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David Hammons TOILET TREE, 2004
ceramic urinal, rubber tube and plastic rope

 

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Erwin Wurm Toilet, 2014
Acrylic, wood, 76 × 11 × 67 cm.

 

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Imposter Syndrome Death Flush, 2020
‘Haunted by the memory of his grandfather’s death, Ronnie must face his greatest fear – peeing alone. Is the legendary Toilet Seat Killer really dead? Can Ronnie hold it a little longer? Featuring wooden voice acting, cryptic puzzles, and bathroom puns to last for days, Death Flush is spine tingling retro syle terror. This game was made in about a month for the Haunted PS1 Summer of Screams. My primary insperations were Nightmare on Elm St. and Silent Hill. Estimated playtime: 20 minutes. Caution: Contains profanity and gore.’

 

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Robert Gober Various, 1984 – 1993
‘The lack of pipework and faucets generate a dramatic appearance, like something is missing. The creation of the sinks in Gober’s career is not casual: it coincides with the first years of the AIDS outbreak in USA. The sculptures make reference to the uselessness of cleaning. This profound and dramatic message wants us to connect to all those suffering the illness and who, around those days, knew that death was the only way out.’

 

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Pipilotti Rist CLOSET CIRCUIT, 2000
toilet, infrared surveillance camera, LCD monitor and connecting cables

disabling pipilotti rists closet circuit

 

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Do Ho Suh Toilet, 2013
‘Do Ho Suh, the Korean sculptor and installation artist, is fascinated by the concept of home: he once created a full-scale replica of his childhood abode, and often highlights the smaller domestic fixtures we frequently overlook—as per this remarkably detailed toilet. His use of translucent fabric is suggestive of the ‘invisible memories’ of our daily experiences at home, bringing them into focus in bright monotone shades.’

 

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Unknown Men’s Restroom in Pattaya, Thailand, 2012

 

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Jason Rhoades Portable Toilet and Bamboo Stick/Pencil Set, 1993
plastic bucket, lid, bamboo stick, two polaroid photographs and paper instructions

 

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Dash Snow Untitled (Table drugs, toilet, gun/money), 2007
digital c-print

 

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Paul Stafford The Toilet Gallery, 2006 ->
‘Each day, on his walk to work at Kingston University, Paul Stafford passed a disused women’s toilet block, up a side alley in Kingston Upon Thames town centre. A germ of an idea grew, then became reality as he converted it into an art gallery. “The Toilet Gallery” was opened by Gilbert and George in a flurry of press interest and, went on to show the works of a wide range of new artists as well as hosting performance pieces and events such as the “Pink Pooch Party” in aid of breast cancer charities. In 2006, Paul and The Toilet Gallery won the award for “New Start Up Business of the Year”.’

 

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Roy Lichtenstein Bathroom, 1961
Oil on Canvas

 

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Tyler Hays Ceramic Urinals, 2019
‘The BDDW founder adorns artisanal urinals, molded from clay excavated near his Philadelphia studio and workshop, with hand-painted 19th-century American pastoral scenes.’

 

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Ai Weiwei Marble Toilet Paper, 2020
Marble, edition Unique

 

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Hugo LLanes Toilet, 2019
‘In the form of a black-ink graffiti verse written on the wall of the Einar Jónsson Museum’s toilet, this collaborative work was a reaction to the migration crisis that Iceland is experiencing, a situation that isn’t exempt from other countries.

‘The artwork was a correspondence to Led Zeppelin’s ¨Immigrant Song,¨ which was inspired by Norse mythology. This folktale is carved on Thorfinn Karlsefni’s shield, a statue also located inside Einar Jónsson´s Museum. The verse on the shield is written in runic alphabet, which in English reads:

From the Island of the north of Ice and Fire
Of blossoming valleys and blue mountains
Of the waking sun and the dreamy mists
The home of the goddess of the northern lights.

‘After Led Zeppelin came to Iceland in 1970, they released ¨Immigrant Song,¨ which took kind of the same lyrical construction from the previous verse, and they wrote:

We come from the land of the ice and snow
From the midnight sun, where the hot springs flow
The hammer of the gods / We’ll drive our ships to new lands
To fight the horde, and sing and cry
Valhalla, I am coming!

‘Interested in the gap in between these lyrics, their meaning and their shifting within time, the piece replies to the representation of how the Vikings were moving from one place to the other looking to settle and to establish as a tribe, how this happened in history from the northern hemisphere towards the south, and how this migratory effect has switched roles, caused by political, economic and war-related problems in the different countries where the immigrants are coming to Iceland.

‘The graffiti was used to disrupt the very intimate but public space with some sort of vandalism that shows up in a space that is protected, listed by the government and considered national heritage. It aimed to confront the visitor face-to-face with the little verse handwritten on the wall. The restroom was specifically chosen in the context of the Museum in order to give the same importance to the toilet as the exhibition space, like the attention, respect and protection migrants deserve in society as well as any other citizen.’

 

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Walter Marchetti Musica da Camera N° 211, 1991
‘Over the next five days, a performers will activate the piece, which is not playable in the traditional sense. How do you play a piano made of toilet paper rolls? The work is by the Italian composer Walter Marchetti, who is best known for making use of recordings of toilets flushing and pigs squealing.’

 

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Sarah Lucas Edith, 2015
Plaster, cigarette, toilet, and table

 

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Nina Beier SIM, 2020
‘Danish-born artist Nina Beier produced a site-specific installation of her work in the context of the home environment of the space. A series of pastel-colored bathroom sinks protrude out of the floor and walls of the space, containing hand-rolled cigars crafted to fit the hole of the drain. Bringing to mind Marcel Duchamp’s iconic Fountain, in which he presented a urinal turned upside down, Nina Beier has created a tongue in cheek, feminist take on the use of a readymade household sanitary object.’

 

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Urs Fischer Untitled, 2015
Porcelain toilet, glass, fruit

 

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Shy Yong Toilet Bowl Waterfall, 2014
‘Yong’s homage to bathroom plumbing consists of thousands of toilets and toilet accessories, including urinals, sinks, and toilet seats, spread across 100 metres and rising 5 metres in the air. The toilets are in fact connected so that just a single flush will start the waterfall off, producing a relaxing sound to users of the park.’

 

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Tom Sachs Lil’ T’s Toilet Town, 2000
Sink, toilet, medicine cabinet with fake shit, piss and tampons, tanks, vac, electricals, pumps and service ladder

 

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James Casebere TOILETS, 1997
dye destruction print

 

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stillhousebrewco 1976 toilet that Elvis shitted and died on while playing a Telecaster, 2018
‘I couldn’t get the Telecaster but a lady who claimed to clean Elvis’ toilet and wrote a book about cleaning his death poop traded the toilet to me for a piece of broken windshield I got from a Mexican bus crash.’

 

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Sophie Nys Family Nexus, 2017
‘The title, Family Nexus, is understood in psychology to mean a vision that is shared by the majority of family members, often unconsciously and for several generations long, and is upheld in the context of events both within the family and in its relationship to the world.’

 

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Rachel Lachowicz Untitled (Lipstick Urinals), 1992
Lipstick, wax, fiberglas, 15 × 9 × 6 in.

 

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Nan Goldin Various, 1980 – 1987
cibachrome print

 

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Elisha Ramos There Are Ghosts in These Stalls, 2020
‘A short horror game for the Two-Minute Horror Jam, made in a span of 3 days. You are trapped in a bathroom stall. There are weird writings on the door. You feel a sinister presence in the room. Mouse sensitivity can be adjusted by pressing the Escape key.’

 

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Juliette Blightman Oh shit!, 2018
Toilet, LED strip, dimensions variable

 

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Man Ray Trompe l’oeuf, 1963
Assemblage

 

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Mariel Clayton Barbie Comes Home To Find Ken Playing Rear Admiral Again, 2011
‘The prettiest girls do the ugliest things😉’

 

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Nabil Mir Flushing an iPad Down the Toilet, 2017
Mobile AR Grad Class @ IDM NYU

 

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Joel Holmberg Untitled, 2017
‘It is an American phenomenon to cover the toilet seat in a public restroom before sitting down, and most public or shared restrooms stock the stalls with flushable paper seat covers. When on vacation abroad or in a shared bathroom with no official seat covers Americans will usually rip and arrange small sheets of toilet paper to provide a protective ring to sit on. The shared bathroom in Holmberg’s studio building became the site of several snapshots of toilet-paper arrangement and shifting ambient light. Those snapshots have been converted into a new series of paintings. The abject qualities of the subject matter are obscured.’

 

 

*

p.s. Hey. ** G, Hi, G. Oh, I see, about the reviewing. Yeah, it’s tricky: negative reviews. I gave quite a few of them back in the days when I did reviewing, and I don’t regret them, but a few did cause some permanent social awkwardnesses. That said, if you hate ‘Gone’ — hey, you never know — you can go ahead and whomp it. I can take it, ha ha. ** jamie, Oh, great, you’re a Tom Verlaine fan too. I really feel like his post-Television stuff has gotten lost, but I’m guessing that will turn on a dime at some point. Nice you saw that show with Jimmy Ripp. I’ve never him solo live, but I saw Television a number times back in their golden heyday. ‘Little Johnny Jewel’ is unbelievable. I still remember getting that when it came out pre-punk and being astonished. I’ll check the youtube link. I have a bootleg back in LA of the Eno-produced tracks, and they’re just wrongheaded and awful. Strange that such a seemingly great combo could have wound up sounding so dreary. I’m still good, thanks. How close are you to freedom? I might see a film in a theater for the first time today, we’ll see. Big, big, big up, buddy. xo, me. ** Dominik, Hi!!!! Yes, I really wanted to hang on to my Dutch, but there are so few people not in Holland or Belgium who speak it, so I had no one to keep in practice with. Alas. Oh, well, if S-A-R is candy, I would dig in, although, yes, I’ll bet it tastes pretty nasty. I hope your love’s head bobbed along to Verlaine’s chunky rhythms. Love writing a poem on a napkin when he’s depressed in 1864 which is then set to classical music in the early 20th century which is then adapted into a rock song that is a big hit in the mid-1960s which is given a more r&b flavor and becomes an even bigger hit when Beyonce records it in 2018, G. ** Tosh Berman, Hi, Tosh. Good talking with you last night my time. Yes, Tom Verlaine rules. He must’ve opted out of ‘PKM’ for some reason, no? Everyone says he’s difficult. I met him once at a gallery opening in NYC in the late 80s, and he was really nice, but then I was gushing at him, so… You went to the Fassbinder retro! We we’re at so many of the same things before we knew each other. How great was the Fox Venice. I saw so many films that were hugely important to me there. It was a great loss when it closed. I like(d) the Nuart, but it was never in the same class with the Fox Venice. Whoever ran the FV were serious cinema people. ** Bill, Hi, Bill. Mm, I don’t remember, but I think if anyone from Television is in ‘Gone’ it’s surely Richard Lloyd as I had a gigantic crush on him at the time. I couldn’t see anything about that livestream, but it seems you have to Follow Ashley Paul to access it, so I’ll go do that. Fingers crossed, and thanks! ** Misanthrope, Oops, well, if I can laboriously delete files from my blog’s archive for whats feels like it’ll be the rest of my life, you can labor over your novel’s insides. Worth it, etc. I think you really have to want to be Bernard Butler at whatever cost to be Bernard Butler. Or Randy Rhoades. How badly do you want it, man? ** Steve Erickson, I think ‘Dreamtime’ is Verlaine’s post-Television masterpiece, but I do think ‘Cover’ is a pretty great album. And the comp ‘The Miller’s Tale’ is excellent. Agreed that Rhino should put that out. Seems strange that they haven’t. So … you need to get a new doctor? Everyone, Steve E. has reviewed Christian Petzold’s new film UNDINE, and he has released a new song,’Abductee’, his ‘ first time writing in 3/2 and the Aeolian scale.’ Go. ** David Ehrenstein, Hi. I saw your email, but your comment came through, so I’m guessing everything’s fine now? ** Brian, Hi, Brian. Yeah, as I was saying to Tosh, the theater that held the Fassbinder retro was kind of saintly. Best guess is it’ll be Wang Bing this afternoon, but we’ll see. Yeah, porn without your finger on the FF button is kind of impossible. Imagine what it was like before even VHS or DVD much less computers when you had no choice but to sit through an entire porn film in a theater, and that’s when porn tended to have all this narrative stuff, much more narrative than actual sex scenes, that you never, ever were interested in. Nice you got to see your friends. Sucks, though, about your belly woes. May you have woken up with a big spring in your step today. Leading to a Friday that renders your week into mere foreplay. My Friday has possibilities so far, we’ll see. Be well, pal. ** Okay. I thought I would give you something useful today. See you tomorrow.

* (restored)

 

‘Tom Verlaine was born in Morristown, New Jersey, and began his life as Thomas Miller. He began studying piano at an early age but switched to saxophone in middle school after hearing a record by Stan Getz. Verlaine was initially unimpressed with the role of the guitar in both rock and jazz, and was only inspired to take up the instrument after hearing the Rolling Stones’ “19th Nervous Breakdown” during his adolescence, at which point he began a long period of experimentation to develop a personal style. Verlaine also had an interest in writing and poetry from an early age. As a teen he was friends with future bandmate and punk icon Richard Hell (Richard Meyers) at Sanford School, a boarding school which they both attended. They quickly discovered that they shared a passion for music and poetry.

‘After one failed attempt, Verlaine (with Hell) succeeded in escaping from school and moved to New York City. He then created his stage name, a reference to the French symbolist poet Paul Verlaine. He is quoted as saying this name was inspired by Bob Dylan’s name change and was a way of distancing himself from his past. He and Hell formed The Neon Boys, recruiting drummer Billy Ficca. The Neon Boys quickly disbanded after failing to recruit a second guitarist, despite auditions by Dee Dee Ramone and Chris Stein. They reformed as Television a few months later, finding a guitarist in Richard Lloyd, and began playing at seminal punk clubs like CBGB and Max’s Kansas City. In 1975, Verlaine kicked Hell out of the band for his erratic playing and behavior, and they released their first single with Fred Smith replacing Hell. Verlaine dated poet and musician Patti Smith when they were both up-and-coming artists in the burgeoning New York punk scene. Television released two albums, Marquee Moon and Adventure, to great critical acclaim and modest sales before breaking up in 1978.

‘Verlaine is an advocate of keen and unusual (yet subtle) guitar sounds and recording techniques including close miking, delay, reverb, slap echo, phasing/flanging, tremolo, etc. Television’s first commercially released recording, “Little Johnny Jewel”, saw Verlaine plugging his guitar straight into the recording desk with no amplification. Going against the prevailing tradition of rock guitar for the past 40 years, he rarely uses distortion. Vibrato is a large part of Verlaine’s style and he makes extensive use of the Jazzmaster’s unique vibrato arm. In terms of guitar scales and note selection, Verlaine utilises the mixolydian and minor pentatonic scale like most rock guitarists, but his sequencing, phrasing, tone and approach to legato and other techniques is unconventional.

‘After the breakup of Television, Verlaine released a self-titled solo album that began a fruitful 1980s solo career. He took up residence in England for a brief period in response to the positive reception his work had received there and in Europe at large. In the 1990s he collaborated with different artists, including Patti Smith, and composed a film score for Love and a .45. In the early 90s, Television reformed to record one studio album (Television) and a live recording (Live at the Academy, 1992); they have reunited periodically for touring ever since. Verlaine released his first new album in many years in 2006, titled Songs and Other Things.

‘Verlaine is regarded by many as one of the most talented performers of the early post punk era. His poetic lyrics, coupled with his accomplished and original guitar playing, are highly influential and widely praised in the music media. He and Television bandmate Richard Lloyd are known as one of rock’s most acclaimed and inventive guitar duos. In spite of the adoration he receives from the media, Verlaine rarely reciprocates this attention in the form of interviews.’ — collaged

 

 

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Television See No Evil (1977, live at Whisky-a-Go-Go)
‘Marquee Moon is the debut studio album by American rock band Television. It was released on February 8, 1977, through Elektra Records. While often considered a seminal work to emerge from the New York punk scene of the mid-to-late 1970s, the album differed from conventional punk in its textured, guitar-based instrumental interplay and extended improvisation. As a result, it is also often cited as important to the development of post-punk in the late 1970s and 1980s. Though it was critically acclaimed at the time of its release, the album failed to garner commercial success. Marquee Moon has since been cited by numerous publications as one of the greatest albums of rock music.’ — collaged

 

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Television Venus De Milo (1977, live at Old Waldorf 1978)
‘Marquee Moon was voted as the third best album of 1977 in the Pazz & Jop, an annual poll of critics run by The Village Voice. Christgau, the poll’s supervisor, ranked it number one on his own year-end list. NME named it the fifth best album of the year on their list. Verlaine later said of the overwhelmingly positive response from critics, “There was a certain magic happening, an inexplicable certainty of something, like the momentum of a freight train. That’s not egoism but, if you cast a spell, you don’t get flummoxed by the results of your spell.”‘ — collaged

 

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Television Foxhole (1978, live on Old Grey Whistle Test)
‘Those scandalized by Marquee Moon’s wimpoid tendencies are gonna try to read this one out of the movement. I agree that it’s not as urgent, or as satisfying, but that’s only to say that Marquee Moon was a great album while Adventure is a very good one. The difference is more a function of material than of the new album’s relatively clean, calm, reflective mood. The lyrics on Marquee Moon were shot through with visionary surprises that never let up. These are comparatively songlike, their apercus concentrated in hook lines that are surrounded by more quotidian stuff. The first side is funnier, faster, more accessible, but the second side gets there–the guitar on “The Fire” is Verlaine’s most gorgeous ever.’ — Robert Christgau

 

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Television Glory (1978, live in Portland)
‘Television’s groundbreaking first album, Marquee Moon, was as close to a perfect debut as any band made in the 1970s, and in many respects it would have been all but impossible for the band to top it. One senses that Television knew this, because Adventure seems designed to avoid the comparisons by focusing on a different side of the band’s personality. Where Marquee Moon was direct and straightforward in its approach, with the subtleties clearly in the performance and not in the production, Adventure is a decidedly softer and less aggressive disc, and while John Jansen’s production isn’t intrusive, it does round off the edges of the band’s sound in a way Andy Johns’ work on the first album did not. But the two qualities that really made Marquee Moon so special were Tom Verlaine’s songs and the way his guitar work meshed with that of Richard Lloyd, whose style was less showy but whose gifts were just as impressive, and if you have to listen a bit harder to Adventure, it doesn’t take long to realize that both of those virtues are more than apparent here.’ — allmusic

 

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Kingdom Come (1979)
‘Not surprisingly, many of the songs on Tom Verlaine’s first solo album suggest the music of Television, his former band, especially in the use of vibrant and full guitar textures and frequent solo break sections in which to feature them. Verlaine’s fey vocals surprisingly do not detract from the gutsiness of these numbers. Several of the songs here utilize hooky initial guitar riffs in the tradition of 1960s bands like the Rolling Stones, the Kinks, and the Beatles, most notably on “Flash Lightning,” “Kingdom Come” — covered by David Bowie the following year on Scary Monsters (and Super Creeps) — and especially “Grip of Love. Several tracks, including “The Grip of Love”, “Breakin’ In My Heart”, and “Red Leaves” trace their roots to unreleased Television songs.”‘ — collaged

 

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Mr Blur (1981)
‘Tom Verlaine’s second album as a solo artist after disbanding Television is not groundbreaking or innovative as much as it is consistent. What is distinctive about Dreamtime, aside from its thick guitar fortifications, firm stance, and unwillingness to modify a sound he believed in, are the issues surrounding the making of these recordings. The first session was marred by the usage of poor quality reel-to-reel tapes, barely yielding only half an album. Not so much a set of tidy, trimmed concepts when one listens closely, as it is a vision of an artist laying it all out from the bottom of his heart. Many would easily admit Dreamtime is Tom Verlaine’s shining hour.’ — collaged

 

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There’s a Reason (1981)
‘Verlaine always had a reputation for being strange and tough to work with, but listening to Dreamtime reveals a more complicated and paranoid character—one for whom the future was a blank canvas, without Richard Hell, without Richard Lloyd, without Patti Smith, without Television. For those familiar with the state of New York around this time (or for those who lived through it, bless your heart), you’ll know that the paranoia wasn’t out of place—nor was it ever far from the red-eyed and panicked work of other prominent Big Apple artists, particularly those close to and within the rock and roll scene. Dreamtime is what happens when youth isn’t a fallback for cynicism anymore, and when extended melodrama becomes nihilistic, turning sentimentality into aggression. From the opening chords of “There’s a Reason,” Verlaine’s guitar parts are phrased with a shade of violence—no doubt in some instances encouraged by the frustrations of having to rerecord half of the album after some of the original sessions were lost. Solos on “The Blue Robe” and “Down on the Farm” don’t seem to be structural decisions so much as primal ones, like the wails of an animal separated from its pack.’ — Nate Rogers

 

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Clear It Away (1982, live in Madrid 1984)
‘Tom Verlaine’s second solo album, Dreamtime, was easily the finest music he’d created since Television’s Marquee Moon. It was so perfectly realized that one wondered what he could do to top it, and when 1982’s Words From the Front was released, the obvious answer was that he hadn’t; while it’s hardly a bad album, the songs don’t rank with Verlaine’s best work, and though his guitar work is superb as always, he doesn’t appear to be breaking much new ground, content for the most part to recycle ideas he’d worked through in the past. Of course, given the sterling quality of Verlaine’s work, an album could be quite good and fall below his average, and that’s certainly the case here.’ — collaged

 

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Words from the Front (1982)
‘Of course Tom Verlaine really needs no introduction. Words from the Front is a totally forgotten gem coming after two equally excellent solo albums after he left Television. Both the previous albums had stellar production with Verlaine increasingly using overdubs for a “wall of guitars” effect, creating almost orchestral soundscapes rivaling the Durutti Column at times. And of course by the second album (Dreamtime) he was oversaturating the tape, thus developing a fuller, more dynamic sound.’ — Julian Cope

 

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Rotation (1984, live in Madrid)
‘Cover is easily Tom Verlaine’s best platter since his first solo release. This album sports unusual, yet wonderfully effective and imaginative arrangements which are sparer, leaner, and more intricate than those on his earlier releases. Production values are top-shelf great. “Travelling” is a funk-flavored selection with dry screeching guitar sounds and some later slippery modulations. “Miss Emily” is a rollicking, jumpy number which (despite its quirky vocal and production touches) in places anticipates later-period songs by the Replacements. Brian Eno-era Talking Heads is evoked on the kaleidoscopically nervous “Dissolve/ Reveal.”‘ — collaged

 

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Five Miles of You (1984)
‘Anglophobes and wimpbashers won’t hear it, but Verlaine’s light touch constitutes a renewal and an achievement. Synthesized ostinatos and affected vocals are deplorable in themselves only when they’re ends in themselves. Here they’re put to the service of tuneful whimsy that has brains and heart, a sense of beauty and a sense of humor. Goofy romanticism at its driest and most charming. Supremely self-conscious, utterly unschooled, Verlaine writes like nobody else, sings like nobody else, plays like nobody else. His lyrics sound like his voice sounds like his guitar, laconic and extravagant at the same time. After three years off the boards, he’s deemphasized keyboards in a quest for dynamite riffs, and he’s found enough to thrill any fan.’ — Robert Christigau

 

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Your Finest Hour (1987)
‘The Miller’s Tale: A Tom Verlaine Anthology is a 1996 double-CD compilation album by Tom Verlaine. It chronicles his solo career and his career with Television on one CD (including several obscurities) and the other CD is an edited live performance from London in 1982. The first CD covers the period of the three Television albums, Verlaine’s solo work and also contains a selection of previously unreleased songs that were allegedly shelved after being submitted for release in 1986. These tracks were recorded in London, and includes “Your Finest Hour”, “O Foolish Heart”, “Anna”, “Sixteen Tulips”, “Call Me The”, and “Lindi-Lu”.’ — collaged

 

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Bomb (1987, live on The Tube)
‘With this release, Tom Verlaine comes full circle to the style of his initial solo album. This great platter has an energized, mostly no-nonsense feel to it that is extremely appealing. Production is meticulous, if not normally showy as on his previous album, Cover. Flash Light is chock-full of rocking numbers of all kinds, ranging from straight-ahead, meat-and-potatoes types (“Cry Mercy, Judge” and “Say a Prayer”), to the quirkier “Bomb” and “Annie’s Tellin’ Me,” to the walloping big beat of “A Town Called Walker”. Released after a three-year silence, Flash Light was well worth waiting for; this splendid album makes an excellent purchase.’ — allmusic

 

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Cry Mercy Judge (1987)
‘Tom Verlaine’s impressive 1987 LP Flash Light sees the former Television front man firing on all cylinders as a master guitarist, popsmith and lyricist. Whereas Television’s sound is famous for its symbiotic dual guitar interplay, here Verlaine’s guitarchitecture reaches an unparalleled complexity, weaving layer upon layer of steely metallic guitar upon one another in a complex mesh of sound. On the individual guitar lines, Verlaine scrupulously avoids cliche and comes up with some really original and oblique riffs. Against this backdrop, Verlaine creates some of the best melodies of his career – songs like ‘A Town Called Walker’, ‘Song’, ‘At 4 a.m’ and ‘Annie’s Tellin’ Me’ are bursting with inventive pop hooks. Even Verlaine’s lyrics are top-rate, embodying a much more poetic and metaphysical aspect than the urbane witticism of Verlaine’s usual style. A truly great album – his best solo release.’ — collaged

 

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Ore (1992)
‘If you had ever wondered what an album of Verlaine instrumental music would sound like, chances are it wouldn’t have been this. In fact, the best thing about it is that there’s no way you could ever have anticipated it. It’s more a collection of sketches for … well, something or other. Some of them hardly get started and some of them outstay their welcome. Which is not to say that there aren’t some good moments here – there just aren’t any great moments – except maybe in “Ore” when passion creeps in and you could almost be listening to a Beefheart track from around 1970. Or “Lore”, which is nearly seven minutes of frantic, aggressive, almost-desperate playing.’ — The Wonder

 

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Nice Actress (2006, live at FIB Benicassim)
‘Tom Verlaine’s first album in many years, Songs and Other Things, is not Marquee Moon. It’s not supposed to be (that was thirty years ago, remember?). Nor is it even Dreamtime – the best Tom Verlaine album. (Sure, you could argue with this and many would, in favour of the first, self-titled set. But they’d be wrong). It says right here on the insert: “recorded in and around new york city in the new century”. This is a clue. After fourteen years it makes sense that it should look anywhere but back, right? Tom Verlaine has nothing to prove to you, or anyone else. There are enough guitar heroes around who heard it all here first. Two things are immediately apparent about this album – it may be Verlaine’s most playful set of songs (of course Tom has always been playful, it’s just that no-one seemed to notice) and he’s finally found his voice. I mean, literally. He’s finally grown into the voice. Or become comfortable with it. In any case, his voice has taken on a depth, a maturity, and his singing sounds relaxed and, at the same time, more authoritative. Tom sounds as if he has a secret or two to tell you and he’s enjoying the telling.’ — The Wonder

 

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Shingaling (2006)
‘These are songs which confide, cajole, persuade, the warmth of the vocals matched by the sensuous nature of the guitar work. You’re teased with sound/sounds. Verlaine plays all the guitars and not for him the one signature tone. Instead there is almost an embarrassment of riches when it comes to guitar noises. The fluid chiming of The Earth Is In The Sky, the churning rhythm guitar of Heavenly Charm, the fabulous, lush guitar strength of Documentary, Shingaling, with its insistent, nagging spiralling guitar lines, the delicate picked figures of Blue Light. Fourteen songs and only five of them over the four-minute mark, and most of them little gems of brevity, style and technique. The album is bookended by two instrumentals – A Parade In Littleton, which sounds exactly like that, and Peace Piece, a solo guitar track that sounds as if it drifted on over from Warm and Cool. The songs themselves on this album don’t particularly sound like Tom Verlaine songs; which means that they come at you from unexpected directions and lead you to unanticipated conclusions. There’s nothing here that would really sound at home on a Verlaine album from the 1980s.’ — The Wonder

 

 

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p.s. Hey. ** G, Hey, G. I’m good, thank you. Ah, yes, I saw a pic of your brother and you reuniting on FB, that’s so nice. Hope your first jab is bad-aftermath-free. Paris is treating me very well of late. A little too warm out, but that’s not its fault. No, no event for ‘Gone’. It’s just a reprint. I did not in fact see your email, but, yes, it was probably during the endless hacking-related email onslaught when a lot of things seem to have gotten lost. Luckily the hacking or whatever seems to be over for good. Great about the reviewing gig in Queer Guru, and thank you for putting my stuff on your radar. You sound energised and up, and that’s wonderful to detect. Lots of love from me and over here. ** _Black_Acrylic, Wow, there’s a Nick Brook sighting as recently as 2020? Are you sure it’s the same guy. I don’t think he had that ‘e’. I hope it’s the same guy. Are you in touch with him? He was living in Spain the last time he was here, but that was so long ago. Yeah, all focus on righting yourself. The rest will work itself out surely. ** Dominik, Hi!!!! You’re like me with Dutch. I spoke and understood it quite well by the time I moved away from there, but I only know really rudimentary stuff now sadly. I trust that love treated baggyfreak with all due respect under the circumstances. I mean he’s not called love for nothing, right? If Scab-A-Roni wasn’t made out of meat, and I’m pretty sure it must be, I’d try a chomp, even if it’s made of nothing but cancer causing chemicals. Love making everything and everyone look as pretty as coins underwater, G. ** Misanthrope, Mm, having not eaten a scab since I was knee high to grasshopper, I can’t say for sure. I like the sound of the interior of that novel. And that’s a lot of wordage. I don’t know if I’ve ever piled that many words up in one of my novels. So, yeah. I’m sure you’ll be playing lead guitar in a Slayer cover band within a year. ** Jamie, Hi. Hm, I can’t remember if that term scab is used in that way in the US. That meaning is certainly known. I’m glad your illness was a wham-bam-thank-you-maam kind of malady. My day was pretty good. Hung out with Zac, went to my favorite bookstore, ate Indian food, went around to a bunch of galleries in the Marais, brought pastries at this insanely amazing patisserie/ teahouse/ restaurant/ shop Ogata. So, not too shabby, although I’m not sure it beats witnessing a swinging pigeon, poor thing. Here’s to our respective todays! Love, me. ** Steve Erickson, Oops, ouch. No, I haven’t heard the new Moor Mother single. Interesting that she signed to a big indie and wondering if that’ll effect her work as heavily as the similar move did to Yves Tumor’s. ** Bill, Hi. I share your hopes, of course. ‘Smithereens’, wow, Hardly remember it. I bet it looks and reads a lot better now than it did back then, but that’s a guess. ** Brian, Hi, man. At one point back in the … 80s (?) a revival theater in LA did a comprehensive Fassbinder retrospective, and my friends I went to every screening, which is why I’ve managed to see almost everything. I am weaker on his TV stuff though, for sure. The first actual theater viewing might be a screening of films by Johan van der Keuken at Le Clef tomorrow, although we might go see a Wang Bing film today as his films are being spotlit here right now that this great art/etc. venue Le Bal. Best guesses there. Oh, yeah, when does your film review thing happen? Your ‘8 1/2’ devirginisation, cool. Altered Innocence, who putout ‘PGL’ in the US, did the Hasted porn restoration. Probably pretty fun and a little tedious too like almost all 70s porn films seem at this point. You sound rested and fired up, very cool. Me too possibly. See you back here tomorrow? ** Right. I went down a Tom Verlaine rabbit hole the other day, and it made me think about how overlooked his post-Television music is and how unfortunate that is relative to its wonderfulness. And that caused me to go back and restore this old gig post from my dead blog so that you would have the choice of falling down that particular rabbit hole I mentioned. You could do much, much worse, folks. See you tomorrow.