Happy Sunday, bibliophiles! I hope this week has treated you well.
This week: four years of Sunday Songs (!!), and the vibes are nothing short of baffling. Buckle up. And if you happen to get unexpectedly bopped on the head by falling fish, don’t say I didn’t warn you.
Enjoy this week’s songs!
SUNDAY SONGS: 7/12/26
“The Earth Died Screaming” – Tom Waits
I know the expression “[xyz] could kill a Victorian child” is overused, but my shuffle recently made the transition from this song to “L to the OG,” and I feel like that could reasonably put a Victorian child into a coma. It almost put me into one.
I think I was destined to stumble upon more Tom Waits eventually. I guess he’s been having a bit of a minor moment, what with the recent needle drop in Wake Up Dead Man and his emergence from hibernation on Massive Attack’s biting anti-war track “Boots on the Ground” (which samples this song!). I’d also been familiar with him from his feature on Sparklehorse’s “Dog Door”; the words “gremlin,” “goblin,” and “chaos” have lost all of their meaning thanks to Tumblr, but if there’s anybody who actually sounds like a gremlin on that song, it’s Mark Linkous. And then here comes Tom Waits bellowing like an ogre. The whole experience of “Dog Door” is like witnessing some bog goblins performing a sacrificial ritual in an abandoned shed with some rusty nails and a fish skeleton. Great stuff. It’s peak, just trust me.
Bone Machine in particular vaguely fascinated me from afar—it always seemed to pop up on my Apple Music recommended albums. Of course, my brother ended up being the impetus for me finding this song. Is the fact that I’ve had “The Earth Died Screaming” on repeat on and off for a few weeks a cause for concern? Probably. But it’s such a captivating herald of the apocalypse. Wait’s signature growl is probably the only voice that could properly convey the bleakness of this vision of the end of the world. We’re talking Biblical levels of apocalypse here—the Devil’s shoveling coal, for one, but the last line of the last verse invokes the plague of locusts, so we’re already off to a great start. Waits’ rasping delivery of “Bring me some water/Put it in this skull” might set the atmosphere more than any of the others. Some of the lyrics are truly spine chilling—I don’t know why, but the invocation of army ants picking off the bones of whoever’s left after the initial onslaught of ungodly abominations gives me the willies. And the way that Waits’s lips seem to form around the words “it rained mackerel, it rained trout” cement this song’s feeling of being passed down as an omen of doom between haggard street preachers. The percussion, which marches on like a dirge, sounds like it’s being played on the dusty ribcage of a horse. I can almost imagine a Cab Calloway-like parade of skeletons marching along to this song. All of the instruments are sparse here, and the Lisa Germano-esque organ outro only adds to the feeling of foreboding. It all feels very Cormac McCarthy to me, and if not for the fact that I hated The Road, it would’ve been my book pairing—it’s a bleak tale, a world populated by dust, bones, and dirt roads that haven’t seen human feet in years.
Wait’s storytelling is what keeps this from going fully into The Road territory, but more notably, I think it’s the romance. It’s not a ballad by any stretch. But the fact that the rotted connective tissue of the chorus, howled by Waits, is “The earth died screaming/While I lay dreaming/Dreaming of you” sets the tone for the song—every post-apocalyptic trope is happening to Earth in an unrelenting barrage, but he’s still dreaming of that you. Amidst the horror, there’s fleeting bright moments—”I walk between the raindrops” for one, one of my favorite lines from the whole song—and maybe that’s the real human instinct of perseverance during the apocalypse, even while you’re getting pelted by locusts and fish.
…AND A BOOK TO GO WITH IT:
Anthem – Noah Hawley – “And the great day of wrath has come/And here’s mud in your big red eye/The poker’s in the fire/And the locusts take the sky…”
“Peter the Dog” – mary in the junkyard
At long last…Role Model Hermit, everybody!! The album I’ve been anticipating for years has been out a little over a week now, and the shine hasn’t worn off. It’s such an excellent spread of the things I love best about mary in the junkyard. It’s a lovingly-sewn patchwork of remnants of their earlier sound and the more mature songwriters that they are now, full of off-kilter, Radiohead-esque chord progressions paired with whimsical lyricism evoking folklore and landscapes populated by weird little Jim Henson puppet creatures. Role Model Hermit is a world of vegetable gardens, reincarnated mice, hungry dogs, and men turning into trees. All of it showcases a kind of storytelling that’s more than comfortable veering into the fantastical while retaining the weepy, angry vulnerability that endeared them to me in the first place.
The one major drawback of Role Model Hermit is that the most memorable tracks were the singles. It’s kind of a rough move to release almost half of the album as singles before the release (six, if you count the fact that they frequently played “Thou Shalt Sprout” before the album came out), and although there wasn’t a bad song on the album, none of them live up to early standouts like “Crash Landing” or “New Muscles.” Even so, the album remained full of surprises—”Peter the Dog” was a standout on the first listen. This is the aforementioned hungry dog, a comfortable but hungry creature that eats all of the narrator’s fears and anxiety. It’s one of the more painfully vulnerable songs on the album—it candidly captures that feeling when you think you’re out of the woods when it comes to anxiety or any other kind of issue, and then the feelings start to resurface: “I don’t understand my tears/I’ve been doing so well/And the big black dog ate all of my fear/And I was starting to smoke.” I love the imagery of the dog (Peter, apparently), because to an extent, these feelings are like a domesticated animal: you’ve learned how to treat them and lived with them, but even the most rigorous training can make old habits resurface. But the comfort that comes with this dog is that you can always train it more, and you can calm it down just as easily: “And I’m made of strong stuff/But I’ve always got this pain in my head.” mary in the junkyard have never shied away from this kind of vulnerability, and it’s resulted in so much fantastic songwriting; but their earlier songs were more scattershot in the lyrics, embodying their old Instagram bio of “angry weepy chaos rock.” But “Peter the Dog”—and Role Model Hermit as a whole—feel like the result of them really honing in on their songwriting, and the end product has resulted in their most impactful songs to date.
…AND A BOOK TO GO WITH IT:
Heaven’s Graveyard – Grace Curtis – “I don’t understand my tears/I’ve been doing so well/And the big black dog ate all of my fear/And I was starting to smoke…”
“Death is Not the End” – Chelsea Wolfe
SHE’S BACK!!
So there’s definitely an album on the way. There has to be, she’s already announced a tour! Chelsea Wolfe recently reemerged with two new singles, this track and “The Dark.” I liked “The Dark,” “Death is Not the End” was, without question, the stronger of the two; while the eerie, meandering goth-folk of “The Dark” is solid but listless, “Death is Not the End” feels like much more fortified vision of a song, coalescing into the best parts of what I like about Chelsea Wolfe. Her ethereal whispers and the pluckings of an acoustic guitar assemble themselves like a skeleton before the real skin and muscles—the ascending, doom-y guitar as foreboding and ragged as a stormy cliffside—shield it. Amidst the crushing instrumentals in the latter half, she muses in her true gloomily poetic fashion, about the nature of death and transience: “This life heaves a sigh/Relief amid night/To water I return, in sea-dress/Seal-skin locked away for a time.” I, for one, fully support Wolfe’s selkie arc—her visuals for this set of singles return to the well-trod ground of “Chelsea Wolfe looking like a modern-day goddess in various biomes,” but the video for “Death is Not the End” is perfectly suited to the lyrics, with Wolfe clad in frilly tulle amidst kelp and a stony beach with bony spires rising from the shore.
…AND A BOOK TO GO WITH IT:
The Soul Keepers – Devon Taylor – “Let it wash over/Unspoken/Like the mouth that eats the tail/I keep hoping death is like the ocean…”
“Cancer of the Skull” – Cameron Winter
The last time I talked about Cameron Winter, he had a much sunnier outlook on life. Heavy Metal really seems to run the gamut of emotion, because we’ve gone from embracing the bumpy road of love to the battle between having to work an unsatisfying job and desperately wanting to create. Granted, enough of the lyrics have enough quirkiness to them to suggest that Winter at least has something of a humorous outlook on things: “Cancer of the ’80s/I was beat with ukuleles” sounds abjectly goofy out of context. For me, that’s what prevents “Cancer of the Skull” from being purely pessimistic for me—like the swaying rhythm of the acoustic guitar, Winter documents the boat-on-the-sea pendulum swing between devoting yourself to work and devoting yourself to creativity. There’s a bevy of interesting instruments that work themselves into the fabric of the songs, from the warbling organ to the grasshopper boings of the barely-audible jaw harp, and they all serve to make this push-and-pull feel like Winter’s “pirate’s crazy-eyed quest,” adding a degree of sarcastic grandeur to something that most creatives have to grapple with once in their lives. Winter’s rich vocals, layered one on top of the others, make the thesis of “Oh, songs are a hundred ugly babies/That I can’t feed” into the kind of chorus you’d drunkenly sing around the fire—and oof, yeah, that’s such a fantastic distillation of having millions of ideas but neither the time nor the patience to attend to them.
…AND A BOOK TO GO WITH IT:
Embassytown – China Miéville – “I came here to sleep in your infamous kitchen/You’re holding out a baby’s shoes/I can’t take ’em/I pray to a pirate’s maniac religion…”
What is it about songs called “Voyager” that always end up gutting me one way or another? I think it’s just the inherent bittersweetness and cosmic smallness that comes with evoking Voyager I. Yowch. Granted, PJ Harvey’s version didn’t really destroy me until I looked closer at the lyrics, but boygenius? Yup. I’m still reeling from their “Voyager” three years later. Damn you, Phoebe.
But we’re not here to talk about that “Voyager.” PJ Harvey’s newest track, a companion to an upcoming stage show by musician and physicist Professor Brian Cox, is a synth-driven slow-burn meditating on the probe that was launched into space nearly half a century ago. Amidst methodical keyboards that evoke the inner workings of a rocket, Harvey details its ongoing journey through the heavens: “Dark nights, dark days/Frozen, silent/Bearing Earth-songs.” The lyrics are simple and quite sparse, but it fits the construction of the song, a glacial build from keyboards into a grand orchestral hum. But then…ow, there was no need to gut me with the reference to Carl Sagan. Or, at least, that’s how I interpreted this line: “Look back at us/As a speck of dust/Darkness our home/Bear it through love.” It’s awfully similar to this line from page 371 of Contact: “For small creatures such as we, the vastness is bearable only through love.” …excuse me while I keel over into the fetal position for the next hour. FUCK.
…AND A BOOK TO GO WITH IT:
Contact – Carl Sagan – “For small creatures such as we, the vastness is bearable only through love.”
Since this post consists entirely of songs, consider all of them to be today’s song.
That’s it for this week’s Sunday Songs! Have a wonderful rest of your day, and take care of yourselves!
The Bookish Mutant 