![]() She got at what made this band, for a cultural moment, click: its simmering sense of “repressed hysteria.” She called Mr. Byrne should gather instead around the euphoric art-funk bonfire that is “Stop Making Sense,” Jonathan Demme’s 1984 Talking Heads concert film. Readers under 40 who’ve barely heard of Mr. Byrne’s intermittently lovely new album, “Love This Giant,” made with Annie Clark (who performs as St. Byrne’s twitchy and alienated music with Talking Heads never was: genial, well-meaning, as forgettable as a real estate agent’s handshake. It drifts between music history, sonic anthropology, mild biographical asides, broad pop theory and grandfatherly financial and artistic advice. “How Music Works” is a roll of mental wallpaper, a textbook for a survey course you didn’t mean to sign up for. They fell to the floor, wriggling, wondering what caused their speck-size concussions. ![]() But I’m fairly certain its tedium stunned some of the cluster flies on my office windows. ![]() The critic Clive James once began a review of a Leonid Brezhnev biography by observing that it was so dull that “if it were read in the open air, birds would fall stunned from the sky.”ĭavid Byrne’s new book, “How Music Works,” is not so bad as that. ![]()
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