I learned of this song from the José González cover that was featured in the (very cool) Sony video with the bouncing balls. The song turned me on to González, but not necessarily the song itself. I knew The Knife did the original and I remember when I first heard it, I didn’t like it nearly as much as the González version.
It’s been a few years and there’s a new The Knife album out and in the New Yorker review of it Sasha Frere-Jones mentioned this song again. So I wanted to listen to it without the cover so prominent. And indeed, the González cover is quite straightforward (acoustic guitar rather than mega synth, but otherwise pretty spot on). The Knife’s version is very retro synth-sounding . It reminds me of a wacky 80s song. Or perhaps a 2000’s Europop song.
The vocals are high-pitched and a wee bit over the top, but all in all it’s very catchy. Frere-Jones said that The Knife version was very popular but evidently I didn’t travel in those circles because I don’t recognize it as being huge.
And I still like José’s version better.
I know it’s not really cool to show the video of the cover version when I’m talking about the original, and it’s really not that cool to use a commercial as a video, but it is still very fun to watch.
[READ: April 30, 2013] Burn This House
For the last day of April, the last day of poetry month, I read a new book of poetry that came across my desk today. This is Kelly Davio’s first collection. She is an MFA and quite an accomplished poet (managing editor and Pushcart nominee). I also thought that I would see if she was a “modern, weird” poet or a more traditional one (I secretly hoped for more traditional as I’d burnt out on wacky ones). For the most part she is more traditional and I liked most of her poems quite a lot.
The book was divided into five sections. And I have to admit that the final few sections contained poems which seems a little forced to me (more on that later). For it was in the early pages that I thought the poetry was most magnificent.
Although when I first started reading I was afraid that the poetry was going to be ponderous without enough concrete detail. Like in “auguries” which showed a series of potential omens (Davio seems to have a thing with birds crashing into windows) which were effective, but I didn’t like the ending: “To what /significance such eroded things?” It seemed too vague to be powerful.
But the poems that came right after were just wonderful with detail like in “The First Lines” which had this description of a scarecrow: (more…)