“Come Down to Us” by Burial
If Coldfront Magazine’s “Song of the Week” feature allows me to choose only one, then it can’t also be perhaps my single favorite song, “Wichita Lineman,” as ars poetica, with its conflation of desire and need as well as its listening for voices in the transmission; or ubiquitous summer hit “Get Lucky,” which does exactly what a poem should do in giving as much as it keeps; and it can’t also be Jim Jones’s “We Fly High,” with its brilliant self-generated gloss on almost every line; or speaking of hip-hop, it can’t then be the Terry Riley-esque looping Minimalist production—both lyrics and beats—on Rick Ross’s “B.M.F (Blowin’ Money Fast)”; or it can’t also be David Sylvian’s separated from his wife and kid but living next door’s “Fire in the Forest”; or the Birthday Party’s deep-in-the-junk “Dead Joe” pushing the anti-aesthetic and the anti-poetic to its limits (and reversing John Chamberlain’s sculptures in the process); so it’ll have to be “Come Down to Us” from Burial’s latest release, Rival Dealer, with its translation of Caravaggesque film-still chiaroscuro into murky dub woven into a cinematic landscape and ending with a sample from transgender filmmaker Lana Wachowski’s (The Matrix, etc.) speech to LGBT equality-rights advocacy group Human Rights Campaign . . . “other worlds, previously unimaginable.”
Alan Gilbert is the author of two books of poetry, The Treatment of Monuments (SplitLevel Texts) and Late in the Antenna Fields (Futurepoem), as well as a collection of essays, articles, and reviews entitled Another Future: Poetry and Art in a Postmodern Twilight (Wesleyan University Press).
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