Authored by Dale Nickey:
JANDEK – Dublin Friday (CD)
Corwood Industries (0820)
Word salad surgery…
Corwood Industries has just released Dublin Friday – a live acoustic set of guitar/vocal pieces, I have given up trying to read logic into Jandek’s release schedule. This performance dates back to June 11, 2008. The venue is The Douglas Hyde Gallery in Dublin Ireland. As of late, Corwood’s releases tend to hopscotch back and forth in time without any explanation or pattern.
Dublin Friday seems a companion work to Houston Saturday (2011), which employed the same solo acoustic format. Indeed, Corwood included a DVD version of the Houston performance (along with Dublin Friday) in its latest care package to this reviewer, so it’s clear they see the linkage as well. However, where Houston Saturday (2011) was a song cycle totally in thrall to lust, love and human connection, Dublin Friday is totally absent any sentimentality, romance or emotion. If it were a book, I would describe it as an eight chapter novella set in a Kafkaesque parallel universe of the mind. Or perhaps, Finnegan’s Wake on Ambien.
On Dublin Friday, It’s tough to gauge how much of the lyric content is composed or extemporized. It’s apparent The Representative has stockpile of phrases and images preloaded – while at the same time – his delivery suggests a cut and paste methodology. Evocative phrases are delivered in random order with no consideration to narrative. There are times you can hear Jandek trying to stay a step ahead of himself, reshuffling his mental deck on the fly. The songs on Dublin Friday (as do many of Jandek’s compositions) occupy the nether region between automatic writing and conventional song craft. At this performance, Jandek’s internal clock set set between seven and nine minutes per piece. Only Part Seven deviates from this time frame, coming in at 5:41.
The Representative of Corwood Industries has dispensed with song titles for this release. Instead, we get eight selections titled “Part One”, “Part Two”…etc. However, the eight selections scan like segmented parts of a conceptual whole.
That being said, Dublin Friday is a strong and involving set. Jandek ‘the man’ keeps reviewers at arms distance, so the intent and motivation behind this set of non-stop, non-sequiturs will forever be open to conjecture.
What follows is a track-by-track analysis of the songs found on Dublin Friday:
Part One – A protracted and meandering guitar introduction paints a desolate musical landscape. What follows is a clutch of lyric snippets that stop and start maddeningly. Short unfinished phrases cut and pasted together. Example: “You see the general terms basking in the gentle hues. To make things clear, he said nothing.”
Part Two – A delicate, pin-prick guitar intro precedes more florid word play. Part Two describes abandoned journeys and thoughts inadequately expressed. Jandek seems trapped in some kind of emotional stasis. The Reps guitar work is active and possesses a harmonic logic that reveals itself only to those willing to invest in repeated listens. Sample lyric: “He said nothing enthralled by demeanor, ravished by the movement of hands…”
Part Three – This selection promises something more in the realm of a structured narrative. But, that’s just a come-on. Musically; The Rep is exploring richer, darker tones than he did in Part Two. However, no threads are maintained. Example: “Tell me I’m not mistaken by the holocaust of vision, the break-up of a sentence. It’s only that…I mean. It’s all so obvious.” Oh, is it?
Part Four – Some recognizable harmonic motifs threaten to emerge throughout this piece but are ultimately stillborn. After some introductory improvisation, the artist finally intones, “The cacophony of gestures, flew about like secret symbols, or martial arts chopping phrases into bits of a conundrum.” The guitar work throughout Dublin Friday is oddly appealing and involving. Later in the piece, The Representative expresses his desire for a ‘box of surprises’. The Representative demonstrates a command of subtle dynamics throughout the piece. Nice ritard ending.
Part Five – Part Five starts off with some clacky single string work, Jandek continues to toss his existential word salad… “Imbued with his blustery bellow, and his promenade of gestures like a floating benevolent cloud that captures your imagination when you’ve nothing to do.” A fairly symmetrical song structure ultimately reveals itself as the vocal verses alternate with guitar breaks that further explores the wild, interval leaps in the songs intro. So far each piece seems to have its own musical identity. However lyrically, entropy and confusion still reign supreme; or to quote The Representative, “To interrupt this madness would be catastrophic”.
Part Six – At this juncture, Jandek’s limited harmonic palette begins to reveal itself. However, despite the musical groping and meandering, interesting motifs continue poke their head out into the light, then wither and recede just as quickly as they came. Instrumentally, this piece less busy and employs descending lines in lieu of the nihilistic noodling of the previous piece. Again, the landscape is strewn with faceless people, saying nothing and revealing nothing. The narrator’s use of evocative phraseology only succeeds in plunging the listener further into the dark.
Part Seven – A guitar intro mines the lower registers of the instrument. “You simply must understand. Let’s begin where it all started. All is agreed. I will not repeat. The conviction pierced fleshly barriers of sound.” Elsewhere: “He said nothing, and they acted like he was saving the world”. As with all the selections on this CD, the song’s conclusion is met with pregnant silence followed by sustained, reverential applause.
Part Eight – On this, the final song, Jandek’s amps up the adrenaline, strums a little harder and gets a tad more bellicose. Unidentified people are saying nothing. In fact, this entire eight part odyssey could well be summarized by the phrase. “My heart is shaken by this witness, he said nothing.”
Upon first hearing, Dublin Friday exhibits the familiar traits that have denied Jandek a mass audience for decades. The cold, brackish exterior will forever scare off the casual listener.
It makes sense that music journalists are the most fervent ambassadors of his work. We are forced to pro-actively listen to this music as part of our job, and it’s in these requisite, repeat listens that Jandek music begins to reveal its layers. Despite first impressions, this is not throwaway bullshit. Neither is it pop craft. It’s something different; and I’m relieved to say, it’s as honest and purposeful as any music currently being created. We can come along for the ride or not. Jandek will never thank you for coming. He plays, and we either show up or stay home. The Representative is one of the few musical artists who understands art shouldn’t give a shit and it doesn’t apologize. The muse just issues forth its nectar or poison from its pustule or pod when it no longer can be contained. A work such as Dublin Friday allows us to witness the act of creation with without filters. It’s not entertainment. It’s pure spectacle.