For at least a week, maybe longer, it seemed that every music critic (read: every human being in the United States of America and 99.99% of those living outside America) was touting the excellent lead single to Black Marble’s debut LP. Even Mother Jones saw fit to interrupt its excoriation of all the bad things to tweet this:
Come on, Mother Jones, what are you, Salon? Do you even do record reviews? Has another forum for social criticism gone the way of the lifestyle magazine, and in an election year, no less? And what the fuck does “surprisingly warm” mean? Did you have expectations? Did your audience? Please, Mother Jones, if you must reward your intern’s free labor with the occasional interruption of the endless stream of tales of global woe, please see to it that he or she does it with words that, when put into syntactical order, will produce a meaning. This isn’t Etsy, for God’s sake. I don’t tune it to quilt feelings. I tune it to be firehosed with debilitatingly grim policy news and op eds.
I still haven’t heard the Black Marble single in its entirety, however the first record that came to mind after the single came on the radio the other day was this one:
Algorhythmes by Charles De Goal (1980), French Cold Wave from the day. I love this stuff, which is why I think that Black Marble is right in my wheelhouse. I’m thinking it’s probably in the band’s wheelhouse, too, since they’re cover art is pretty similar. To know, though, I must actually sit still to stream the record this weekend.