Elektra/Asylum is of course famously associated with the earth-toned California sound of the ‘70s. Meanwhile, on the New York City underground, something both weird and wonderful was happening. Led by guitarists Tom Verlaine (née Thomas Miller) and Richard Lloyd, Television formed in 1973 from the ashes of the legendary Neon Boys, which featured Verlaine, drummer Billy Ficca, and a gifted poet/bassist by the name of Richard Hell. With Lloyd as second guitarist, Television persuaded CBGB’s owner Hilly Kristal to give the fledgling band a gig at his recently opened Bowery bar, making them the first rock band to officially play at the soon-to-be-celebrated venue.
A demo recorded with producer Brian Eno failed to get the band signed and by 1975, friction between Verlaine and Hell saw the latter leaving Television to co-found The Heartbreakers with Johnny Thunders and later, his own hugely significant Richard Hell & The Voidoids. Now counting original Blondie bassist Fred Smith among their ranks, Television began turning heads with their geometric dual guitar interplay, psych-garage energy, and Verlaine’s cryptic lyricism.

The band soon signed to Elektra, whose long history of releasing brave new artists continued with 1977’s milestone debut, Marquee Moon. Epic and eloquent, the album remains an all-time masterwork of forward-thinking rock‘n’roll. Television’s sophomore effort, entitled Adventure, followed in 1978, bearing a more textured sound than its esteemed predecessor.
Television broke up shortly after their second album’s release, with Lloyd and Verlaine each opting to pursue their own singular creative visions. In Verlaine’s case, that included a brilliant self-titled solo debut, released on Elektra in 1979.

By the 1990s, Television was appreciated as both pre-punk pioneers and one of rock’s all-time most important bands. As such, they reunited in 1992 for an eponymous third album and then continued performing live on a semi-regular basis. In 2007, Lloyd was forced to leave Television following an extended hospital stay that prevented him from performing at the band’s sold-out concert in New York’s Central Park. Though Lloyd was replaced on that evening by guitarist Jimmy Ripp, the gig now officially stands as Television’s last.

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Sometimes, Mitski feels life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what’s truly hers, what can’t be repossessed or demolished, she sees love. “The best thing I ever did in my life was to love people,” she says. “I wish I could leave behind all the love I have after I die, so I can shine all this goodness, all this good love that I’ve created onto other people.” She hopes her newest album, The Land Is Inhospitable and So Are We, will shine love long after she’s gone. That’s precisely how it feels: like a love that’s haunting the land.

“This is my most American album,” she says. The music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. Sonically Mitski’s most epic and wise album, the songs introduce wounds and then actively heal them. Here, love is time-traveling to bless our tender days, like light from a distant star.

It's full of the ache of the grown-up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It’s a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything and everyone is crying out in pain, arching towards love. Love is that inhospitable land, beckoning and then rejecting us. To love this place, this earth, this America, this body takes work. It might be impossible. The best things are.

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