Thursday, March 30, 2017

Pure Comedy? I weep for our generation.

Father John Misty - "Pure Comedy"




This song is absolutely insufferable.  It is the epitome of echo-chamber liberalism.  Indie-ish 30-something pens ironically straightforward lyrics about how woefully tragic the human race is; intersperse music video with imagery from recent presidential election to remind people that this, right now, is the darkest moment in all of human history (it's not).  End song with an uplifting non-sequitur in lowballed bid to seal it as a classic amongst Seriously Complex millenials.

Anyone listening to this song already *knows* what it tells them, and they have learned it through contact with more effective artistic manifestations.  Hence, it does what's possibly the worst thing a piece of art can do: it patronizes its audience.

1/10


Monday, January 12, 2015

It's been a pleasure, Dan

"It's been a pleasure, Dan."

I was more annoyed with myself that it'd taken me to this point to realize he didn't give a shit about me.  Then again, why should he?  I'd been writing code for a couple months and he'd been flipping companies, or whatever you call it, in his VC portfolio -- the impressive metrics of which he'd supplied earlier in the day but which now escape me -- for at least four times as long.  And he was probably three years younger than me.  The breakfast conversation had consisted largely of he and his friend (who'd been invited on the pretext that he was looking for developers for his startup but had presumably detected within the first ninety seconds of being seated at the table that I wasn't what he needed) trading name-drops of tech moguls, restauranteurs, fashion bloggers, and trendy technologies I'd of course not heard of.  Throughout, I'd felt a creeping sensation of being out of my league -- but it wasn't until he addressed me by a name that was not my name that my irrelevance hit me square in the face.

Fuck it.  Back to the comforting abstract (unpaid) vacuum of code.  My prowess in staring at and occasionally writing code perhaps slightly exceeded that in professional networking; any hope that one might obviate the necessity of the other in efforts towards revenue generation had long since been dashed by their concurrent mediocrity.  And somewhere between the calibers of these two abilities fell that of whatever it was I'd done for the six years and two weeks prior July 25th, when I'd left my job doing whatever it was I'd been doing and embarked on a failed cross-country road trip.  Those six years and two weeks now seemed like a far-off blur, a decaying flip-book of scenes and sensations whose pages had been ripped apart and reassembled in estimated order and upon which I now sought to superimpose a professional narrative.  Did I regret not making the jump to where I was now sooner?  It didn't matter -- I was starting to doubt even hindsight was 20/20.  Any sense of control I felt over my life, I'd recently realized, was illusory.  Which I'd also found delicate to articulate professionally.

I was still a ways off from discovering what I could be the best at.  Not best at -- the best at.  Towards the tail end of the flip-book blur I'd been dropping soundbites like, yeah, I don't need to be the best developer in the world, I just know it's something I can enjoy and be pretty good at.  It had seemed true then.  But once I'd smashed through the concrete ceiling I'd sworn to be a mile thick and emerged, victorious, into some stratosphere I'd hitherto envisioned teeming with dazzling clouds of never-ending possibility, the reality of things had set in.  I'd found myself amidst a drab fog, and not five yards above me was another concrete mass at least a hundred times thicker than the last (which, it was now clear, was not nearly as thick as it'd felt on the way up).  I was still David, and The World was still The World.

As I waited in the rain to cross 6th Avenue I looked down at my shoes.  Adidas Sambas, almost three years old.  Hoping my fellow diners hadn't noticed, as I had noticed their stylish boots, I recalled a brief story I'd written a couple years prior about how I'd utterly bombed a karaoke rendition of "Young Americans".  The point had fallen in a general category of uplifting rationalizations that assert our mistakes and failures define us just as much as our successes do.  I was far from the best -- but at least I was failing as David and not succeeding as Dan.

Saturday, August 9, 2014

Another Well-Curated Music Mix

WOO HOO SUMMMMMMERRRRRR!

Not too long ago I decided I was going to start a new trend — summer resolutions.  A few years ago, I tried to start “December 1st resolutions”: if you’re going to make New Year’s resolutions, why not one-up yourself and start a month earlier?!  Well, obviously that failed, because nobody wants to start making resolutions in fucking December, so I went back to attempting (and failing at) regular old New Year’s resolutions.  BUT this idea is going to be different.  Summer resolutions!

In my newfound spirit of self-improvement, I was led — from the arresting conclusion that I don’t get enough sleep — to download an application for my laptop called f.lux.  Once installed, f.lux automatically adjusts the tint of your monitor based on the time of day — the idea being that the hue of light experienced in an environment affects the circadian rhythms (in general, blues are desirable in the morning and reds are ideal for evening).  And let me tell you — ever since, I’ve been on cloud fucking nine.  I feel like a million bucks, constantly.  I sleep like a baby for 8.25 hours a night, wake up feeling refreshed and earnest, quit drinking.  You guys have got to get f.lux.

Happy summer!


Naive Thieves “Anxiété” (Cave and Canary Goods, 2014) You know you’re getting old when you start referring to things as “Strokes revivalism”….normally I don’t endorse faux-frenchiness but this song’s undeniable catchiness earns it plenty forgiveness points.

Marvelous Mark “Bite Me” (Bad Actors, 2014) Another Newtown Radio discovery (newtownradio.com).  If Naive Thieves’ opening track earned them “plenty” of forgiveness points for catchiness, Marvelous Mark here has just earned himself a lifetime supply.

Tobacco “Eruption (Gonna Get My Hair Cut at the End of the Summer)” (Ghostly International, 2014) Amen to that, right?!  Resolution #2 for summer (#1 being downloading f.lux): DON’T get your hair cut!  Fall is the time to get all square, but for now, it’s summer baby — let it FLOW!  Anyway, I’m really grooving on the stuff Tom Fec is doing — Tobacco is his solo project, while his primary group is Black Moth Super Rainbow (another music club alum, December 2012).  The unique sound of the two artistic projects quite unmistakably hails from the same source, but it’s so simultaneously hedonistically catchy and creepily complex I’m glad there’s twice as much output.

Death Grips “Billy Not Really” (Harvest / Third Worlds, 2014) Death Grips, leading purveyors of high-concept art packaged as experimental hip-hop, released the first half of a planned two-part album for free online, and then broke up.  The album is notable in that all eight tracks feature the vocals of Björk (chopped and looped past recognizability), and that it lacks disturbingly grotesque and/or pornographic cover art (see examples of prior releases).  Although I’m sad to see Death Grips go, considering they’re essentially at the cutting edge of wherever hip-hop intersects with the avant-garde, I suppose it would only be in the precise spirit of such to quit while ahead.  Better to destroy the thing before it becomes the thing, you know?

Tijuana Panthers “Cherry Street” (Innovative Leisure, 2014) Nothing particularly special about this one, just can’t stop listening to it.

The Pains of Being Pure At Heart “Kelly” (Painbow Music, 2014) The Pains of Being Pure At Heart will always hold a special place in my, um, heart as part of my indispensable summer soundtrack.  Perhaps because of my dad’s borderline-religious tendency of also doing so, I’ve adopted a schedule of playing certain albums at certain times, and The Pains’ debut full-length is a “summer friday” staple of mine.  Their third full-length in, Days of Abandon, finds them with sharpened production values and lyrical content that’s hardly advanced an inch; get ready for angst, nostalgia, and youth, youth, idealized youth.

TV Girl “Birds Dont Sing” [sic] (self-released, 2014) My heart skips a beat every time I get to use [sic].

Chain & The Gang “Devitalize” (RADICAL ELITE, 2014) Typical punk idealizing destruction rather than actually doing it, Chain & The Gang play to the fears of their declared enemy, the middle class, threatening its various forms of stability and comfort with relative specificity.  Joke’s on them, of course — give ‘em fifteen years, a couple kids, they’ll be the ones fending off the passive-aggressive subversions of punks fucking with their produce and politicians.

Popstrangers “Country Kills” (Carpark Records, 2014) There’s something R.E.M. about this song — maybe the lyrics, maybe the way the vocals in the verses interplay with the guitars, maybe the androgynous cover art.  I’m simultaneously frustrated with being unable to figure out what the song is about and unable to get it out of my head.  But hey, take that any day over a song you can figure out and get out of your head.

Antwon “rain song ft. Lil Ugly Mane” (Aesop, 2014)
Though Antwon doesn’t seem particularly good at rapping on a technical level, there’s a certain je ne sais quoi about his rhymes that keep me coming back.  I suppose that’s what hip-hop is all about.  But the real star of this song is Lil Ugly Mane, who — via his production alias Shawn Kemp — has crafted a masterpiece of eerie, disorienting self-loathing, and — via his rapping alias Lil Ugly Mane — shows up Antwon on his own song.

Danny Brown “Dip” (Fool’s Gold, 2013) 2013 joint!!  At some point not too long ago, the epicenter of whatever it means to be cool and authentic in rap shifted from drug suppliers to drug consumers.  If the catalyst for this sea change can be traced back to last decade’s “great schism” of gansta-rap-vs-Kanye-West and the latter’s redefining of humanity in hip-hop, its cresting wave is likely Danny Brown — a raw, disgusting physical incarnation of all that is beautiful and horrible about vices of the flesh.  Where in another era Brown’s rather graphic escapades might’ve been read as pure braggadocio, we here and now find what adds up to a troubling self-portrait of pleasureless indulgence and inescapable excess.  Sure, no doubt he’s proud of the things women do in his presence, the staggering volume and variety of drugs he consumes, even the strung-out days awake on end spent composing the very tales we’re hearing — but his haggard delivery belies the knowing that none of it comes without the searing hangover, the morning-lit pallor, the festering ache of the downward spiral towards meaninglessness.  Hope 2014 is treating him better….

Beastie Boys “B-Boys Makin’ With The Freak Freak” (Grand Royal, 1994) It is a dual occasion that necessitates our inclusion of this track this time around; triple if I’m selfish.  The month of May saw the 20th anniversary of the release of the Beastie Boys’ Ill Communication, that wonderful, colorful collage of sound that marks not a beginning nor end nor any other milestone of anything besides a band atop a broad peak of creative confidence and fearless individuality.  In addition to containing some of the Beasties’ most recognizable songs, the album contains some of their most left-field, expressive, and personal ones too.  I could harp for hours on this topic but instead I’ll just point you in the direction of one of my favorite music writers, Tom Breihan, for those interested in further reading: http://www.stereogum.com/1682915/ill-communication-turns-20/franchises/the-anniversary/.
The second occasion at hand is a solemn one: May 4th marked the two year anniversary of the death of member Adam “MCA” Yauch (for you newbs, he’s the one with the gravelly voice).  I’ll also avoid getting too sentimental here, but suffice it to say his death remains the most impactful on me personally of any celebrity’s.  Sometimes it’s still hard for me to believe he’s actually gone.
Third — I know the vocals are a little fuzzed out, but if you listen closely, the Beasties dedicate a large chunk of the final verse to a discussion of golf course fashion.  As many of you know, golf fashion is a huge passion of mine and a crucial cause that’s been woefully neglected elsewhere in the music world.  Thank you, Beastie Boys — thank you.

Stephen Steinbrink “Now You See Everything” (Melodic, 2014) A beautiful slice of pastoral pop, recalling both the musical and lyrical poeticism of the 60s and early 70s.  Stephen Steinbrink has been recording and releasing music for a few years, but his most recent release, Arranged Waves, turns a palpable corner from the loner-minimalist DIY folk of his prior work to more fleshed-out pop arrangements, to the immediate gratification of the listener.

Alvvays “Archie, Marry Me” (Polyvinyl, 2014) I’m so pissed at how clever their band name is.  But otherwise, I’m totally thrilled with everything these guys are bringing.  This song is totally mainstream too — got a shoutout in Rolling Stone.

Cam’ron & A-Trak “Dipshits (Feat. Juelz Santana)” (Federal Reserve, 2014) Okay… where to begin?  First, I suppose, I should acknowledge that I’ve already included a Cam’ron track in this year’s series of music club mixes — but I’ll stop short of apologizing since I’m not sorry about that.  That previous track of his was included as the token “ten year old” track on a prior mix, and goddamn — this one could probably pass as the same.  Cam wastes no time dating himself with a drop of “no homo” within the first few seconds of the song; Juelz Santana graces the Just Blaze production with a competent hook; Dame Dash even grabs the mic for a spoken-word outro (in which he, too, manages to encroach on homophobia with a drop of “pause”).  It’s unclear to me exactly what role Fool’s Gold labelhead A-Trak plays here (perhaps production assistance?), but I like the concept of that collaboration.

The Proper Ornaments “Summer’s Gone” (Slumberland, 2014) Because if you blink….

Alex G “Hollow” (Orchid Tapes, 2014) Alex G’s debut album DSU follows the Elliot Smith indie framework of sad-guy acoustic and soft, high-pitched voice — this mould has been used so much it’s practically in the public domain by common law now, and a million kids in their bedrooms with a guitar and enough spare time to feel lonely vie for the title of the genre’s crown holder.  Alex G makes a respectable bid here; standout track “Hollow” has enough of the mopey stuff to suck you in, but a welcomed electric tinge to keep you from nodding off.

Yonatan Gat “Escorpião” (Joyful Noise, 2014) BOOOOOOOOOOOOOOM!!!!!!!




DOWNLOAD THE MIX HERE:
https://www.sendspace.com/file/ltz19n
CLICK THE BLUE BOX THAT SAYS "CLICK HERE TO START DOWNLOAD FROM SENDSPACE"
IF YOU CLICK ANYTHING ELSE YOU WILL BE VAPORIZED AND RECONSTITUTED AS A 1:20 REPLICA OF YOURSELF LIKE THE KID IN WILLY WONKA

Tracks are provided for evaluation purposes only.  If you like what you hear, please support the artists and record labels.

Sunday, June 8, 2014

A Well-Curated Music Mix

Colucci’s Music Club: Broken Clocks
March - April 2014

This issue is the FAMOUS edition!!  We’ve got LORDE — we’ve got BRYAN FERRY — we’ve got, um, CHET FAKER, whose name is a play on a famous person’s, CHET BAKER — so soak it up!  But really…

Setting out to craft a summery and poppy mix for this one given the impending seasonal glory, the end result is, in fact, perhaps the most morose statement of the music club to date.  I think I realized the mix wasn’t going in the direction I’d intended sometime around an unrelated personal low: when I found myself eating marshmallows dipped in peanut butter, by myself, sober, in my apartment.  With pulverized peanut mush still fresh on my face, I sat down in front of my computer and accepted fate’s designs for my mix — which were, in the words of one of its featured artists, to “feel like winter [in the] heart of the summer.”  I, however, very much stand behind the mix and think it’s among my best, but do want to prepare you, the listener and consumer, for the experience you shall entertain.  I sincerely apologize to anyone expecting to find the banger that would carry them through summer — and I promise to make a focused effort (which has already begun, might I add) on crafting the TRUE summer edition for the next one.  Stay tuned.  And I will try to get it out sooner.

…Yeah, right…


Cloud Nothings “I’m Not Part Of Me” (Carpark Records / Mom + Pop, 2014) Songwriting wunderkind Dylan Baldi is back with his band’s latest LP Here And Nowhere Else — and with a title like that, you can pretty much guess what you’re in for.  The unfathomable existential dread of being, like, 22 and finding out there might be a purpose in life outside of trying to get laid.  These ragged anthems, while none quite matching the grungy sugar-rush of 2012’s “Stay Useless” — which some of you original gangsters of the club might remember from the very first newsletter ever back in January 2012 (!!) —, will not disappoint fans of things like guitars, melody, and, you know, existential dread.

Dub Thompson “Dograces” (Dead Oceans, 2014) Haven’t heard of this cat (these cats?) before, but intrigued.  Album 9 Songs drops in early June.

Son Lux “Easy (Switch Screens) [feat. Lorde]” (Joyful Noise, 2014) Yes, that is correct — that is the real Lorde, the popular singer, the one who sings that song about driving Cadillacs in our dreams and stuff.  This song builds an excellent context around her voice and style.  I love the jabs of horn and the broken percussion.

Future Islands “Back In The Tall Grass” (4AD, 2014) Future Islands’ latest LP, Singles, is most definitely a product of 4AD — slick, professional pop, quirked up here and there to fall within the indie lexicon.  What separates this band from the pack, though, is vocalist Samuel T. Herring’s voice: it comes across distinct and familiar, as if it’s been beamed through the years from 90s radio-rock, and sounds nothing like anyone else in the indie world right now. 

Fear of Men “Tephra” (Kanine, 2014) A lot of music emulates that of past eras, but Fear of Men’s critically-acclaimed album Loom seems to do so in a subtler way than others.  There’s a classicism woven into the melodies and lyrics that, to this fascinated listener, dips deep back into the forgotten recesses of the 60s’ and 70s’ proggier moments.  Even the production — noticeably quieter and airier against the overcompressed immediacy of the digitally-mastered music world today — seems crafted with turntables and vinyl, instead of iPhones and Spotify, in mind.

Avey Tare’s Slasher Flicks “Little Fang” (Domino, 2014) The songwriters Avey Tare and Panda Bear, each half of the primary songwriting force of Animal Collective, continue to advance their careers in a fascinating and heartwarming success story.  Like Lennon and McCartney without the drama, each progressive Animal Collective album has presented us with increasingly individualistic statements from each writer, while their concurrent solo efforts, loosed from the concessive environment of a four-piece, make more apparent the contributions of each within the AC-proper discography.  Each writer has established his own distinct style and I imagine those differing styles appeal to different personalities.  I’m more of an Avey Tare guy myself; his solo debut, 2010’s murky Down There, was certainly challenging at first, but it’s since grown on me to become one of my favorites of the past few years.  He’s now assembled a band around his solo act — Avey Tare’s Slasher Flicks — and has released an album that’s decidedly more “rock” than anything else in the Animal Collective universe at large.  This one in particular — going back to the Beatles analogy — sounds like a Lennon ditty circa White Album, and earns my official “dangerously catchy” stamp.

Todd Terje “Johnny and Mary (feat. Bryan Ferry)” (Olsen Records, 2014) Hey, kids, it’s Bryan Ferry!  That’s right — we managed to pull him away from sucking dry martinis down in Soho (the London one) to come record a Robert Palmer cover with electro-pop alchemist du jour Todd Terje.  I’ll be fucked if this frankenstorm of camp isn’t the hippest thing this side of Zooey Deschanel covering Christmas carols! (see A Very She & Him Christmas)

Var “Motionless Duties” (Sacred Bones, 2013) 2013 joint!  I rarely do this, but The Quietus’ (thequietus.com) review of Var’s album Nobody Dances Quite Like My Brothers was so spot-on, I’ll let them take the mic for this one: Pale young man, I can read your dreams. Flags of red, black and gold glowing in the light of enormous bonfires, a fraternity of youth doomed to wilt under the frost of age's ever encroaching winter, horns echoing through mountain forests and hawks circling through steel grey skies. You dream of a nation without boundaries, united only through the language of a thousand broken hearts, tears glistening on the cheeks of marble statues, drum rolls and epic poems, the glint of daggers and the swearing of blood oaths. Pale young man, have I got a record for you.

Sd Laika “I Don’t” (Tri Angle, 2014) This is what happens, people, when you go too far down the music rabbit hole.  This is where you find yourself.  Be careful down there.

Nmesh “Climbing the Corporate Ladder” (AMDISCS, 2014) Love corporate ladders

Magic Touch “Shine Baby Shine (feat. The Horses)” (100% Silk, 2014) 100% Silk can do no wrong by me these days.  Sure, it’s stylized; sure, it’s manufactured — but you can be damn sure it gets heads bobbing and bodies moving.  Probably safe to expect at least one appearance from this label in each of these mixes.

Beverly “Honey Do” (Kanine, 2014) Okay, so technically this was released as a single in January of this year — but when I heard it for the first time recently on Newtown Radio (newtownradio.com — check it out!) I was hooked and knew I had to include it in the next music club mix.

Angel Olsen “Lights Out” (Jagjaguwar, 2014) Angel Olsen’s latest album Burn Your Fire for No Witness is rockier than I remember her prior stuff being — and I am glad for that because it kicks ass.  Her voice is absolute gold and the range of songwriting territory covered on the album makes it an engaging and rewarding listen.

Heterotic “Rain (feat. Vezelay)” (Planet Mu, 2014) I have to be honest here: I have no idea what this song is about, what Heterotic are about, or anything.  All I know is the production here is so glorious I was moved to procure the album in .WAV format.  Not trying to mess with compression on this one.  Stereophiles unite!

Metronomy “Resevoir” (Because Music, 2014) Metronomy strike me as the oddball cousin to, say, a Hot Chip or someone — a little too niche, a little too minimalist, a little too cheeky for the average listener.  I imagine their fanbase, dedicated and defensive, clamor the band’s praises in the face of moderate critical reception and broad-public indifference.  I’m not sure I’d ever be moved to purchase a whole Metronomy album, but their sexy twee grooves are wonderful in small doses.

Chet Faker “Talk Is Cheap” (Downtown Records, 2014) With a name like Chet Faker I was expecting some strain of sloppy, sneering punk — how surprised I was when my my speakers were graced instead with a soft, jazzy electro-groove and this smoky-smooth voice.  The irony stops at Nick Murphy’s recording alias, and what he presents beyond that is simply beautiful, sincere music.

Amen Dunes “Lilac In Hand” (Sacred Bones, 2014) …And on the other hand, sincere is hardly a word I’d use to describe Sacred Bones’ output.  You can never be too sure exactly what the intentions might be.  Something like Amen Dunes might sound straightforward enough, but beware — you’re probably being fucked with.

Built To Spill “Terrible/Perfect” (K Records, 1996) I wonder what it says about me that my favorite Built To Spill album is The Normal Years, a collection of early-career b-sides and such.  I suspect there are the requisite stories behind each song and why it didn’t make it as an a-side — especially ones with lyrics like “I screwed her and she screwed me but we never once had sex”, “actually I’ve never even been to a railroad station/even though I used to live near one”, “love’s just a joyride/drink a lot of beer and climb inside”.  Still, for every goofy Doug Martsch moment there’s an equally beautiful Doug Martsch moment: look no further than the post-vocal bridge of second track “Terrible/Perfect”, where Martsch’s clean, bright guitar delicately trades melodramatic chords with a meandering bass riff, invariably drawing listeners into a heightened emotive state, until the tension mounts and the whole thing explodes into an uptempo vamp to fadeout.  Martsch is a master of wielding guitar distortion and destruction as an implement of beauty — I guess The Normal Years, to me, represents the peak of his ability to craft such terrible sounds into such perfect songs.

DOWNLOAD THE MIX HERE:
http://www.sendspace.com/file/980vpr
CLICK THE BLUE BOX THAT SAYS "CLICK HERE TO START DOWNLOAD FROM SENDSPACE"
IF YOU CLICK ANYTHING ELSE YOUR EYES WILL MELT OUT LIKE THE PEOPLE IN EVENT HORIZON

Tracks are provided for evaluation purposes only.  If you like what you hear, please support the artists and record labels.

Friday, April 11, 2014

Bed Bath and Beyond: A Curatorial Disaster

Bed Bath and motherfucking Beyond.

The Bed Bath and Beyond in Chelsea is a black hole, an anxiety-inducing eventuality of any standard set of life-needs, a clusterfuck.  It's an insufferable abomination of late capitalism, at once toxic and indispensable.  It seems impossible to follow a normal life trajectory in New York City without intersecting the Bed Bath and Beyond at some time or another, be it by virtue of product selection, location, or witchcraft; and yet, the store threatens acute psychological trauma (if not physical) exacted on all who set foot under its roof.  I can't explain the former, but I've discovered why the store is so pathogenic to human vitality: it's an utter curatorial disaster.

The closest you'll want to get
Stepping through the unholy threshold of what was surely once a beautiful standout of prewar architecture, now adorned in BBB's trademark blah green, you're quickly siphoned through the building's lobby and towards the left-hand orifice of the Bed Bath and Beyond.  This is the store's entrance; the exit is to your right.  In front of you will be beckoning a TJ Maxx and a Marshall's, two bargain-bin retail bastions whose own malaise I shall detail another day.  If you're able to keep your cool in the face of the disorienting sensory assault mounted upon entering Bed Bath and Beyond -- the suspiciously boisterous cafe, the bullshit sale items stacked in the front, the bustling confusion of impatient patrons and staff in the customer service area, the battlements of humidifiers blasting probably-moldy steam in your face, the stressed-out NYU parents with overflowing carts -- you will realize that the "horseshoe" or "C" layout (entrance on one end, exit at the other) is an obvious plot to churn you through as much of the store as possible before you can escape.  Prepare to be bounced like a pinball through overstuffed shelves and colorful columns towering high with shit you might conceive of needing, on average, perhaps once in the next half-century of life, until you finally claw your way, gasping for air, to the checkout lines -- to look down and find your basket FULL of STUFF and your bill exceeding your anticipated budget by several orders of magnitude.  Yes, this is by design.

Once you come to grips with this realization -- assuming you've negotiated the said entryway sensory assault without suffering a dissociative psychological breakdown and run screaming -- you take a gulp of the oxygen-deficient air and try to focus.  Something is still off about the store.  You can't quite put your finger on it, at least not yet: the staff are genuinely friendly, there look to be some decent products on the shelves, the branding strategies seem relevant, etc.  So you brush aside your concerns and proceed with your errands.  Looking down at your list -- a few miscellaneous life-items scrawled on a post-it note -- the first item is "sponges."  Let's see.  Waltzing deftly through the traffic jam of shopping carts adjourned awkwardly along aisles as their operators inspect clothes hanger options, you slide into the kitchen section.  This is where sponges would be, right?  Hm -- you see plenty of flatware, plates, and -- ooh wait! -- over here are some scrubbing brushes, the sponges can't be far!  But no, simple disposable sponges are nowhere to be found in this alleged kitchen area.

At this point you're beginning to realize the store makes you feel like a shark: stop moving and you will literally die.  So instead of dilly-dallying wondering where the sponges might be you decide to move -- physically -- onto the next item on the list.  "Face wash."  Lately, you've become a little self-conscious that you don't use a dedicated face wash product.  You've opted for the budget route of smearing body wash onto your face in the shower and calling it a day; after having a thoroughly humbling and disorienting experience trying to shop for an upgrade at Muji, a well-curated store for beautiful people, you've decided to realign your aims and ease your way into the face wash game with an entry-level product.  Bed Bath and Beyond seemed like the place to go.  So you snake your way out of the kitchen section and roll on over to the hygiene section, relishing the fleeting comfort of actually knowing where something can be found in this place.

Give me the good old days

You're into the hygiene section and you can't help noticing how offensively temporary the aisle signs look (those signs that tell you what products are on which aisle).  A very utilitarian sans-serif black text on white background, with insufficient line spacing to boot.  Funny they couldn't spruce up the most coherent section of the store with, really, anything else.  Nevermind -- you've found the face wash and, hallelujah, there are five hundred options.  It's insane.  Suddenly longing for the haughtiness of Muji's lean face product selection, you scan the shelf, wondering what glitch of capitalism precipitated such a preponderance of seemingly identical products.  No, literally, there must be a glitch in the system -- some forgotten subsidy for face wash, some fucking tax break buried somewhere in the annals of legislature, a wad of overlooked pork lodged on the underside of some mongrel bill, greased through the congressional cracks with high-end hookers on some lobby's dime -- fuck it.  You grab a green one, because green seems like a good color for face wash, and move onto the next item on the list.

"Wipeys."  No shame in staying fresh.  These would be found near the toilet paper, no doubt.  If only you knew where the toilet paper was.  Figuring it can't be far from the hygiene section, you wander around the area (keen not to stop moving, of course).  The hygiene section is very near the exit of the store; again, clearly contrived: the store's architects knew that section would tend to yield the most impulse, "oh right I forgot I need this too" purchases, so they stuck it at the end of the horseshoe-funnel, launching all manners of ephemeral hygienic merchandise at the customers and hoping anything sticks.  So you catch a tantalizing glimpse of the checkout area as you fumble around for the toilet paper, and you pray for a swift and successful end to your bout of errands.  But your work is not yet done.  Rounding a corner, you stop dead in your tracks to see -- a real hallelujah this time -- a wall stacked a thousand miles high with toilet paper!  Excellent.  Taking stock of what you assume must be the toilet paper area, you come to realize there actually aren't any other toilet paper options: that glorious wall of bathroom tissue is composed entirely of a singular Charmin offering, and there is no sign of even a second Charmin product line, much less another brand, for sale in the vicinity.  By this point, you've lowered your expectations of finding wipeys in this section to nil, and you write the whole TP wall off as some half-sauce Warholian prank likely perpetrated by a bored Tisch undergrad.  Hoping you'll be able to muster appreciation for it later, you move on.

But you only get so far.  You're in the thick of the exit vortex, and the not-so-subliminal "BUY ME" messages are getting cranked up pretty hard.  Fortuitously, in this swirling retail miasma you spot an item that is actually on your list -- hand soap.  You like the Method foam hand soaps; even though they don't seem to be stocking the "sea mineral" style you like, you figure "hibiscus flower" and "lemon mint" can probably do the trick.  Beautiful, you tell yourself, an unexpected victory.  Yet your time in this pre-exit purgatory has been too good to be true.  Did you really think you'd make it through without a superfluous purchase?  American Crew Fiber.  All of the sudden, there it is, staring at you.  You have their pomade back at home but lately it's been feeling a little overbearing on your delicate coif.  Hasn't it?  It's $17 for a jar of it, but fuck, the stuff lasts like three years anyway.  You throw it in your basket almost involuntarily and, with a tear in your eye, rip yourself away from exitland and head back into the heart of the store.

On your way back past the main hygiene area -- remember, the part with the poor signage -- you spot a familiar shape in your peripheral.  Wipeys??  Your subconscious jerks your gaze in its direction.  Alas, no -- as your conscious catches up with its overeager counterpart, you process the hopeful shape as merely a certain feminine hygiene product.  But wait -- it's worth a shot, right?  That would maybe make sense, stocking the wipeys near the feminine products?  You make your way over, and, motherfucker, there they are: the wipeys.  Right next to the feminine products.  A layout that might almost make sense to a rational human.  There may be hope yet for this atrocity of retail.  What's next?

Oh, right -- the sponges.  Since the fateful attempt to find them early on, you feel like you've adjusted to the environment, and you're a little more in tune with the arrhythmic nonsense of the store.  It's worth another go.  With your wits about you, you head back to the kitchen section, and resume snooping around.  But still -- goddammit -- no luck.  It's time to get some help.

You approach the first employee you see -- a young woman milling around in the area.  "Excuse me," you say, "do you know where the sponges are?"

A brief shade of puzzlement crosses her face.  "Sponges?  Hm..."  She leads you over to where the scrubbing brushes are (a wall of effectively infinite cleaning utensils, somehow none of which are sponges).  "We have these scrubbing brushes," she offers.  You politely decline the scrubbing brushes and assert that you're in the market for simple, good-old-fashioned sponges.  She appears to have another thought and leads you out of the kitchen section and on towards a different part of the store, glancing over her shoulder periodically to make sure you haven't lost each other navigating the maelstrom of shoppers, employees, and products, products, products.

"Just regular sponges?" She inquires along the way.

"Yeah exactly, just, you know, like regular green and yellow sponges."

"Okay -- I think we have blue and yellow ones," she reassures.

"Well, I can really only do the green and yellow ones."  You're not sure if she realizes it's a joke.

She eventually leads you to the cleaning products section of the store -- and you bang your mental head against a mental wall.  Of course, you idiot, you say to yourself, this is where sponges would be.  You've been in the cleaning products section in the past -- must be that you've repressed all your memories of the store.  Alright, Bed Bath and Beyond, you did something right.  Your guide gestures towards the back of the section.  "We should have sponges back there," she says; you smile, nod, and thank her for her help, making clear your self-sufficiency from this point forward in the sponge quest.  Should be a walk in the park from here.

Oh my.
As you move towards the back of the section, where you will most surely find a teeming cornucopia of sponges for sale, you take note of a more generous selection of Method hand soaps stocked here than up by the exit -- including the "sea mineral" flavor -- but by this point you do not want to spend a literal second more than you have to in the place.  And who knows, that "hibiscus flower" might really be some slam-bang stuff.  Rounding the end of a shelving unit, you peer along the back wall -- hm, no sponges yet.  You peruse the narrow back ends of the shelves, praying the plentiful bounty of sponges Bed Bath and Beyond undoubtedly stocks has not been relegated to the "odds-n-ends" status of shelf-end products.  Your hopes dip as you spot a spongelike product on one such shelf end.  No, there have to be more.  Am I doing something wrong?  Now you're starting to wonder if you're actually losing it; maybe all the "problems" with this store you've encountered today are really just symptoms of an impending mental collapse.  You glance down at your extended fingers.  Your hand looks normal -- okay, you're not tripping.  What the fuck is going on?  There are two sponge options for sale in this heaven-forsaken wasteland of unprincipled and misguided domestic sanitation.  Neither of which, it should be noted, are green-and-yellow or blue-and-yellow.  In frustrated acquiescence, you grab the most viable option -- an O-Cel-O four-pack of nonrectangular sponges printed with some insipid suburbanite pattern betraying a laughable obliviousness to all conventions of modern consumer product design -- and high-tail it the fuck out of there.

By some miracle you make it to the checkout lanes without further incident and manage to breeze through with relative ease.  The bill, while higher than expected, clocks in mercifully shy of inducing tachycardia.  As you slide out of the back end of the horseshoe and into the building's lobby, your evaporating ire leaves a sort of tingling almost-forgiveness; Bed Bath and Beyond makes you want to rip your hair out, sure -- but for some reason, you keep coming back.  Maybe you've grown fond of the ridiculousness.  Maybe there's some of that subtle, essential everyday life-humor at play here.  Shuffling out of the revolving door and onto the sidewalk, you pause at the foot of one of the columns at the building's entrance to put your bag of hard-earned merchandise into your backpack, smiling to yourself as crowds hungrily funnel their way into the yawning behemoth of retail within.  Maybe everyone's a little masochistic.  You unzip your backpack and -- before you can stuff your shopping bag into it and be on with your life -- your heart abruptly sinks.  There inside your bag, staring back at you, is the very reason you ended up here in the first place, and which, curse the stars, you've woefully forgotten about until now: an empty Sodastream canister.  To be exchanged for a new one.  At the customer service desk.  Inside Bed Bath and Beyond.