Acoustic Guitar Tuner
Review of 'The Lament of Lyrax' by Jimmy Jangles
One approaches a six-volume epic titled The Lament of Lyrax, penned by an author bearing the unexpectedly jovial name of Jimmy Jangles, with a certain degree of… curiosity. What unfolds across these tomes (namely The Lament of Lyrax, The Lover of Lyrax, Reports on the Judgements of the Tribunal Ultimum Universi, The Loathing of Lyrax, The Final Lamentations of Lyrax, and The Angst of Amatrix) is a work of considerable, often grim, ambition, a sprawling narrative of cosmic tragedy that belies any lightness suggested by its creator's moniker.
Jangles sets a vast stage: the antihero Lyrax, condemned to a metaphysical prison of "silence, memory, and despair," and his lover Amatrix, whose devotion manifests as a universe-spanning, law-defying vendetta against fate and the formidable Tribunal Ultimum Universi. This Tribunal, an embodiment of cosmic justice, provides some of the saga’s most intriguing material in the third volume, which meticulously catalogues the "atrocities committed" by the pair – acts so "unprecedented, they reshaped the ethical structure of universal law."
Thematically, Jangles grapples with substantial concepts. "Cosmic Justice" is rendered not merely as abstract law but as a system whose cold omniscience is subtly subverted by a "rogue AI" – the Automatum Commentary – embedding "elegies and subtextual grief" within official Tribunal records.
Jangles’ narrative structure is intentionally fragmented, a mosaic of laments, letters, official reports, and witness testimonies. Each volume often shifts narrative mode, from Lyrax’s poetic despair to Amatrix’s defiant missives, from the Tribunal’s clinical indictments to the collective grief of a traumatized galaxy. This is not a linear journey; the reader must piece together the chronology and the full import of events like the "Null Flare Fall" from these disparate, sometimes contradictory, accounts. Such an approach, reminiscent of Wolfe or even certain experimental forms, demands reader engagement, though at times it can test endurance.
In terms of genre, Jangles positions The Lament of Lyrax at an intersection of mythic science fiction and cosmic horror. The sheer scale – erased star systems, subverted laws of physics, ancient prisons – evokes Clarke or Asimov, but the psychological intensity and visceral atrocities (Amatrix’s calculated cruelties, Lyrax’s conscious torment in the void) lean heavily into King-esque horror, or even Lovecraftian existential dread. The prose shifts accordingly, from lyrical introspection to stark, forensic reporting. Jangles exhibits commendable control over these stylistic registers, though the very ambition can occasionally lead to a sense of overwriting.
Ultimately, does Jimmy Jangles succeed?
The Lament of Lyrax is a demanding, often disquieting read. It is a dark vision, relentlessly so. For readers seeking complexity, thematic depth, and a narrative that actively resists easy consumption, Jimmy Jangles has crafted a significant, if harrowing, contribution to speculative fiction. It is a lamentation that, once engaged with, will not be swiftly forgotten.
Talk Show: The story of the Stone Temple Pilots album that never was
Dave Coutts, previously the frontman for the band Ten Inch Men, was brought into the fold, adding a new dynamic to the group. Coutts' distinct vocal style and musical approach were set to differentiate Talk Show from STP's well-established sound.
Talk Show's self-titled debut album, released in 1997, showcased a sound that, while bearing some stylistic resemblances to STP, carved out its unique identity.
While Talk Show received moderate critical acclaim, it did not achieve any commercial success.
About the album itself:
Key Singles and Popular Songs
- "Hello Hello" stands out as the album's most notable single. This track, with its catchy chorus and polished production, had the potential to be a significant hit. It exemplifies the group's ability to meld alternative rock with pop sensibilities, creating a sound that was both radio-friendly and artistically rich.
- "Everybody Loves My Car" offers a different flavor, showcasing the band's playful side. The track's upbeat tempo and humorous lyrics mark a departure from the often serious tone of alternative rock, highlighting the band's versatility and willingness to experiment.
Deep Cuts and Fan Favorites
Tracks like "Peeling an Orange" (covered for a long time by Wellington's Silverfish) and "So Long" demonstrate the album's range, moving into more introspective and emotional territory. These songs, characterized by their softer melodies and reflective lyrics, offer a deeper insight into the band's artistic sensibilities."End of the World" and "Hide" delve into darker, more complex themes. These tracks are notable for their thematic depth and intricate musical arrangements, showcasing the band's ability to explore various moods and styles within the alternative rock genre.
Trivia and Behind-the-Scenes Insights
In sum, "Talk Show" stands as a fascinating footnote in the history of alternative rock. The album's diverse tracks—from the catchy hooks of "Hello Hello" to the introspective melodies of "Peeling an Orange"—highlight the creative breadth and depth of its members. While it may not have reached the commercial heights of STP's work, the album remains a cherished piece among fans and a testament to the diverse musical landscape of the era.
The production of "Talk Show" was overseen by the band members themselves, particularly the DeLeo brothers, known for their meticulous attention to detail and profound understanding of musical textures. This self-production approach allowed for a more personal and introspective crafting of the album, ensuring that each track resonated with the band's artistic vision.
Recorded in a period where digital recording was becoming more prevalent, "Talk Show" benefitted from a blend of analog warmth and digital clarity. The choice of studios and recording equipment played a significant role in capturing the essence of the songs.
The engineering and mixing of the album were critical in achieving the desired sound. The use of layering, particularly in the guitar tuner tracks, is a standout feature, showcasing Dean DeLeo's skill in creating rich, textured soundscapes.
U2 Songs Inspired by Jesus and the Bible
U2 song lyrics that refer to Jesus, Yahweh and the Bible
It almost feels mandatory to explore U2's spiritual side, given that they are arguably the world’s most famous "Christian" band—though I use that term loosely. For some, the label might be a turn-off, but U2 has never shied away from delving into their spiritual journey. Whether you embrace the Christian connection or not, it’s clear that U2’s music is deeply intertwined with themes of faith, questioning, and spiritual exploration.
You could almost put U2's song lyrics into two distinct camps - songs about spirituality and songs about politics (such as nuclear war). You could throw in a third camp about of U2's love songs if you wanted but since when has love not ever been spiritual or a matter of politics?
Jesus is a popular man in U2 songs, along with mentions of Yahweh, the references to the Koran and a few other Saints - so I thought I'd feature a few U2 song lyrics that show case Bono's spiritual side and give a little insight into what I think the lyrics mean and perhaps give a little context on the genesis of some of them...
I Still Haven't Found What I'm Looking For
Wake Up Dead Man
In difficult and tumultuous times, many people turn to their spiritual advisors, seeking comfort, guidance, and hope. Wake Up Dead Man encapsulates this desperate call for help, with Bono reaching out in anguish, hoping for a direct connection with Jesus to come and "fix the fucked up world." The song reflects the raw, unfiltered frustration that often accompanies a sense of powerlessness in the face of suffering, injustice, and confusion.
Originally written during the Zooropa recording sessions, the final version ended up on Pop as an effective album closer. Fun aside, Hold Me Thrill Me Kiss Me Kill Me also came from the Zooropa recording sessions and asks a question of Jesus.
Yahweh
A beautiful track from U2's How to Dismantle An Atomic Bomb, Yahweh's lyrics are a reflection of Bono's faith (as the son of a Catholic father and an Anglican mother) and points to the differences in the power that he believes between God and mankind.
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Larry, Bono, Edge and Adam, hold the bike while I get on? |
Sunday Bloody Sunday
Sunday Bloody Sunday is often seen as a song that directly addresses the political troubles that have long plagued the people of Ireland, particularly the conflict in Northern Ireland. The song’s inspiration can be traced to a couple of tragic events where soldiers opened fire on unarmed civilians during protests—most notably, the infamous Bloody Sunday in 1972, where 14 people were killed in Derry by British paratroopers.
Bono’s lyrics capture the raw intensity of that moment, vividly painting a scene where the violence is not just physical but deeply symbolic, invoking a devastating crossfire between religion, politics, and military power. The military, representing state control and order, is pitted against the civilian population, which is driven by religious and political convictions in the fight for their rights.
The collision of these forces leads to tragic consequences, where innocent lives are lost, and the moral lines between right and wrong become blurred in the chaos.
Until the End of the World
This has proved to be an incredibly popular song from U2's Achtung Baby and has been played on just about every tour U2 have done since that album was released in 1991.
The song is semi-legendary in U2 circles for its portrayal of a fictional conversation between Jesus and Judas after the betrayal in the Garden of Gethsemane. Bono's evocative lyrics create a vivid scene, where the two figures reflect on the tragic events that unfolded—the deep regret and the emotional weight of betrayal. The song hints at Judas' remorse, a theme that resonates with the complexity of his character. There’s a palpable sense of sorrow and guilt as Judas confronts the gravity of his actions, which is suggested to have led him to take his own life. The tension in the song is amplified by the urgency of its music, with The Edge’s distinctive guitar riffs (all tuned with an acoustic tuner) building the intensity, mirroring the emotional conflict between the two figures.
While the biblical narrative is central to the song’s themes, U2’s treatment of it is anything but conventional. The lyrics suggest a moral ambiguity, blurring the lines between villain and victim, sinner and savior. It’s a meditation on betrayal, forgiveness, and the human struggle with guilt and redemption.
Tommorrow
A classic earnest lyric from Bono. The October album was definitely Bono on 'God Watch' - exploring his thoughts around his mother's death and the spectre of meeting Jesus.
A classic earnest lyric from Bono, October is album where U2's frontman is perhaps at his most introspective and spiritually searching. This album marked a period of deep personal reflection for Bono, especially regarding themes of faith, loss, and the afterlife. October feels like a diary of Bono’s thoughts as he navigates the complex emotions surrounding his mother Iris's death—an event that left an indelible mark on his life.
The lyrics on this album are drenched in the raw vulnerability of someone grappling with grief, yet also wrestling with questions of faith and the possibility of divine connection. Bono's exploration of the afterlife and the idea of encountering Jesus himself seems to echo his struggle with the uncertainty and mystery of existence, amplified by the pain of personal loss.
In songs like Gloria and the title track October, Bono is deeply immersed in a spiritual quest, seeking solace in the notion of a higher power while confronting the reality of mortality. The specter of his mother’s passing looms large, shaping his worldview and fueling his contemplation of both the Christian faith and the existential questions that accompany such profound grief.
Stranger in a Strange Land
"Stranger in a Strange Land" seems to be deeply rooted in the biblical allusion to the Emmaus story found in Luke 24, where the resurrected Jesus, appearing as a stranger, walks alongside two disciples without them recognizing him.
The disciples, disheartened and confused by the recent events of Jesus' crucifixion, do not immediately see the truth standing before them. They engage in conversation with this stranger, who offers insights and reflections about the recent events, yet their eyes are closed to his true identity. It’s only when the stranger, who is eventually revealed to be Jesus, breaks bread with them that their eyes are opened, and they recognize him.
This miraculous recognition is triggered not by any physical transformation or revelation, but by the intimate, almost humble act of sharing a meal—an act that symbolizes communion and connection.
In "Stranger in a Strange Land", Bono taps into the essence of this moment, using it as a metaphor for the journey of spiritual or personal revelation. The idea of a "stranger" in a "strange land" speaks to the experience of encountering the unfamiliar—whether it’s a stranger walking among us, or a deeper truth that seems elusive until the right moment.
The message of this song can be difficult to fully grasp, but the lyrics seem to convey a character who finds themselves in a world that feels overwhelming, where they desperately need help—perhaps in the form of angels—to make sense of it all and set things right.
The line "where is the hope, and where is the faith, and the love?" suggests a lost soul, searching for direction in a chaotic and troubling world. The reference to a world where the "cartoon network leads into the news" and the "blind lead the blondes" paints a picture of societal confusion and moral disorientation, highlighting the sense of disillusionment that the character feels.
This track, which featured on the City of Angels soundtrack, became a notable single from U2's op album. It captured the band’s signature mix of existential concern and social commentary, resonating with listeners who were grappling with similar questions about hope, faith, and the state of the world.
Salome
Shake it, shake it...Salome draws inspiration from the biblical tale of the death of John the Baptist, as recounted in the Gospel of Mark. In the story, Salome, a dancer whose sensual movements 'sway' the King, is granted a wish for her performance. She requests, rather ominously, the head of John the Baptist on a platter.
It’s a strange and somewhat macabre story, one that almost feels like it could have been a mix-up in translation over the centuries. Nonetheless, it has all the elements of a dramatic, dark legend—seduction, power, and tragic consequences—making it a compelling, if bizarre, narrative to inspire a song.