Pitchfork: To switch gears a bit, is there anything in particular you're exploring lyrically on this album? We music journalists like to hang these themes on these albums, so if you've got one for us, that would help.While many might find it maddening that Malkmus makes it seem like he is unwilling to commit fully to his own work and at times even seems to mock it -- "a token weird time signature" -- his wariness resonates with me. The experience of meaning it while also not wanting to be seen meaning it is one with which I am very familiar. What I like best about the interview is that, in resisting a tight edit, it demonstrates how the play of Malkmus's voice, even when reduced to a shadow of itself on the page, is determined by a series of subtle refusals, first and foremost -- and this is where Malkmus's involvement with the soundtrack for Todd Haynes's I'm Not There, mentioned elsewhere in the interview, proves illuminating -- the refusal to "be" anything in particular long enough for it to gel into being. It may seem a cop out for him to assert that his lyrics are "kind of meaningful and not sometimes," but the self-negating syntax speaks to his preference for "flow" over fixity.
SM: Not really. It's kind of line to line. It's still a mixup of imagery and lines that are varying degrees of connected with what they're supposed to, so it's not really anything overarching. I don't really know the spirit of it exactly, it's just the same spirit that I've always had: cool lines and just going with the flow of the music. So it's kind of meaningful and not sometimes, and sometimes funny and sometimes just weird. Going through it, it's hard to say-- it's just how it flows, too, like a rapper, sort of. For this kind of music, that's kind of the key. You just do what comes out and what goes with that music. That just goes with me. It's kind of hard to explain, I guess.
Pitchfork: Okay, pretty much the same way you've worked with lyrics before?
SM: Yeah, I would say. There's no big coming out party or something, like, finally setting the record straight or something. [laughs] This is what we do, and we do it best, or something. But you know, that's maybe not saying much. [laughs] 'Cause it's what we do, only. So you might say, I don't like what you do... best.
Pitchfork: Can you tell me a little, in the same vein I suppose, about the music on Real Emotional Trash? I gather it's a little harder this time out?
SM: Yeah, there's a few triple part saga acid mind blowers, there's a token weird time signature, in your face one, there's a couple of short ones far more direct and straight ahead. There's not really anything that's pop on there, I would say. Maybe "Hopscotch Willie" is catchy. There's some catchy things. It's like if you look at eBay rare acid folk psych albums and the guy will describe it in a positive way saying "I don't see how there's any way this could possibly have sold a single copy when it came out," and that's a good thing, you know? [laughs] But there's also catchy stuff. I don't know.
A Wary Voice
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