Skip to main content

Music For Packing and Leaving


Tonight, well, last night if we’re to be totally honest, I was to start packing. As has been expressed in a previous post, I am in the middle of Tremendous Life Change. I am moving as much as I can afford of my current life in Hawaii back to what could be said to be my old life, but is really my new life, in Seattle.

Yesterday, I turned thirty two. Thirty was spent in the middle of a hectic move to Hawaii, a move that was even more hectic because I allowed my then partner to shoulder all of the responsibility in getting us here. Sure, I helped, but not as much as I could or should have. Part of it was that I was resistant to change, and, even at the cusp of thirty, acting the part of a spoiled child. This time is different. This time I only have myself to answer to (because who wants to be in a relationship with a spoiled child? Exactly.), and must handle things differently.

Jamie suggested that I take some time out of the packing to do a post about Music for Packing, which, really, truth be told, is Music For Leaving. Because I am. I am leaving; I am leaving my partner of more than four years (who, in the spirit of our new found honesty left me), I am leaving friends, I am leaving an established career; I am choosing not to live my life for other people.

We could be clever. We could bluster about how we moved neighborhoods in Seattle in a Darvocet and Percocet haze to Les Savy Fav serenading us with “We’ve Got Boxes”. We could laugh when we remember the move from Kansas to Seattle, marking the miles with Modest Mouse and “A Life Of Arctic Sounds”, because, don’t you know, five hundred miles is a long way to go inside a car? (And don’t you know, we got there, and we pined away the nights with “Busby Berkely Dreams” by the Magnetic Fields.) But let’s not. Let’s share a beer and continue to be honest. Lets talk about “Late Night Maudlin Street” by Morrissey.

This song, oh, this song. This song, off Morrissey’s first solo effort Viva Hate, all the way back in 1988 is the song that for years has eulogized our passing from one physical space to the next. There has not been a move in recent memory that has not entailed sitting in the middle of the floor with a beer and Morrissey’s sad, sad lament about changing house drifting through speakers. I am moving house, a half life disappears today... It captures the ache and promise of new beginnings so perfectly. It is the ache of lost love, of a life that you’ve left behind; it was, is, and will always be, to me, perfect.

The rain pours down at the back of the Nu’uanu valley, where I currently live -- teasing me with the promise of a dark and potentially lonely winter in the Northwest. I’m drinking a beer, sitting at my computer, and listening to “Late Night Maudlin Street”, over and over, so many times that it’s embarrassing. It is, however, like a friend’s arm around your shoulder, fingers pressed into your bicep, and promising that everything really will be okay.

Oh, truly I do love you...


Apologies, but, yet again, there is not a DRM free track or "Late Night Maudlin Street" to accompany this post. Look it up though, purchase it ala carte from iTunes... You will not be disappointed.

Comments

Katie Porter said…
I thought this was an amazing post. Thanks, Dakin.

Popular posts from this blog

Celebrate Halloween with Peter Squires's New Video, "Witch"

I don't usually do festive or holiday posts. In fact, the closest I get is writing some kind of seasonal bent against a track, and only then when I've had too much coffee and can't find any relation to a song other than what the weather is doing. I just think holiday-themed posts / articles are lazy. But Halloween is different. Why? Because Halloween, to paraphrase Wesley Willis, whips a horse's ass. So when Ryan from The Musebox put me on to Peter Squires a few days ago, I knew it was going into the annals of Duck & Cover (that's right, I said "annals" on the Internets). From the Press Release: Peter’s direct and honest vocal delivery is reminiscent of contemporaries such as Kimya Dawson and Luke Temple. The album is all heart, laid bare for our aural pleasure. Woe Is Me was recorded in Peter Squires’ Brooklyn bedroom and is available on his website for fans to download at no charge. The first video from the album is “Witch” and it was just rele...

Lucero Video for "Darken My Door"

Darken My Door from Lucero on Vimeo . It's good to see that a serious band doesn't have to take itself seriously. Even better when a band's fans don't take them too seriously. "Darken My Door" off of Lucero's latest album, 1372 Overton Park , is a song about losing stuff--girlfriend, money, dignity. In fact, a lot of Lucero's songs are like that, but I'm not getting into that now. I'm talking about the video, which has so much to love. Obviously, I love the fact director Alex Mecum has used a puppet as the protagonist. But it's what the puppet does that makes this video so much fun. Puppet eating chili dogs, puppet drinking whiskey, puppet giving blow jobs . . . Hell, there's even puppet vomit! It's ridiculous, yes, but also tragic. By the end of the video, if you don't feel a little sorry for the scruffy faced whore puppet, then you have no soul. Here's a little more about the videos for Lucero's new album: To promot...

Flight of the Conchords Are Tha Muthaflippin'

If you go to the official Flight of the Conchords website , you will see that it was about the time they started work on their HBO special that they stopped updating. However, you will also read that they don’t mind too much. In fact, they are very quick to point to other fan sites that are doing a much better job. This self deprecating humour is part of what makes the duo so endearing. For those who have not yet seen the programme, Bret McKenzie ( formerly of Wellington dub band The Black Seeds) plays the naïve Bret, who is a vertible emotional rollercoaster when compared to the dour-faced Jermaine (Jermaine Clement. See him in Eagle vs. Shark ). Together they look for gigs and . . . well that’s pretty much it: they look for gigs. But it’s enough. Just because the show’s premise isn’t robust, doesn’t mean the show falls flat. Hell, remember Seinfeld? That was a show supposedly about ‘nothing,’ and look how well it did. FOTC is at least about one thing, so it’s got that much more ...