Listen to BC 11

It’s undeniable that music influences our sensory experience of the world–especially when we are in the position of the receiver of information. This is to say, it doesn’t take a professional film critic to know that the score or soundtrack is just about as important as what is being visually presented on the screen. What is thought about less often, perhaps, is music’s tie to the reading experience. To be sure, there is a great contingent of readers who prefer not to allow music to mingle with their experience of a text. However, a well-picked (or coincidentally synced) music selection can enhance our consumption of what’s on the page. As such, I’d like to offer the following playlist for Black Clock 11.

1. “NYC” by Interpol
2. “Sleep Alone” by Moby
3. “Twice” by Little Dragon
4. “Despicable Dogs” by Small Black
5. “Naked If I Want To” by Cat Power
6. “The Times They Are A-Changing” by Bob Dylan
7. “Graceland” by Paul Simon
8. “Signed, Sealed, Delivered I’m Yours” by Stevie Wonder
9. “Border Guards by The Rosebuds
10. “By This River” by Brian Eno
11. “Aperture” by Wes Willenbring
12. “We Have A Map of the Piano” by Mum
13. “Tomorrowtoday (part 2)” by Triosk
14. “Masonic Funeral Music” performed by Herbert Von Karajan; Vienna Philharmonic Orchestra
15. “Down the Line” by Jose Gonzalez

Track 1 rides the energy of issue 11’s first two pieces, while tracks 2 and 3 span the flow and length of Jenny Burman, Joanna Scott, and Veronica Gonzalez’s pieces. Track 4 picks up with the mood of Rebecca Newberger Goldstein’s piece. Track 5, Cat Power’s second cover of Moby Grape’s “Naked If I Want To” fittingly takes us into David Grubb’s meditation on the immortality of the recording. Tracks 6, 7, and 8 lift us up for Greil Marcus’s reflection on Election night. The twang of the Dylan track, referenced in the piece, flows into Paul Simon’s sweetly hopeful song for “Graceland;” and both of these tracks culminate in the campaign’s anthem, “Signed, Sealed, Delivered I’m Yours.” The pace begins to slow and the mood sombers with track 9 and Danielle Blau’s piece. Tracks 10, 11, and 12, and 13, take us through the magazine’s next five pieces. Track 14, an eerie classical composition, submerges us in Chris Abani’s piece, and track 15 launches us into Richard Powers’s novel excerpt, with the rush of being onboard a plane, fidgeting, glancing out the window, and a sense of impossible height.

by Mallory Farrugia
a writer and freelance editor living in Venice, CA

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