The wheels roll on as I jerk my car to my left to avoid a squirrel bouncing across the road without it giving a thought to its near death experience. I’m not sure if it was too busy to notice me or it simply didn’t give a shit, but it just kept hopping along without so much as a casual look in my direction.
Ezra Furman reminds me of that damned squirrel, and I’m happy about it. Shock, surprise, and from out of seemingly nowhere (ok, it’s his third record… so nowhere is somewhere) he arrives with a record that is cohesive and yet genre hops. The influences are recognizable but like smoke you can see them but never hold it.
His vocal phrasing is like a cross between Gordon Gano (Violent Femmes) and David Bowie while musically there is a whimsical quality that seems to cross early rock ‘n’ roll with the soundtrack for The Rocky Horror Picture Show. Add to this the kind of playful lyrics that would make Jonathon Richman, David Lowery (Cracker & Camper Van Beethoven) or Paul Westerberg swoon, and you get an idea of how difficult it is to place Furman within a defining genre box.
He has a maddening ability to be so direct you don’t know whether to laugh, cry or throw your arms up in rage as his observational storytelling is seemingly both turned inward towards his anger/humour, and outward at people who can’t seem to mind their own frickin’ business.
Take “Body Was Made”, it is both empowering for those who can grasp his refrain and angry at people who judge based on body image. It begins with an understated Modern Lovers vibe and then rips into a solo sax reminiscent of the Spiders From Mars as Furman sings “My body was made this particular way / There’s really nothing any old patrician can say / You social police can just get out of my face / My body was made.”
Like early Bowie, Furman seems to relish changes in identity, except rather than do it from album to album Perpetual Motion People is a record that does it from song to song, and sometimes, within a single song. “Haunted Head” deals with one’s own self inflicted torment. “Can I Sleep In Your Brain” seeks respite from torment with a wish to become co-dependent. In turn, “Lousy Connection” hides themes of emotional distance behind old sounds of Doo-Wop and killer saxophone leads. To a certain extent, Furman makes being screwed up sound fun in his unique version of a poetic stream of consciousness.
What you have here, is an artist who is so into his music that you’re not sure if there is any attention being placed in the here and now. And really… who cares? If he keeps putting out music as fulfilling as Perpetual Motion People, you’ll prefer geek dancing over analysis of muse.