Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

krisis

Krisis has been creating Crushing Krisis since 2000, writing songs since 1996, and reading comics since 1991. He is a Customer Success and Digital Brand Strategy executive, serial organizer, parent, and feminist, among other things. Based in Philly through 2017, he now resides in Wellington, NZ.

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more new drafting! This one sucks more than the last one, though…

i've got a splinter it's a piece of you
and you've got some wishes that will never come true
i won't be your band-aid i won't cover up your wounds
and all of those promises that we made we made them too soon
i've got a splinter it's a piece of you
and all of your wishes, they will never come true
and you're like an anchor 'cause you're holding me down
and i want a tidal wave to sweep me off the ground
i've got a splinter it's a piece of you
and you've got some wishes that will never come true
    you keep telling me that you're so much deeper
   and i'm starting to wonder if you're all i need
i've got a splinter it's a piece of you
and you're stuck under my skin i don't know what to do
and i've got a splinter it's a piece of you
and you've got some wishes but i know they'll never come true

https://crushingkrisis.com/2001/02/2455747/

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super draft version. super. yeah!

i slept on top of the sheets because i didn't trust what would happen
i didn't mind your looming lips but i was worried about your hands
but i knew you'd put me under soon enough - i knew you'd play rough
your intention was as clear as the act that you put up to get me into you
          and who-oa you've got a hold on me
          who-oa you've got a hold on me
          who-oa you've got a hold on me
2am and i am walking to your place wondering if these feelings will last
but either way you've sunk your hooks deep into me
and don't you know they're holding fast
          and who-oa you've got a hold on me
          who-oa you've got a hold on me
          who-oa you've got a hold on me
let's refine this baby let's define this;
make a glossary for what we feel
but a 1,000 words just paints the single picture
of my face close enough to steal your breath
and all i ever wanted was something real - 
someone to listen to all these words of mine
and your ears would be my favourite part of this
except for what is left unheard
          and who-oa you've got a hold on me
          who-oa you've got a hold on me
          who-oa you've got a hold on me
i slept on top of the sheets because i was afraid of what might happen
but now i see i was in trouble when i set foot in your bed

https://crushingkrisis.com/2001/02/2455645/

Trio: Season 1, #15

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I wrote two songs this weekend, like flipsides of a coin: one bitter and detached and the other one guarded and head over heels. Pretty much the A-side/B-side to my life right now. So far they seem to be titled “Splinter” and “Hold on Me,” but lyrics are still in flux. God, where the hell did this come from? Two months of dry spell and suddenly i have something to say. Go figure.

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I’m long overdue on commenting on the best music of 2000, aren’t i? To be fair, i got some of my favourite albums of last year in a post-christmas shopping spree, so i needed some time to adjust to them. However, i think i might have a top five ready to go – only, it’s not so much a top five as it is five #1’s in different categories. Here we go…

Stories From the City, Stories from the Sea, PJ Harvey – Albums this good aren’t made all that often. Crunchy rock songs, flowing earthy ballads, and the ability to turn love into a tangible wavelength of sound for three minutes at a time. Hardly a single song misfires, and standouts like “Good Fortune” and “You Said Something” are easily some of the best songs to have been released all year. A must have.

The Trouble With Poets, Peter Mulvey – It’s hard to be objective about this album, because i’ve known it for so long. The live album that preceded it featured its title track, and i had seen Peter play over half of the album live in 1999 and early 2000. But, the album’s release was anything but anticlimatic; Peter’s sparse live acoustic sound is something totally different than the textured mix found on his album, complete with sighing backing vocals and drums that just emphasize the incredible rhythms he establishes with his guitar. Every song is good, but the title track is perfection itself.

You Were Here, Sarah Harmer – I would have never bought this album, except that i came into work early one day and heard it played straight through on our local folk station. Of course, i was busy making lattés and hardly could pay the sort of attention Ms. Harmer warrants, but i definitely was intrigued by her sound. On a whim i picked up her disc in my post Christmas shopping spree, and i have to say that it’s the best whim i’ve had in years. The album as a whole resides somewhere in the vast expanse between Ani DiFranco and Sarah McLachlan, but individual songs like “HideOut” and “Lodestar” defy such easy categorization as much as they defy you to not like them. Album opener “Around This Corner” is almost too catchy to even recommend to you for fear you might never listen to another first track the same way again, the wailing “Weakened State” conjures up more angst then any Limp Bizcuit song i’ve ever suffered through while still sounding great, and “Basement Apartment” definitely deserves to hit it big on college or AC radio. This album has something for almost any fan of female folk or pop music, so i suggest you listen.

The other two albums of the year are still in flux. Do i sell out and pick Madonna’s Music just because it’s Madonna and surpassed my wildest expectations. Can i really place indy-rock Death Cab for Cutie’s We Have the Facts and We’re Voting Yes amongst some of my musical idols without a flinch? Or, is Veruca Salt’s first post-humus effort deserving of the best of recognition for it’s shining moments even when there are terrible ones mixed in… I’m altogether unsure. I’ll tell you as soon as i figure it out…

https://crushingkrisis.com/2001/02/2426773/