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.