Roy Trakin Declares Kristian Hoffman a Minor Pop Deity

FRIDAY NOVEMBER 5, 2010

3. Kristian Hoffman, Fop (Kayo Stereophonic): This veteran pop auteurÕs musical resume goes back to the Mumps, the CBGB/MaxÕs Kansas City-era band he formed with An American FamilyÕs late bon vivant Lance Loud, and his list of collaborations over the years includes such mythic musical oddballs as Rufus Wainwright, Klaus Nomi, Paul Reubens, Van Dyke Parks, Ann Magnuson, Lydia Lunch and James Chance. An unabashed lover of over-the-top, everything-and-the-kitchen-sink baroque a la Queen, Roxy Music and other examples of poperatic fey rock, HoffmanÕs latest boasts 17 songs in a disc-filling 74 minutes, housed in a superbly art-directed package with a lavishly annotated lyrics booklet, bankrolled by noted patron of the arts (and famous Sparks booster), ex-Rhino and current Apple editorial/marketing maven Gary Stewart. Hoffman describes the new album as an amalgam of Ziggy Stardust and Days of Future Passed, and it more than lives up to those elevated art-rock standards with a time-tripping dip into musical styles old and older. It opens with the aptly named seven-minute-plus Bowiesque opus, ÒSomething New Is Born,Ó KristianÕs typically articulate, self-proclaimed Òlove letter to the apocalypse—candy-colored lifestyle suggestions for the end of the world. I mean who else would rhyme ÒWhat denouement is more utterly utterÓ with ÒThan God in his final involuntary shudderÓ? There are flashes of  Byrdsy power pop folk (ÒI CanÕt Go There With YouÓ),  a string-laden ballad (ÒCassandraÓ), a doomy, vaudevillian, vampirish danse macabre (ÒEvilÓ), a vintage Gilbert & Sullivan-style ragtime show tune (ÒImaginary FriendÓ), a bluesy, Ray Davies-like rocker about existential fear (ÒMediocre DreamÓ), a funky falsetto disco duet with AmericaÕs Got Talent runner-up (and collaborator) Prince Poppycock (ÒSoothe MeÓ), a hyper-romantic tribute to the home of the British Invasion (ÒBlackpool LightsÓ), a Ô20s swing tune (ÒLittle BrotherÓ), a gleefully profane raunch-rocker (ÒHey Little Jesus Get Out of That HoleÓ), a Rocky Horror Picture Show-styled libretto (ÒAlignmentÓ) and a McCartney-esque ÒWhen IÕm 64Ó look back at the Òpatchouli summer of love,Ó with a fascist lover who promises to be your ÒAdolph of amour/YouÕll be happy and soreÓ (ÒReady Or NotÓ). In spite of (or maybe because of) the full-blown baroque theatricality, Hoffman never loses touch of the lush melodies and his love of pop informs the sprightly ÒMy Body It,Ó with its punchy horns and roller rink organ massaging the hook. The curtain comes down after the shimmering, winsome ÒMocking BirdÓ and the epic, Kinks-y ÒStrange Seed,Ó which ends with Hoffman promising us a future poptopiaÉ in the afterlife. ÒWeÕre going to help you.. And weÕll be happy again.Ó Call it Fop Pop, an unabashed tribute to those exquisite Beach Boys/Beatles harmonies which fuses a pre- and post-punk sensibility by effortlessly updating the pop music tradition with love, affection and a whole lot of (tongue-in-) cheeky smarts. To call Kristian Hoffman camp is to deny his utter pop sincerity.

5. Timur Bekbosunov at M Bar, Hollywood: With his dark, goth manner, lopsided haircut and sickly pallor, this incredible operatic, Bryan Ferry-ish tenor from Kazakhstan, the home of Borat, could well be cast in an upcoming Twilight sequel or episode of True Blood. Sporting a croon with an amazing minimum of four if not more octaves, Timur and his ÒpopÓ band, the Dime Museum, which is really a five-piece chamber orchestra including viola, cello, accordion, acoustic guitar and stand-up bass, were the opening act at the release party for Kristian HoffmanÕs Fop album. Timur paid tribute to the eveningÕs man of honor, covering several of his songs, including ÒThatÕs Something NewÓ and a show-stopping, standing ovation-inducing, pitch-defying take on the rapturous ÒTotal EclipseÓ (ÒJust a slip of your lips/And youÕre doneÓ), memorably performed by the late Klaus Nomi. Throw in a gloriously campy take on Nine Inch NailsÕ ÒCloserÓ (ÒI want to fuck you like an animalÓ never sounded so musical) and a touching cover of Charlie ChaplinÕs ÒSmile,Ó as he clutches a fake ermine stole, and we might well imagine ourselves back at some decadent Weimar Republic cabaret circa 1931, a fitting metaphor for that Election DayÕs conservative-led political crystalnacht. Keep an eye on this guy, who is currently preparing a debut album inspired by Charles DarwinÕs Origin of Species, with songs composed by Hoffman, Sondra Lerche, Amanda Palmer and Nick Urata, among others. He could well be a fusion of Tiny Tim and Enrique Caruso for the new depression. For more information, see www.theoperaoftimur.com.