Everything but the Girl

Music, in physical form

“Tracey’s voice is so lovely,” a friend writes. He’s hearing Amplified Heart for the first time, on vinyl. I’m celebrating the ability to share something with someone. I’m celebrating the ability to physically give things, in the way share used to be meant. In the modern world physical goods are equally a gift to the sender: the delivery of vinyl nearly demanding a response, nearly demanding a listen.

Mentioned a half dozen times on this site already, the nineteen ninety four album remains in my top five records. First given to me in Kawaguchi in two thousand two, in the era of ripping minidiscs of friends’ CD’s, Everything But the Girl’s perfect album has soundtracked much of the intervening twenty years. It’s still something I reach for on waking with space and time, on Saturdays or public holidays.

Playing “Troubled Mind” this morning after the above text, it matched my own brain so well, befuddled from working till two am.

I remember that song from nights spent watching the Saikyo line pass from my Yonohonmachi balcony. It was the first train line I’d ever lived near enough to see out the window. My vision of a “goods train” was built on the sound of that line blended with the coal trains that ran up the shore of Cayuga to the power plant in my youth, on whose path we would flatten pennies.

Two weeks ago we played Joan Armatrading in our tiny Tokyo apartment, the central lyric ringing out through open screens.

“You called all the way from America, and said I’ll soon be home girl.”

The record, well loved, is a gift carried from that country to this, from one home to another. The joy of music in physical form demanding a spin, demanding entrance into the space we share. And the words, long a Saturday morning favorite in our Hong Kong homes, feel both familiar and brand new.

The soundtracks of our lives are intentional, self-created structures of repetition that anchor elements of the people we once were to our current selves. My dozens and dozens of plays of Jai Wolf’s remix of Kiiara’s “Feels” are tied so specifically to the weekend in Shanghai I first discovered it, to the metro out to Waigaoqiao for ultimate, to the type of long commutes made better with obsessions.

And yet our soundtracks are the product too of our friends, of their music overheard or shared. Our soundtracks are built in partnership during relationships, and as a response to them when they end. So often old songs long forgotten become the anchor for something new out of the coincidence of shuffle, the ease of access. Our vinyl collection in Tokyo is a strange reminder of the physical space those songs now occupy, the cardboard box that houses music that can not be listened to in Hong Kong.

Save that it can, and that our dalliance with such items is a way to anchor our listening, rather than necessary to enable it. We are working to build a new world, and that world has specific songs engraved into mornings and evenings, into the family moments and the late night ones. It’s a world of the Sound of Music, an old copy dug out of record bins near Ikebukuro, and a brand new copy of Blue purchased in Shibuya. The afternoons of sunlight on the balcony are built on copies of the Jezabel’s Brink and Star’s Set Yourself On Fire, and the evenings to Massive Attack’s Blue Lines and Burials’ self-titled debut.

Like my friend hearing Disenchanted and 25th of December for the first time in Ann Arbor, our listening is supplemented by what friends have given, from Joan Armatrading to Nirvana and Daft Punk. As we play them all in rotation we remember the friends, their gift and their intention. Some times, building block towers with Clara to tunes I know well but did not bring to this space, I look up, realizing that “Landslide” will always have a new meaning, of tiny magnetile towers tumbling, and say a silent thank you to the visitors who brought us both.

Language of life

At twenty months 5’s language explodes. She sings twinkle twinkle little star after hearing it a half dozen times. She says the abc’s and constantly makes small sentences. We are astonished onlookers.

We have no pride in her outbursts, only shock. I am often an open-mouthed observer of this person, so barely able and yet so clearly someone new. I watch her repeat things to me that I do not understand with a patience I still search for. Her grin when at last I catch on is full of pride, and of joy. The value of communication, after a year plus without, is clear from her face.

In the evenings we sit on the balcony and play with seeds, with shells, with rocks. She makes messes and picks them up, pours small objects from one flower pot to another, and asks for help finding rocks that have snuck out of reach under other objects. I lean against the glass of the sliding door and watch, eyes half on her and half on the harbor. These are the content moments, work done, evenings routines not yet upon us. We are happy here, not yet forty five and not yet two, and I try to watch carefully enough to remember.

Two weeks later she says “Yes please 5’s blow it” when offered hot food, and we are shocked but happy with the easy communication. She wanders the house saying “Mommy where are you?” when one of us is out of sight, the kind of comfortable exclamation that has been impossible the past twenty one months. She exhorts her Tita to take her to the bath house, a place that does not exist in this country. She asks for fizzy water and then for its transformation through fruit into lime soda with a clarity born of our own love for both. In between these moments she tells us how she misses her friends, reciting their names constantly. Soon she recites everyone’s names, including a friend’s new girlfriend.

Mostly we are not ready. The family words of scant months ago, of this same year, like ‘pato’, which she used to wander the house requesting, disappear into potato at a speed we did not prepare for.

These words, like the memory of these months, will drift out of our minds with exhaustion, with worry, with the progress of life. And so I try hard, on this Saturday in Tokyo, to write them down, to remember. Twenty one months now, and astonishing.

Sleep when

For a long time the person I used to be wondered what he would remember. He took photos to invite recollection, and put songs on repeat in foreign hotel rooms to build clear trigger points. Looking back now these were the tactics of someone on the go, someone with little stability in their day-to-day.

Of course they were.

One factory looks much like any other, and one hotel room likewise. Evenings spent alone in third tier Chinese cities quickly blend into one another. The songs playing in each room, then, the books read over dinner, or the long walks around unknown neighborhoods late at night can easily become the trip’s defining moments. Days spent in conference rooms, while productive, rarely lend themselves to emotional recall. Certainly less so than an evening spent looking up at the sky as it starts to rain outside the National Theater in Taichung while listening to Mariah the Scientist’s ‘Reminders’ on repeat.

Years later, the person I’ve become knows there’s another way to make memories: watch someone else change and work to remember the differences. I try to appreciate new abilities by recalling what was impossible last week. For a long time, a few weeks, I watch 5’s try to raise one knee high enough to get onto the lower of our two sofas. Suddenly one morning she can do it, the strength or the flexibility, the height or coordination, whatever was lacking, now present. Her smile as she turns, that first time, and claps to show me her new seated position on the couch, that’s a memory worth holding tight. She still can’t make it onto the other couch, two inches higher. I wonder how long it will take.

The tradeoff, of course, is that I have no ability to place this memory in any context, no ability to remember what day, what age, or what I was doing otherwise. Much like the factory day in Taichung before my late night walk, where everything except the moment outside the theater has been lost. Memories like these are worn down by lack of sleep, by the pace of our life and the passage of time. All memory of which day she first climbed the sofa is likewise blurred, though it was only a week or two ago.

I still play music on repeat. Knowing it’s value I still try to build associations, triggers that will bring me back to these rainy typhoon days in Hong Kong, when 5’s is not yet one. These sounds or sights that might remind me of both adults working as hard as we can around our new responsibilities. These are lucky opportunities, two startups that might, just might have a chance, and we with the energy, the support, and the ability to grind while also playing sports, while also caring for our daughter. Barely, but we do.

And so after yoga on Friday I walk back towards the MTR station and home very slowly. In my ears Tracey Thorn sings songs I’ve never heard before, her first album with Ben Watt in twenty plus years. I listen with my whole body. Will these sounds bring back this spring, bring back Hong Kong, later and in other contexts? I can’t really know, but I hope so. I’d like to remember these rainy evenings, or her smile as she wakes. And I know my memory needs assistance, from years of helping it along, and months of sleeping less than I ought.

The future of the future

Shinjuku South exit stairs

…Will still contain the past,

Her voice cuts in over the bouncing beat, that late nineties sound. I am walking through the warren of small streets around Sheung Wan station, and then up the steps through old Hong Kong. I am instantly instead walking through Saitama late at night in the cool rain of the autumn of two thousand two. I am twenty three, in a dress shirt, alone, and the world feels perfect, made just for me. In the distance I can see the elevated Saikyo line, my house on the other side. Behind me, almost invisible until a train passes, is the Kehin-Tohoku line. These suburban streets are quiet in the rain, and the folk I’d left in Kita Urawa are now far behind. I walk in a bubble of happiness and music, temporarily free from every bond.

Memories are fragile things, and they disappear for long periods, buried under more recent times, only to be brought back in an instant. The places that shaped me are never truly gone, and memories of entire evenings, commutes, and relationships are pulled back with the music that shaped those hours.

I have been obsessed with early Tokyo memories lately. I’d thought them a strange product of late-pandemic seclusion, of missing travel, of being so glad to have spent my fortieth birthday in Tokyo with friends from all over. The pull of places we could not visit, I thought, of favorite memories that were temporarily out of reach. Instead, suddenly, halfway up the 200 stairs of my morning commute, I am in the middle of a Tokyo evening, waiting for a someone overlooking the stairs of Shinjuku’s south exit. In my memory it was cold, or not. The weather, strangely, is hard to picture, having been overwritten by hundreds of days in the same spot. This is the effect of being shaped by places, and by music.

A colleague, a friend, gave me Amplified Heart my first year in Tokyo, back when passing albums was a thing, when recording minidiscs of other people’s CDs was the way we shared. I remember starting to rip CD’s in Tokyo, to that very first iPod, bought in Omiya for most of a paycheck. I remember pirating software from the stores with firewire cables. I remember so many things, at least sometimes.

It’s packed at two am,
are you on your own

On a rare foggy Hong Kong evening I walk down the hill after work, through Soho and Central. People are alive, moving with the energy of evening, with the sense of somewhere to be. There are people everywhere, and I feel at home, part of a crowd going many places, going nowhere together. Often I write in the abstract, of groups and emotions. Partially I’m afraid of the details, of writing the specifics of memory into history, of trying to give shape to moments that seemed so important and finding them hard to make out in the larger motions of my life. Partially though it’s because many of the details are abstract, my memory is lost in a crowd of people I can barely talk to, carried emotionally on the words sung by an English woman decades earlier.

In many ways moving to pedestrian-friendly Asian cities in my twenties is the defining change of my life. The songs that I’ve spent the past two decades wandering them to, then, echo instantly with memories of evenings long lost to time, with friends distant enough to likewise need assistance recalling.

For a boy who had spent his early teen years at ska shows, his late teen years quoting Ani lyrics, and his college years speaker hugging through late night raves to the heyday of jungle, Tokyo’s second hand CD shops and rental stores, coupled with the minidisc and mp3, meant access to music in a depth impossible before. Mostly though, colleagues and friends took him clubbing and gave him tunes.

I use my walkman when I walk,
and I don’t talk,
but later on the moment’s gone
and I don’t get it.

Twenty years later, in the second pandemic spring, I spend a month walking to work every day to Everything but the Girl. These albums, Amplified Heart, Temperamental, and Walking Wounded, have been the background for so much of my life. Amplified Heart itself is the background for so much of our marriage, is the only album we own on vinyl, is the album I want most in the world.

I remember the conversation, a Canadian teacher on the train, older and wiser in a lot of ways, to that boy of twenty two. The week prior she had changed my year with the Dirty Vegas disc, with Days Go By. A week later she was ready to change my life.

“If you like that I think you’d like Everything but the Girl. Amplified Heart.”

Like almost every day we were on the train platform in Kawaguchi, were heading home at nine thirty pm, shift over. Like every day we were tired and looking forward to the commute, to headphone time, to not having to talk any more. And yet we were awake, alive, part of the sprawling megacity we both loved so much.

“It’s just so emotional,” she said, a turn of phrase both personal to her and globally correct.

Months later I would ride the train to Temperamental, leaning against the window of the elevated Saikyo line, dreaming of clubbing, dreaming of Shinjuku on that same ride home. The Saikyo line is one of Tokyo’s busiest commuter lines, leaving late from Shibuya and Shinjuku, touching down at Ikebukero before becoming elevated and pulling away from the city through Akabane and across the river into Sataima, out into the short lands, into the streets of my memories.

And the light goes down,
and all the lights come on,
and they call to me,
oh come on come on

Quoted lyrics from Everything but the Girl’s ‘The Future of the Future’, ‘Lullaby of Clubland’, and ‘Low Tide of the Night’ from the 1999 album Temperamental