{"id":163493,"date":"2023-03-03T12:22:35","date_gmt":"2023-03-03T17:22:35","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=163493"},"modified":"2023-03-05T20:34:07","modified_gmt":"2023-03-06T01:34:07","slug":"mythicalogical-our-favorite-lyricists","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/03\/03\/mythicalogical-our-favorite-lyricists\/","title":{"rendered":"Three Favorite Lyricists"},"content":{"rendered":"
\"\"

Three white-tailed deer. Courtesy of National Geographic. <\/em>Public domain, via Wikimedia Commons<\/a>.<\/p><\/div>\n

I began listening to Wicca Phase Springs Eternal\u2019s Full Moon Mystery Garden <\/i>after I took two road trips through Death Valley, the first literal (in California) and the second figurative (in a hospital). So when I heard him say \u201cOn a mountain under full moon \/ I could say goodnight and mean it\u201d and then \u201cAnother night I’m in the magic mirror \/ Another night engaged in seeing signs,\u201d it felt like, well, a sign. Symbols, like mirrors, are roads to the other side; I have always been obsessed with looking for and in both. Though both of my trips actually happened, their allegorical affinity made them each less real, and harder, somehow, to return from. Seeing yourself through reflections can be a way of playing dead, of getting lost where you are not; in Full Moon Mystery Garden<\/i>, it is also a way to get found.<\/p>\n

The album\u2019s sigillic scenery is almost too familiar: black cat, black Polo, moon, mountain, mirror. But Wicca has an uncanny ability to show us what are basically gothic stock images under a strange new light, reanimating them. If similarly symbolically-hyperactive Bladee\u2019s falsetto makes incantations out of normal nouns, Wicca\u2019s hoarseness brings the otherworld to earth: rural Pennsylvania; Providence, Rhode Island. That\u2019s magic, I guess\u2014or music. Wicca\u2019s older work is equally lyrically brilliant, but more claustrophobic: words are exchanged in bedrooms, in clubs, over text, in bad relationships. Now, he\u2019s alone in a car looking out, \u201cthe twilight on repeat.\u201d The album, which has four different songs with the word moon<\/em> in the title, drives you along a kind of psychogeographic cul-de-sac, a looping map of road signs that seem to occur in too many places at once\u2014the same way certain American towns all look the same, the way they all have a Main Street, a Crescent Street, and trees at their edges. Ex\u2013emo teens will recognize the landscape. The album\u2019s frequent refrain\u2014\u201cIn one mile, turn left on Garden Avenue\u201d\u2014is spoken by a female GPS. Though he knows what road he\u2019s on (\u201cDark Region Road\u201d) and where he\u2019s going (the \u201cportal through the pines,\u201d \u201cHickory Grove\u201d), he still needs directions: a voice from elsewhere, an image out there that lets him recognize what he already knows. Funny how another person\u2019s words can lead you gradually back to a place where your self and your world coincide\u2014to life. \u201cThe meadow isn\u2019t that far away,\u201d and the mystery, meanwhile, is here.<\/p>\n

I was on a back road by myself
\nIn Waverly Township
\nTotally immersed in where I was and what I felt
\nAmazing how a simple drive
\nCan open my eyes
\nTo what is out there<\/p><\/blockquote>\n

\u2014Olivia Kan-Sperling, assistant editor<\/b><\/p>\n

<\/p>\n

This week, I\u2019ve had Caroline Polachek\u2019s new album <\/span>Desire, I Want to Turn Into You <\/span><\/i>on repeat. On the album\u2019s cover, Polachek crawls steadily into the alluring mirage that is the unknown. I\u2019ve been transfixed by the album\u2019s twelve songs and the images she so deftly conjures through her clever lyricism. Fire, dirt, blood, and skies abound in her \u201c<\/span>mythicalogical<\/span><\/a>\u201d audiovisual tapestry, but some of my favorite moments on the album arrive when she attempts to draw the blinds on desire. It\u2019s the shape-shifting molten rock under the volcano, and not the smoke, that she wants to get to. Desire invariably molds us, no matter how much we want to do the molding ourselves.\u00a0<\/span><\/p>\n

\u201cThese days I wear my body like an uninvited guest.\u201d<\/span><\/p>\n

\u201cI fly to you \/ Not just somewhere deep inside of me.\u201d<\/span><\/p>\n

\u201cHow does it feel to know \/ your final form?\u201d<\/span><\/p>\n

\u201cI forget who I was before I was the way I am with you.\u201d<\/span><\/p><\/blockquote>\n

\u2014Alejandra Quintana Arocho, intern<\/b><\/p>\n

\u201cI think Mengistu Haile Mariam is my neighbor,\u201d begins \u201cAsylum,\u201d the opening track on billy woods’s Aethiopes<\/i>, which is not even his most recent album<\/a>.<\/p>\n

Whoever it is moved in and put an automated gate up
\nRepainted brick walls atop which now cameras rotated \u2026
\nAvocado tree hang over the property line
\nI watch from as high as I can climb \u2026
\nMy mother sent the gardener to look for me
\nBut the sky is a great place to hide<\/p><\/blockquote>\n

They might not have actually lived next door to each other, but woods spent part of his childhood in Zimbabwe, where the former Ethiopian president Mengistu Haile Mariam fled at the end of the Ethiopian Civil War. The factual truth of anecdotes like this one, interspersed throughout woods’s lyrics, is irrelevant; the figures that populate them always seem to originate in a place of real memory. The prolific Brooklyn-based rapper conceals his face in music videos and interviews not because he\u2019s playing a character, like the late MF DOOM, but as a measure of privacy as he shows extreme vulnerability.<\/p>\n

His lines often construct claustrophobic, almost dystopian worlds, and then swiftly move into moments of tender innocence that still occur inside them. Featured on the rapper Navy Blue\u2019s \u201cPoderoso”:<\/p>\n

Afternoons wander the catacombs, tomes line the rooms
\nEvery room a tomb, every shelf hoarding doom
\nI kissed her in the stacks under the biblioteca<\/em>
\nJust once
\nTasted like sweet peppers and blunts, peppermint gum<\/p><\/blockquote>\n

It\u2019s comforting to me that the subjects of billy woods\u2019s work, more than two decades into his career, are often children\u2014I grew up in Brooklyn, and the memories I have of it from my childhood contain physical attributes and facts that also cannot be confirmed, located, as they are, in so many places that no longer exist. His music seems to show that, deep into the game, your oldest iterations of selfhood are still with you. As for his visibility, by the end of a woods album, you feel he\u2019s given up so much that you have to respect his keeping something all his own. I don\u2019t know what billy woods looks like, but I know who he is in some important ways; they’re the same ways I can know myself without looking in a mirror.<\/p>\n

\u2014Owen Park, intern<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

On new music from Wicca Phase Springs Eternal, Caroline Polachek, and billy woods.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[68624,67827,68623,68625,33945,883,68622],"class_list":["post-163493","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-caroline-polachek","tag-featured","tag-gothboiclique","tag-hyperpop","tag-sound-art","tag-staff-picks","tag-wicca-phase-springs-eternal"],"acf":[],"yoast_head":"\nThree Favorite Lyricists by The Paris Review<\/title>\n<meta name=\"description\" content=\"March 3, 2023 \u2013 On new music from Wicca Phase Springs Eternal, Caroline Polachek, and billy woods.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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