Tonight’s selections from Come’s debut album, Eleven : Eleven.
Why do people make a wish at 11:11?
Since 11:11 signifies a time when the universe is listening to you, you’re meant to manifest at this special time. When you’re making a wish at 11:11, you’re supposed to put all of your desires into this one wish.
This means it’s crucial that you eliminate any negative thoughts during your manifestation. Many people believe that there is a certain set of standards to be met for your wish to be fulfilled.
If you look at a clock right at 11:11, this being the first time you’ve checked it since before 11:00, then you’re free to make a wish. Once you’ve made your wish, it is imperative to look away from the clock immediately. Your wish will not come true if you see the time change to 11:12. The next time you look at a clock, the time should be 11:13. Your wish will also not come true if you miss 11:13. — thegeorgeanne
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Submerge [1992]
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I miss nostalgia. Not the stuff that gets talking heads spouting clichés. The stuff that hurts. The pains of ego, barricaded in on your own self-piteous spiral, poverty and loneliness and the inability to get used to either. The resignation that's fake, that's not yet mature enough to fully reconcile itself to the impossibility of reconciliation. Our past is now only touched on to recall wholeness, happiness, the good times, the sense of belonging that comes from hope, the hope that depends on a future. But what if all you remember is hiding? Your eyes behind your fingers, sun x-raying them blood red? Then the music that soundtracks your memory doesn't just recall places, parties, sounds, times, locales. It recalls a cellular feeling, a tilt you had at the cosmos, the way you felt inside, the way you tried to stop feeling anything at all whenever you were outside.
[...]
Come were music for the low times, for those cowardly moments of suicidal depression when you lay sprawled, dreaming of being found, those stopped second-hands and the yawning lurch of anguish in the guts, the anxious paralysis of knowing you'd just turned into an adult and have nothing to look forward to. For me, no question, Come provided the closest clearest soundtrack to the pain and anguish of my 90s and did so by making music that was narcotic in the fullest sense – a dissipation of pain with no lies about redemption. They made an art that made you feel less alone by painting your daily despair in arcing waves of eternal light and shadow, glimmering shots of redemption and grey squalls of surliness. — The Quietus
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Dead Molly [1992]
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Written in a burst of bleak creativity and recorded fast and with few overdubs by Tim O'Heir and Carl Plaster, this is less a blues album, more a grey-black bruise left by the interlocking, alternately fierce and beaten guitars and voices of [Chris] Brokaw and [Thalia] Zedek, a careening ship held on course by the lithe, pulsating rhythm section of Sean O'Brien, whose bass laps and rolls like a controlled storm, and Arthur Johnson's walls-of-the-madhouse drums.
If the Afghan Whigs (a band Come sometimes bear a passing resemblance to) brought drug-love, sexual destruction and self-loathing out into the open, maybe even glamourised the role of the fucked fucker a little, then Come showed you here precisely and without censor what the true emotional cost of drugs, of love, of absolute untamable loss felt like. — Drowned in Sound
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Fast Piss Blues [1992]
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The way the record connects, through screams, through truck-tough snarls, through mercurial yet scarily precise noise, is a rare achievement. It can feel like too much at times, like a teenage crush gone horribly wrong, like the sinking feeling in the pit of your stomach when you know you have to face the consequences of some terrible act. Nowhere is this truer than on the aforementioned 'Fast Piss Blues'. Omitted from the original vinyl pressing of Eleven : Eleven, it combines elements of jangle-pop with razor-cut geetar and Zedek's finest, hardest performance. "I don't remember being born" cries one of the great opening lines in hate-rock history. It lopes like the coolest, loosest pop, punches and pummels like a great metal song, it attacks you like great art. It's horrible and tuneful, fucked and perfect.
Which is a fairly reasonable way to describe the whole record. — Drowned in Sound
‘Fast Piss Blues’ b-side; Stones cover.
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I Got the Blues [1992]
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WHO’S TALKING TO WHO?
Jimmy Kimmel: Ashton Kutcher, Amandla Stenberg, Jessie Reyez, guest host David Alan Grier
Jimmy Fallon: Megan Thee Stallion, Natalia Dyer
Stephen Colbert: Karine Jean-Pierre, Tatiana Maslany, Joe Walsh
Seth Meyers: Tina Fey, Craig Robinson, Marc Bernardin, Aric Improta (R 4/19/22)
James Corden: Annette Bening, Ewan McGregor, the Chainsmokers (R 6/8/22)
The Daily Show: Abbi Jacobson
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SPOILER WARNING
A late night gathering for non serious palaver that does not speak of that night’s show. Posting a spoiler will get you brollywhacked. You don’t want that to happen to you. It's a fate worse than a fate worse than death.
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From Thalia Zedek’s first solo album, Been Here and Gone. Major Big Star’s 3rd/Sister Lovers vibes. Stark, beautiful.
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Thalia Zedek :: Excommunications (Everybody Knows) [2001]
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And one from another band she sang for; NYC Lower East Side art rockers, Live Skull. Their album Positraction is extremely underrated IMO. Probably doesn’t help that this has been out of print since it’s initial pressing in 1988. Someone should reissue it.
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Live Skull :: Mr. Groove [1988]
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LAST WEEK'S POLL: JUICE
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