Starburster Fontaines DC
From its opening gasp - literally, Chatten inhales sharply - the song plunges into a trip-hop noir landscape, where distorted strings and sparse piano swirl around a pounding, hip-hop-inflected beat. The lyrics are a fever dream of surreal imagery and visceral longing: 'I'm gon' hit your business if it's momentary blissness,' becomes a mantra of desperate pursuit, a threat wrapped in yearning.
What makes 'Starburster' beautiful is its refusal to resolve. It doesn't soothe, it sears. The song's structure is jagged, unpredictable, culminating in a lush instrumental interlude that feels like stumbling into a clearing mid-chaos. It's a moment of fragile serenity before the storm resumes.
Fontaines DC have always flirted with post-punk's edge, but here they leap into avant- garde territory. With James Ford's production and XL Recordings' backing, they fuse art rock, rap and electronica into something uniquely theirs. It's not just a song, it's a statement of intent.
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Milan Kundera opens his novel The Book of Laughter and Forgetting with a scene from the winter of 1948. Klement Gottwald, leader of the Communist Party of Czechoslovakia, is giving a speech to the masses from a palace balcony, surrounded by fellow party members. Comrade Vladimir Clementis thoughtfully places his fur hat on Gottwald's bare head; the hat then features in an iconic photograph. Four years later, Clementis is found guilty of being a bourgeois nationalist and hanged. His ashes are strewn on a Prague street. The propaganda section of the party removes him from written history and erases him from the photograph. 'Nothing remains of Clementis,' writes Kundera, 'but the fur hat on Gottwald's head'. Efforts to enforce political forgetting are often associated with totalitarian regimes. The state endeavours to control not only its citizens, but also the past. 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If we now understand the mind as computer-like, we will see memories as digital traces that sit, silent and unchanging, in a vast storage system. 'Many of the catastrophic consequences of memory distortion arise not because our individual memories are terrible,' they argue, 'but because we have unrealistic expectations about how memory works, treating it as a video camera rather than a reconstruction.' In earlier times, when memory was likened to a telephone switchboard or to books or, for the ancient Greeks, to wax tablets, memory errors and erasures may have seemed less surprising and more tolerable. These shifting technological analogies, explored historically in Douwe Draaisma's Metaphors of Memory, may partly account for our extravagant expectations for memory. Expecting silicon chip performance from carbon-based organisms, who evolved to care more about adaptation than truth, would be foolish. But there is surely more to this than metaphor. All aspects of our lives are increasingly recorded and datafied, a process that demands objectivity, accuracy and consistency. The recorded facts of the matter determine who should be rewarded, punished and regulated. The bounded and mutable nature of human memory presents a challenge to this digital regime. Human memory is also increasingly taxed by the overwhelming and accelerating volume of information that assails us. Our frustration with its limitations reflects the desperate mismatch we feel between human nature and the impersonal systems of data in which we live. Greene and Murphy urge us to relax. We should be humbler about our memory, and more realistic and forgiving about the memories of others. We should not be judgemental about the errors and inconsistencies of friends, or overconfident about our own recollections. And we should remember that, although memory is fallible, it is fallible in beneficial ways. A person whose memory system always kept an accurate record of our lives would be profoundly impaired, Greene and Murphy argue. Such a person 'would struggle to plan for the future, learn from the past, or respond flexibly to unexpected events'. Brimming with insights such as these, Memory Lane offers an informative and readable account of how the apparent weaknesses of human memory may be strengths in disguise.
