‘Want to go see a film?’
‘Sure, what’s on?’
‘Well there’s this film I was reading about that’s full of orgies and a suicidal artist gives himself a blowjob in the opening scene…’
‘Er, how about the new Bond?’
On paper Short Bus sounds like a cringe fest; a group of hipper than thou New Yorkers ‘exploring’ edgy sexuality with script that threatens to stray into erotic literature territory. Films about sex are all too often made by directors that speak like first year cultural studies papers – ‘seeks to define the problematic parameters of the human relations by juxtaposing the subject and the abject’. If Marlon Brando isn’t on hand with his groceries there’s a good chance the film will be nothing more than art-school wank.
Thankfully Short Bus is a superb film guided by John Cameron Mitchell’s observational direction and a fantastic cast who make the most bizarre situations seem entirely naturalistic and genuine. Despite it’s brilliance it’s still damn hard to work out who it’s safe to invite along to see the film. How many people in your life are there that you could call up and say ‘I heard about this film with a scene of three blokes screwing while singing the ‘Star Spangled Banner’ – I just immediately thought you and I should go see it’? It’s not exactly a date flick or one for the family – and unless you dress like Inspector Clouseau in all weather, you may attract strange stares if you go alone. (If you’d have no problem thinking of friends who you’d invite along, you may want to think again about who you’re associating with.)
However, the soundtrack, once removed from its brown paper bag and orgiastic cover drawing, can be enjoyed by all without need for blushing or shame. This is due largely to Mitchell’s impeccable indie taste. His first film was the musical Hedwig and the Angry Inch which received tribute album treatment with Wig in a Box compilation – featuring Rufus Wainwright, The Polyphonic Spree and Spoon. The Short Bus soundtrack may lack star power – the familiar names end with Yo La Tengo, Azure Ray, Animal Collective and The Hidden Cameras – but the unfamiliar names all impress with their sweet songs of innocence.
Ex-pat Aussie Scott Matthew, now obviously a New Yorker, opens the record with the gorgeous banjo strum of ‘Upside Down’. He contributes five tunes and it would be baffling if he doesn’t reach far greater stardom very soon with songs of the quality of ‘Upside Down’, the indie electronica of ‘Surgery’ and the aching, quietly quavering ‘Language’.
The Ark rouse affairs with ‘Kolla Kolla’, which comes on like the song the Scissor Sisters would write after a night hanging with New York’s finest Gypsy punks, Gogol Bordello. Jasper James & The JetSet also offer a reminder of another great New York act on ‘This House’, which is a mere cowbell away from LCD Soundsystem. Lee & LeBlanc’s ‘Beautiful’ sounds as though it may be an out take from the Velvet Goldmine soundtrack with its faintly sleazy glam vocals sliding over a scratchy guitar line.
As for the bigger names – Yo La seem to reference 2006’s other great sex-comedy, Borat, with the title of their lounge pop track ‘Wizard’s Sleeve’; Animal Collective roll with their psychedelic folk; Hidden Camera’s ‘Boys of Melody’ rises on Joel Gibb’s inspired vocal that’s a perfect example of what he calls his ‘gay church music’; and Azure Ray kick through the leaves with the autumnal pop of ‘If You Fall’.
Like the Magnetic Fields brilliant 69 Love Songs these 18 tracks cover many styles of classic love song – even jazz gets a look in with a cover of ‘Is You Is Or Is You Ain’t My Baby’. In fact it’s bizarre that Magnetic Fields leader Stephen Merritt – the undisputed king of the slightly camp NYC love song – doesn’t feature. If he did, this soundtrack would be the perfect way to fall madly in love with New York City all over again.
