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Sep 04, 2024

ENVOY - thoughts on recent culture

by Clare McLean
Manet the melon painting and Gillian Welch Woodland studio album cover

Woodland ~ Gillian Welch & Dave Rawlings 

Gillian Welch's Woodland marks a significant shift in her discography, arriving as the her seventh studio album and her first collection of original material in twelve years. In tandem with musical partner Dave Rawlings, this release reflects a decade marked by substantial upheaval—most notably, the near-total destruction of their Nashville studio by a tornado in 2020 and the creative stasis imposed by the COVID-19 pandemic. Rather than a unified artistic vision, Woodland emerges as a disparate collection of experiments and ideas, diverging from the more cohesive statements of Welch’s previous works.

Where albums like Time (The Revelator) and Soul Journey were defined by their shimmering tension and meticulously crafted folk melodies, Woodland opts for a more exploratory approach. It avoids the well-trodden paths of its predecessors, instead venturing into less defined narrative territories. The result is a sprawling assemblage of songwriting experiments, some of which land with more impact than others.

One of the album's highlights, “What We Had,” is a sweet, country-pop standout that channels the melodic ease of Neil Young’s “Lotta Love.” The track’s lush string arrangements and the interplay of Welch and Rawlings’ harmonies create a captivating listening experience. It's both catchy and richly produced, marking a notable departure from the stripped-down aesthetic that characterised Welch's earlier work.

Rawlings also takes on a more prominent role here, with his virtuoso guitar work front and centre rather than merely supportive. This shift will likely be divisive among fans, as his enhanced presence at times threatens to overshadow Welch’s role.

The album closes with “Howdy Howdy,” a return to Welch’s folk roots. This track blends poetic storytelling with traditional fingerpicking, creating a nuanced balance between the classic and the contemporary. It’s a satisfying conclusion, offering both a sense of resolution and a hint at future possibilities—like a musical metaphor of a snake shedding its skin, Welch's songwriting feels poised for renewal.

Overall, Woodland represents a bold, if uneven, exploration for Welch and Rawlings. It’s a testament to their willingness to evolve, even if it means venturing into unfamiliar and sometimes less cohesive terrain. CMC

Image: Gillian Welch Bandcamp.

Manet and the Melon (or On the Melon)

Image: NGV.com.au
Édouard Manet
The melon (c. 1880)
oil on canvas
32.6 × 44.1 cm
I was introduced to Edouard Manet’s The melon by one of my first and very formative painting teachers on a group visit to the National gallery of Victoria back in the early 00’s.
Sitting within its gilded, late-19th century French frame in the NGV’s International Painting wing it could easily be passed over. But my teacher had a such unique and loquacious way of speaking about painting that could illuminate the overlooked. Take you beyond what was represented on the canvas and really peel back the layers as any lover of painting should. I remember her stating that Manet had “put the entire world into this painting” While I still grapple with her exact meaning, my intuition completely understands? It is not a large work, but it feels profound with a weight that indeed the entire world is within the painting.
To me it is as psychologically mysterious. My first impression was ‘Why just a melon?’ and yet the more I looked I came to the conclusion ‘Why of course! why not just a melon!’
The painting is rich in texture with impressionistic brushstrokes and green in tones. I imagine it freshly picked from the garden. I also think of it as a ripe pumpkin, bursting with rich turmeric flesh if you were to slice it open. But to be accurate, it is not a pumpkin though. Its title is The melon. Possibly a Charentais or cantaloupe.
What I have always loved upon my regular visits to this work is, if you get beyond its representation, I imagine there is a whole other world underneath – a mystery! By peering close to the surface there is evidence of the bare canvas behind the paint. Each brushed elliptical segment is like a curtain that seems to veil a previous work abandoned underneath. Or another world beyond. Looking over Manet’s oeuvre of still life paintings the Melon stands alone as a single object. Tradition in still life generally sees a grouping of objects, signifying metaphors for life in their relationships to each other. But here the Melon sits alone. But it is not lonely. It doesn’t emanate awe and grandeur on the level of the sublime. It is complete and self-contained.
The Melon remained with the artist until his death. Stayed in the family before moving to an auction house, to a London dealer, and then purchased for the NGV in 1926. I love that this work remained with Manet until his death. I like to think of this work as good company. A constant. I visit the Melon regularly like an old acquaintance. I find comfort in that continuity. So happy we were introduced all those years ago. RHM
Image: Enmoretheatre.com.au

Guy Montgomery - Comedy Republic, Melbourne August 2024.

On a chilly Melbourne winter night, we ventured out to catch Guy Montgomery’s 50,000,000 Guy Fans Can't Be Wrong, a precursor to his UK and Edinburgh Comedy Festival tour. Montgomery’s performance was a showcase of his linguistic dexterity and absurdist humour, delighting the packed venue with his unique blend of nerdy wordplay and comedy acrobatics.

Following his notable television skits on NZ TV and his breakout success on the ABC’s Spelling Bee, Montgomery is on the brink of mainstream crossover. While his Spelling Bee antics sometimes felt like a slow burn, his live performance demonstrated his true strengths as a showman. His wry observations and clever verbal juxtapositions create a dynamic, unpredictable experience that continually surprises.

In contrast to the abrasive, often mean-spirited humour of some contemporaries, Montgomery stands out as a self-deprecating storyteller with a genuine charm. His comedy resonates with the endearing qualities of the Kiwi persona, bringing a refreshing earnestness to the stage. CMC

Montgomery will be back in Australia in early September 2024 for more live performances, promising to bring his signature humour to a wider audience.