and by extension his cohorts, “American shit.”

Yet it’s DiCaprio, freed from the noxious Luhrmann smog, who unequivocally exhilarates. As proven by Woody Allen’s Celebrity and QT’s Django, he’s probably at his best when himself unchained and insane. Throughout Wolf he screams and slams fist and mic upon his boiling frame. (A collaboration with Paul Thomas Anderson simply must happen if Scorsese follows-through with his long teased retirement.) If this isn’t the best of his five films with Scorsese (I’m quite fond of The Aviator) it’s certainly the one most thoroughbred to earn comparisons with the unimpeachable Bobby D collaborations of yore. One particular tour de force set piece involving a car, Popeye, and an overdose of Quaaludes is, dare I say, worthy of Taxi Driver’s brothel shootout. You just cannot believe what you're watching, and when was the last time I experienced that? The fucking Counselor? 

Note also how Scorsese often limits his directorial virtuosity in many passages, sometimes just simply recording (as Peter Bogdanovich said of Howard Hawks’ style) the macho high jizz fireworks in the room. DiCaprio is Marty’s ultimate tracking shot here. In a ‘13 glutted with academy compromises (12 Years A Slave), failures of nerve (Gravity) and the genuinely risible (The Great Gatsby-how dare they!) a border smashing clusterfuck like this should be equally savored and loathed. Welcome to The 180 Minutes Of Sodom.

Saturday, June 22, 2013

Yeezus


“Got the kids and the wife life/but can’t wake up from the night life”-Kanye West, “I’m In It”

Kanye West’s Yeezus is ugly, sparse, pornographic, abrupt, alienating and scary. To hear it is to take it’s beating. “The monster about to come alive again,” he says in the first cut, and its a strategically placed warning, like the bashing of a television set as overture for David Lynch’s un-Twin Peaks Twin Peaks movie. “Monster” was the name of the angriest bile-spewing track on West’s last album, and signifies that that guttural style with hold the most sway in this new collection.

There’s no joy here. Boasts of sexual conquests aren’t boasts at all under the mangled scrim of West’s hoarsely pained vocal delivery and handheld, lost-in-the-club production (a much chided line about being with Asian women thus “all I need is sweet and sour sauce” is layered with a demonically dubbed second voice, rendering the sentiment ominous and tension-fraught). It’s sprinting production and recent completion only weeks ago gives Yeezus the emotional moistness of a recently recovered suicide note. The 70s soul samples that brought so much communal hearth to his beats in the days of producing for The Blueprint and solo albums like Graduation are gummed and distorted beyond repair. Having just begun a family seems to have augmented, rather than staunched, his demons.

If anything, the persistence of the demons has brought him to an unprecedented musical despair. Tracks like “New Slaves” and “Hold My Liquor” rise and fall in choppy pixilated waves of rough acceleration and heartrending free-fall. He’s not happy, not with his continued subtle subjugation by the mainstream media (remember his Good Morning America interview where Matt Lauer spoke to him like he was 5 years old?), not with the vacant materialism of his fellow black success stories, and especially not with the decadence and endless pampering available to him as a God. Mostly, though, he’s unhappy about the fact that he’ll never be happy. His gross ego is justified only in his talents, so how would you feel if you were one of the great modern popular artists and were only known for having a “make a sad girl cry reputation”? On Yeezus he isn’t asking for our sympathy but, like Trent Reznor (the musician this album most shockingly recalls) he’s invited the listener into a nightmarish, chaotic headspace.

Screaming and apocalyptic sirens plague Yeezus. Techno bass and house acid rain isn’t employed for groove, but rather as the horror movie soundtrack for catastrophically failed relationships and emotional terrorism. “Blood On The Leaves” is the album’s most lacerating passage. Layering high notes of Nina Simone’s voice from the track “Strange Fruit.” (The callbacks to nature juxtaposed with the machine music of the record’s whole give the listener a Brechtian image of an artificial tree on an empty stage, perhaps circled by Dogville chalk.) Kanye spills out an oblique, traumatic narrative of---we can only presume---a failed relationship with a groupie who, in the year’s most unnerving lyric, couldn’t handle her liquor so it “came out of your body.” Unlike many other hip-hop kiss off tracks, “Leaves”’ violence and misogyny are underlined by a sensation of total waste, the immolation of talent, connection, intimate potential. Everyone is guilty, the star fuckers and the stars who have come to see others as little more than shown-off Instagram photos. In a reference to the glorious “Runaway”, of which this song is an obvious parallel, Kanye is reduced to mumbling inaudible noises, static tears, into the Auto-Tune ether.

Yeezus is, like his last two albums, and despite its intentional aura of tossed-off dirtiness, an architectural scourge. Lyrics and sonic portents wind and click and compliment each other on different cuts. The overrated Justin Vernon is vocally isolated in a lonely lament of pain before the underrated Kid Cudi is similarly displayed singing “If you loved me so much then why’d you let me go?”, his anguished solo pouring down like hard rain on the album’s minimalist tarp. Beats and voices are blasted into strobe echoes, most disturbingly at the instance of a female orgasm. No joy anywhere. Kanye chants “God” at the close of the bleakly exhilarating “Black Skinhead” which leads into the next track, “I Am A God.” He sees blood on the leaves before “Blood On The Leaves.” Ragga and Dancehall artists like Beenie Man are sampled throughout, partly as a classic West means of enlightening the listener about the history of black music while simultaneously seasoning the composition, but also as a hint to this album’s ultimate aesthetical signpost, which reads “This Way To The Club.”

Simon Reynolds called electronic dance music and rave culture a “journey into sound,” and while Kanye’s overwhelming auteurist presence (not to mention Rick Rubin’s) negates Yeezus as proper house, he’s chipped enough thematic concrete from that music to make his career-long concerns pulse with the blood of rave abandon. Yeezus is a journey into dark sound, and as Pitchfork commented it resembles in the West(ern) canon 808s And Heartbreak most of all. There’s a personal pain merged to the inherently impersonal genre of electronica, but the dancefloor can be a breeding ground for a thousand little tragedies. West can talk about fucking and stacking paper all he wants, but he knows, and the music knows, that it can contradict the speaker and tell the real story. The pumping beat lends both gravity and bodily thrill to the album-wide expression of dissatisfaction, resentment, loss and exhaustion.

Exhaustion is a key component to understanding Yeezus, and the creepy lethargy is articulated in the final song. “Bound 2” samples an old soul tune but unlike a similar brushstroke on, say, Late Registration, the song is grainy, lost in fuzz, as if we’re listening to a 3rd generation bootleg or a radio station that’s going out with the tide the farther we drive from the tower. Kanye’s ferocious flow diminishes to a halting stop-start speech, where he airs grievances in regards to a certain relationship (with a certain culturally noxious figure that all but makes a great work of art disposable gossip fodder for philistine rags.) It’s good dog day hemp music, until. Until. Amid Kanye’s lightly lobbed orders about this being “don’t tell your mom shit,” everything-the degraded sample, his impotent rambling-is stopped dead by an emphatic vocalist who breaks through the numb to bravely intone “I know you’re tired of loving, of loving, with nobody to love.” Then we’re returned to the stoned quotidian, a Nothing To See Here reversal, like the actors in The Truman Show quickly repairing a collapse in the immaculate show set. This breakthrough epiphany comes back in full longing and force, only to be suppressed one more time before the song pathetically deflates. “Bound 2” is difficult stuff and not easy to like, especially if you compare it to “Lost In The World.” Don’t, that’ll get you nowhere. Instead, focus on the sound story “Bound 2” is dramatizing. Think of how much like life the shifts mirror, your daily mired routine in waxy perception and circuitous bitching-until, until that one geyser of passion bursts through your brain, telling you you’re tired, that you can strive for something better, that you can leave with someone else, a metaphorical person or a warm passionate body. And yet, since even the dream is too wretched to consider because you’ve wasted enough time, and striving and failing would be worse than doing nothing (you tell yourself), that outpour is bottled again and stopped.

Uh-huh honey. I’m tired, you’re tired, Yeezus wept. Thank god.