The album is remarkable for its unvarnished fury, its firehouse spray of emotion. Zedek’s voice is feral and catlike, now crouched in a corner, now spitting and hissing, now leaping through the air at you, claws out for the attack. No one has ever sounded more lost and desolate than Zedek, singing the last line of “Bell” all alone, naked, a tumult of guitar noise still echoing in our ears, as she murmurs, “Do you remember what I’m waiting for?” No one has ever sounded fiercer or more triumphant than she, as she belts “Just relax! Just relax! Just relax!” in the drum-clattering coda to “Submerge.” No one has wailed, before or since, in exactly the same way that Zedek does in “Power Failure,” as she exhorts her listener to “Find the switch.” The bleakness that pervades Come emanates mostly from Zedek’s voice, and it is very bleak, indeed.
Let's see, what else? I haven't been blogging much lately, but lots going on. I saw the deeply weird, disturbing, ultra-modern Marnie last week, surely one of Hitchcock's oddest, least accessible films and marveled at Sean Connery's animal vitality (as well as Tippi Hedron's convincing psychosis and chill).
I read August Wilson's "Fences"...one of Sean's assigned plays for next year, which he let me borrow before packing it up for the trip.
I'm getting very excited about "Richard III" which starts on Friday and runs through Sunday. It's Sean's last play at the New England Youth Theater, which is kind of sad, but I'm trying not to think about that part of it.
I have been extremely busy on the work front, all good, though I'm still waiting on a very large check. In other financial news, I finished paying off Sean's first semester at CCPA. We also bought him a couple hundred dollars worth of books, mostly plays, and a leotard and ballet shoes, since he will be taking Ballet 1 this fall. (!!!)
We are getting ready to go to Chicago, leaving on the 13th, will be there over the weekend (and Sean will be there, essentially, until Christmas).