"She Would Die For Love," from Julee Cruise's 1993 album The Voice of Love, produced by Angelo Badalamenti and David Lynch. The instrumental version earned considerably more momentum as the opening credit sequence soundtrack the year before in Lynch's much-maligned prequel film, Twin Peaks: Fire Walk With Me. The the latter is the version I am more familiar, and taken, with, but both have their merits.
I began it directly after I finished Hinton Hollow Death Trip and quickly realized my genre interests had shifted a bit. From what I did read, there's a definite Fight Club influence here, although not in an egregious way. I loved HHDT, so I'm very much looking forward to more Carver!
Cast:
This morning The Horror Vision launches a new spin-off podcast, The Horror Vision Presents: Elements of Horror. This is a project that brings in my good friend Missi, as well as the other THV folks when they're able. My 2022 Wrapped from our hosting platform Anchor shows The Horror Vision created more content this past year than 77% of our contemporaries, and that felt good. This new show is something I'd been wanting to do for a while: a place where we could talk non-genre flicks that contain Horror Elements. And oh, what a list we have so far! The first episode is on Jim Jarmusch's beautiful, beautiful film Only Lovers Left Alive, but from here we have some films I cannot wait to talk about. Here's a small tease:
Ryan Gosling's Lost River
Nicholas Verso's Boys in Trees
Adam Rifkin's The Dark Backward
David Lynch's Lost Highway
And a whole lot more beyond those. That's just scratching the surface! The first episode is now on all streaming platforms - you can even hit play up on the little Spotify widget in the upper right-hand corner of this page.
Watch:
Saturday night I caught Lorcan Finnegan's new film, Nocebo:
Another solid film from Finnegan, who popped onto my radar with his Without Name.
Read:
I finishe Irvine Welsh's The Bedroom Secrets of the Master Chefs last night in one Heruclean jaunt of reading that lasted most of the evening and well into the small hours of the night. Just like the first time I read it, back in 2006 upon its release, I could not put those last two hundred pages down. Having only gotten back into reading Welsh after a self-imposed hiatus (his voice tends to affect my own writing, and I wanted to steer clear of that for most of the projects I've been on for the last decade), I'm temped to say this is Welsh's best behind Glue, which will most likely always remain my favorite. Secrets is fantastic though, and creates such unrelenting pathos for all the characters through rotating first-person accounts from nearly the entire cast, that when you reach the last act, well, it's fraught with tension. He sets up several really great "gotta-sees," and balances them in such an expert way that you often lose sight of one for whichever is currently "on screen," only to have Welsh juggle them in front of you again and immediately re-ignite your curiosity for what's been in the background for several chapters.
Really great book. Now, I'm feeling that void of having just finished a great book and really wanting to jump into one of Welsh's newer books that I haven't read. Not sure that will happen before the end of the year, so I will most likely pick Will Carver's Psycopaths Anonymous back up.
Playlist:
Zombi - Shape Shift
Type O Negative - Life Is Killing Me
Lustmord - Dark Matter
Beach House - Depression Cherry
Joy Division - Unknown Pleasures
Rodney Crowell - Christmas Everywhere
Card:
From Jonathan Grimm's Bound Tarot, which you can buy HERE.
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