Quick Spins

Dw Dunphy / Test Test Test

Dw Dunphy

Test Test Test

While I’m not a huge collector of music, I have accumulated what amounts to several small collections. One one shelf, sits the vinyl records that I’ve managed to hang on to since I was a kid. On another shelf sits second-hand records that I picked up for a buck or two. Most of these are records that I wanted when I was much younger, but didn’t have the cash to make the purchase. These records have dog-eared jackets, scratches and imperfections aplenty. I referent to these as “rescues.”

My favorite of these micro collections, however, is the shelf that is home to music projects that I have a personal connection to. There is an original pressing of ShoesPresent Tense the recent Hey! It’s The Pandoras, and Dw Dunphy’s latest, a cassette rerelease on his 2015 album, Test, Test, Test. These folks that I call friends are a talented bunch, and their creations not only entertain me, they inspire me.

So, in all honesty, I have to be upfront and begin with a caveat that isn’t really a caveat. Dw Dunphy is a friend of mine, and someone who I definitely consider to be in an exclusive club that I refer to as “The Good Guys Of Pop.” Dw is the kind of guy who spends more of his time and energy promoting the music of others, rather than his own. He is the creator of the Co-op Communique compilations, my Lost Hits Of The 80’s co-conspirator, a brilliant graphic artist, and an underdog-backer of the highest order.

Now, for the music

Dunphy’s Test, Test, Test is an instrumental work, which often reminds me of the most atmospheric works of Pink Floyd, but more visual in nature. Even though I often listen to it while I’m doing other things, pictures and movies always begin to form in my head. It’s almost as if the music is trying to get me to see, or to understand, something that I’m too busy to notice. I’m really intrigued by that.

The opener, That Never Works, is a buoyant shoe-gazer, and what amounts to a musical oxymoron. It flits between Pachelbel and U2, and back again. Nifty. Track two, Shootout At The Spaghetti Factory (or, Do Breadsticks Come With That, Hombre?) wins “The Best Song Title Ever” Award.

Tsuburaya, with its hypnotic drum groove and droning keys, feels as if it’s straight out of a monster movie score, while Polymorph, which might also be Tsuburaya II, creeps along with various ’80’s inflections. Dunphy plays chorused Andy Summers guitar arpeggios throughout, giving this bookend with an optimistic feeling.

Two Empty Rooms is a nine-minute string opus, worthy of any Hollywood soundtrack. What seemingly begins as atmosphere, turns into an English symphony at the six-minute mark, bringing to mind sweeping Jane Austen countryside vistas.

This cassette version of Test Test Test adds one bonus track, Built On The Bones, from the 2013 release, The Radial Night. It almost serves as an acoustic-guitar laden intermission, before side two begins with the brief Hacienda, a folky piece accentuated with Dunphy’s superb harmony vocals, stacked-up high.

I can’t put my finger on the exact reason, but Mr. Burning Suit reminds me of a couple of Tears For Fears singles, Elemental and Raoul and the Kings of Spain. Merging progressive and pop elements, it’s probably my favorite track of the lot. 

Blue Wire Green Wire removes the listen to the Far East, or is it Ireland? With its soft keys and barely-there percussion, it really is ripe for dreamy interpretation. I suspect every minds’ eye will produce something completely unique.

Closing the cassette is The Radial Night, which serves as the perfect musical bed for contemplating the entire journey the listener has just been on.

By Dan Pavelich

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I have always been a big fan of Jane Austen, and Emma is my favorite book, so I was immediately interested when I heard there was going to be a new adaptation. Naturally, I watched the trailer, and to be quite honest, was quite taken aback by it. It was pitched as a comedy, and the characters seemed different than in the book (don’t worry this review has a happy ending). I knew I would still watch it, but wasn’t feeling too good about it at the time. Once it came out, I knew a lot of other Jane Austen fans who were not fans of the movie.

I started to take on all those preconceptions of the movie, and realized that I had made a decision about it before even seeing it. About a week ago, looking for something to watch (hi, pandemic, I’m looking at you), I decided to rent Emma. Here is what happened;

Once I started watching, I was immediately struck by how accurate the dialogue was to the book, and as a book nerd this is very important to me. Hmm. Then I began to listen to the music, and fell in love with how catchy and atmospheric it was (Johnny Flynn who plays Mr. Knightley is a great singer and musician and is included on the soundtrack). Hmm. The costumes and the set design were gorgeous and I couldn’t look away. Hmm…am I actually starting to enjoy this? (Spoiler: yes I was).  

The acting was interesting and different than any other adaptation of Emma that I’ve ever seen, and it was quite refreshing. The writing also began to take a different turn as the movie went on, and I wasn’t upset about that either. Eventually I just got swept up in the story and forgot about all the negative things that I’d heard, and all the things that I had decided it was going to be like. In the end, it was the exact opposite! 

The movie was nothing like I expected it to be, and by the end, I was singing its praises. Since watching it (twice), I think I can quite safely say that it is my favorite adaptation of Emma. It does new things with a beloved story, and yet keeps the essence of the characters and Jane Austen’s writing. I love it.

By Mari Pavelich