Hector was the kind of desperado whose ideal assassin was himself — he could choose the best method, time, and place and would always have the best motives for it of anyone.
Reading Thomas Pynchon, as difficult as it may be, always carries with it the reward of his absurdist humor. The elliptical sensibility of the diminutive, violent sailor Ploy in 1963’s “V.” is a small example. After having his teeth forcefully and painfully removed, Ploy maniacally sharpens them to savagely bite the barmaids at the Sailor’s Grave bar. This bit of comedic callback even receives a poignant ending as Ploy then wants to leap from the ship only to be saved by fellow sailor Dahoud.
“Man, I want to die, is all,” cried Ploy.
“Don’t you know,” said Dahoud, “that life is the most precious possession you have?”
“Ho, ho,” said Ploy through his tears. “Why?”
“Because,” said Dahoud, “without it, you’d be dead.”
Pynchon has singlehandedly displayed his wit and wisdom, then wrapped them up like a comic on stage leaving their tight five behind. Pynchon’s paranoia and ongoing skewering of countercultural iconography continues in 1990’s “Vineland.” which Salman Rushdie called “greatly accessible” after its release nearly drowned in mixed reviews likely resulting from its 17-year wait since 1973’s classic “Gravity’s Rainbow.”
Lost in the shuffle is Pynchon’s growth as a writer. “Vineland” compares more to the labyrinth (and increasingly tense and absurdly plotted) “The Crying of Lot 49” from 1966. His voice as the all-knowing narrator and the densely written conversations between characters (predating the mood of 2009’s “Inherent Vice”) show him achieving a new standard of balance.
When the work opens, we meet Zoyd Wheeler in a chaotic house in the Eighties. He is almost besieged by the events of life around him. Pynchon gives you as the reader even more to work with from distant UHF channels, Froot Loops topped with Nestle’s “Quik,” and the Log Jam in Del Norte. Quickly, Pynchon switches gears as Zoyd “must do something publicly crazy” to keep his mental health disability benefits. We go to the Vineland Mall to shop for a dress with Zoyd, and Pynchon imposes such an order on the process - the whole setup feels organized and sane.
When he arrives at his destination for this public display, the Cucumber Lounge, Pynchon mixes the voices of those Zoyd encounters who approach it with a businesslike excitement (that helpfully implies this is not the first time it has happened) with the ongoing Eighties Reagan-era conflict spurring on the identity crisis between Hippies and Yuppies.
“But underneath, we’re just country fellas”
“From the looks of your parking lot, the country must be Germany.”
After a hilarious act of transfenestration (no spoilers,) we encounter what we can only assume to be Zoyd’s nemesis, DEA field agent Hector Zuñiga. Pynchon chooses to dazzle us with a carefully orchestrated conversation that implies their history and shows both of them covering up their intent for the other like poker players. The timeline for their relationship is also extremely convenient for the story, as it dates back to when Reagan was Governor in the Sixties. Reagan’s ascendence in power is unspoken catalyst for all the change around them. The narrator even conveniently lets us know that Hector has been “slipping” himself.
With the table set (fictionally and literally) for their big meeting and meal, Pynchon switches his voice to interspersing detail. While we are holding on to the rising action of their terse but slowly revealing conversation, Pynchon is giving each of them just a little more historical power over the other. Inside those nuggets of history, we are also sifting through the lives of a pair of men - who let’s face it - may no longer be growing as humans.
Hector shaking his head. “Listen K Mart this week has full-length mirrors on sale, and I’m nobody’s charm school professor, but I’d urge you to get one. Might want to start upgradin’ your image, li’l buddy.”
All of this, to use the comedic term, “escalates” so beautifully that you have no idea where you are going. Such is the joy of Pynchon. While he is out to provide you with alarming levels of detail and information, he cannot help but entertain. This is politics, sociological, and science even at the intersection of a familial tale dotted with pop culture references. Like all Pynchon works, “Vineland” works because it is allowed to travel in several different directions at once. Just prepare yourself to keep score.
—
Mik Davis is the record store manager at T-Bones Records & Cafe in Hattiesburg.
NEW MUSIC This Week
DOLLY PARTON - Rockstar [PURPLE 2LP/CD](Butterfly/Big Machine) • For her 49th album, Dolly Parton finally gets to live the dream of being a "Rockstar." While she humbly tried to turn down her nomination for the Rock N'Roll Hall of Fame, "Rockstar" makes you glad she took it. What would be self-indulgent to others, kind of celebrates the union of all music here. It may be the most ideal presentation, but drafting Paul and Ringo to sing "Let It Be" and her goddaughter Miley Cyrus for "Wrecking Ball" is a reminder that Dolly knows how to give the best songs love. Bringing in Rob Halford and Metal players for her originals ("Bygones") is inspired.
REISSUES THIS WEEK
BOB DYLAN - The Complete Budokan/Another Budokan 1978 [LP BOX/CD BOX](Legacy) • In the wake of "Taylor's Version," we have reached the point in the Dylan catalog where the legend is in transition from his post-"Blood on the Tracks" comeback kid has become showier than the facepaint he wore in the latter days of the Rolling Thunder Revue. Nonetheless, the Budokan shows are the first where you can hear the upcoming influence of Soul and Gospel infiltrate ("The Man In Me" with horns and backup singers sounds straight from "Saturday Night Live.")
OZZY OSBOURNE - Bark at the Moon [BLUE LP](Legacy) • Following the surprise success of 1980's "Blizzard of Ozz" and still weathering the loss of his guitarist/collaborator Randy Rhoads, Ozzy Osbourne soldiered on with new axe-wielder Jake E. Lee. Osbourne's writing comes into shape nicely (despite problems behind the curtain) but the dated production which actually made it a hit (thank you MTV) locks it in place as his "hair metal" album.
THE CULT - Electric [BLUE LP](Beggars Banquet/Redeye) • Reduced down to the (-Southern) (-Death) Cult, Ian Astbury and Billy Duffy found Rock radio fame in the US with some of the more booming moments of 1985's now-classic "Love." After working with producer Steve Brown on the follow-up, "Peace," Astbury and Duffy scrapped the tracks. Meeting Def Jam producer Rick Rubin and bonding over a love of Bon Scott-era AC/DC, "Peace" was dramatically reshaped into this Rock radio staple. Like parts of their former moniker the Goth-y draw was exchanged for stadium RAWK. "Love Removal Machine" remains The Cult's true classic single, five minutes that predicts the rise of Alternative Rock and even the thrill of a double-time ending. "Electric" is that rare album that even when The Cult stumbles, you cannot help but get caught in the Zeppelin-esque thrust of it all (the closer "Memphis Hip Shake" and a cover of Steppenwolf's "Born To Be Wild.")
ACETONE - I'm Still Waiting [11LP BOX](New West/Redeye) • Having scooped up the entire catalog, their long, illustrious career can finally be put into perspective. Branded "slowcore," Acetone was actually far more than that. Songs are mood pieces. Entire albums could easily be translated into acoustic sets from singer/songwriters, and you might not even know it. For the sheer simplicity of their spartan recorded sound, Acetone could color their evocative music to remind you simultaneously of both the Velvet Underground and the cosmic Country of California in the Seventies. In other words, years ahead of its time. The late Richie Lee's basslines alone give you all the melody and countermelody one could need.
As the year begins its long, slow fadeout, (seriously, what happened to a Thanksgiving-to-Christmas run of major releases?) we thought it might be fun to look back with some short capsule reviews of what wildness 2023 previously offered.
JANUARY 2023
LIL YACHTY - Let's Start Here [LP](Quality Control) • While never really an A-list force in the Hip-Hop world, Lil Yachty upends the entire idea of a Hip-Hop album on this Psychedelic (as he billed it)/Rock album that shows real imagination.("The Black Seminole" and "We Saw The Sun!")
PARANNOUL - After The Magic [LP/CD/CS](Topshelf) • Kicking off the K-Rock movement (we hope,) Parannoul did everything that Shoegaze records should be doing in their ongoing evolution. Parannoul mixes in Electronic elements, and skittering beats and tamps down the woozy My Bloody Valentine-isms that inspire everyone else. "After The Magic" lays the groundwork for a more subtle, gauzy Alternative Rock. ("Insomnia" and "We Shine at Night.")
JADU HEART - Derealised [LP](VLF UK) • On their third album, the UK duo make atmospheric Alt.Rock carrying the hallmarks of "bedroom Pop" to the next level by using its spartan beats and rumbly riffs to contrast with Diva-Sachy Jeffery's and Alex Headford's voices. With their 80's Goth influences and clever production, they could be the next Cocteau Twins ("Freedom" and "I Shimmer.")
H.C. MCENTIRE - Every Acre [LP/CD](Merge/AMPED) • Like Country music at large, in 2023 Americana/AAA reached the size that it needs to split into perhaps three different blends. Heather "H.C." McEntire from Mount Moriah found a way to make a beautiful warm and subdued Americana record where she channels the strife of her existence into an overflowing love of nature. ("New View" and "Soft Crook.")
OOZING WOUND - We Cater To Cowards [LP/CD](Thrill Jockey/ Redeye) • All the talk about Metal incorporating more Black Metal and even daring to revisit Nu-Metal, then Chicago's Grunge/Groove infused Oozing Wound show up to blow the dust off of Mudhoney's "Superfuzz Bigmuff" ka-BLAM. Zach Weil's guitars are mixed LOUD but not in your face, while Kyle Reynolds' drums have that atmospheric AmRep room-sound down. Side One is programmed to obliterate, allowing side two to refuel you with thanks to a more Jesus Lizard snarl courtesy of their secret weapon, bassist Kyle Cribbins ("The Good Times (I Don't Miss 'Em") and "Chudly").
HONORABLE MENTIONS: ROZI PLAIN's luminescent "Prize" (Memphis Industries/Redeye,) and the various faces of KRAM on "Nar Ska Vi Fira Livet" (PNKSLM/Redeye)
