From SQÜRL's forthcoming album Silver Haze, out May 5th on Sacred Bones Records, you can pre-order the album HERE.
Interesting to note that Randall Dunn produced this record. Man's got quite a track record, working with bands like Sunn O))), Earth, and Zola Jesus. Can't wait to hear this entire record; my recent re-watch of Jarmusch's Only Lovers Left Alive for The Horror Vision Presents: Elements of Horror (episode link HERE and HERE for Apple and Spotify respectively) really pushed me back into Jarmusuch's music for a while, both SQÜRL and his work with Jozef Van Wissem. Hearing this first single, I think Dunn was very much a strategic and fantastic choice for this one. Definite Doom vibes, in the best way possible.
Watch:
I'm not watching this trailer! I'm not watching this trailer! I'm not watching this trailer!
I'll have to keep repeating this to myself until March 24th.
Playlist:
The Sonics - Here Are the Sonics
Caladan Brood - Echoes of Battle
Motörhead - Ace of Spades
Pigs x7 - Viscerals
The Mysterines - Reeling
David Bowie - Diamond Dogs
David Bowie - PinUps
The National - High Violet
Fuck Buttons - Tarot Sport
THUS LOVE - Memorial
Wayne Shorter - The All Seeing Eye
T. Rex - The Slider
Black Sabbath - Paranoid
Ghostland Observatory - Sad Sad City (Single)
Grimes - Shinigami Eyes (Single)
Grimes - Miss Anthropocene
The Bronx - II
The Stooges - Funhouse
Card:
Taken at face value, this definitely sums up the last few days at work. Some changes really need to take place, not sure where to start. But Tens are also a the end of a journey, and sometimes an indication of burdensome elements at work. A reminder then, how glad I am that I'm not in-house and managing anymore.
I've been listening to the live double album David Bowie released from the Reality tour. Not only is Reality my favorite Bowie album, I think A Reality Tour is my favorite Bowie live album, as well. Such a great, career-spanning selection of songs, and some especially insightful new versions of old favorites and deep cuts, the best of which might just be this re-working of "Rebel Rebel", the studio version of which was included on a later edition of Reality as a bonus track.
Watch:
I can't wait for Friday. Seeing Joe Bob and Darcy kick off a new season will be like old friends having a party after time away, and my Last Drive-In text threads - Tommy, Ray and Missy - are always a welcome respite.
My bet is we finally get Halloween III: Season of the Witch, which hit Shudder for the first time since I've been subscribed (2018) and leaves the service on the first of next month.
Playlist:
Calexico - El Mirador
Concrete Blonde - Bloodletting
Type O Negative - Bloody Kisses
David Lynch - The Big Dream
Emilie Levienaise-Farrouch - Censor OST
Testament - The New Order
Download - The Eyes of Stanley Pain
Puppy Gristle - Eponymous (Thanks, Klint!)
Card:
The mass of all my possessions occasionally weighs on me. Yesterday was one of those days.
I feel as though I've been waiting for this trailer forever. Now that it's here, I really just want the movie. The real shame is, if not for COVID, Brandon Cronenberg's sophomore flick would most likely be premiering at Beyondfest. As it stands, I guess I'll be doing a big VOD event for it when the release is finally announced (please announce soon!)
**
Late last week I caught wind of William Lustig's company Blue Underground having released a 3-Disc, 4K Blu Ray edition of Lucio Fulci's House By the Cemetery. I love this flick - while it took me a while to come around on The Beyond and City of the Living Dead (I love both now), House has always been a film that fascinates me. So as soon as I saw this, I ordered it. Pricey, but worth it.
The restoration is, as with all Blue Underground's restorations - gorgeous. If you go to this edition's page on Blu-Ray.com (HERE), you can read about the transfer and see some screen shot comparisons. The second disc is filled with extras, including a lot of interviews with the actors and crew, and the third disc is a CD edition of Walter Rizzati's brilliant score for the film.
**
Playlist:
Walter Rizzati - House By the Cemetery OST
Primus - Antipop
M83 - Hurry Up, We're Dreaming
Moderat - II
Perturbator - The Uncanny Valley
Elephant Tree - Habits
Cypress Hill - IV
Flying Lotus - You're Dead!
Nine Inch Nails - The Slip
Agnes Obel - Citizen of Glass
Brainiac - Hissing Prigs in Static Couture
David Lynch and Marek Zebrowski - Polish Night Music
**
Card:
Power struggles, internal or external. I'm taking this as a warning that discipline will be needed to fully reintegrate my writing time back into The Secret Life of Murder, now that my belabored short story Fixation on a Coworker is finally finished.
Coworker proved extremely difficult to write; I worked on the thing off and on for a year and three months. I finally brought it in at ~7700 words, then decided I wanted to try submitting it to a publication I recently discovered called Infernal Ink. Some of my stories skew into what I'd call Erotic Horror, and this story especially plays in that arena. There's an overarching theme - or character actually - that runs through these stories, so even though they are stand alone, they're part of a bigger story slowly forming in my head. Anyway, Infernal Ink's submissions cut off at 5K, so I knuckled down and decided to practice one of my favorite parts of writing - editing. I cut the story down to 6K, then down another thousand to 5K.
It felt good! The story as it was is probably perfect at 6K. Chopping it down more wasn't easy, but I eliminated a supporting character arc that originally dovetailed with the protagonist's, eased the throttle back on some of my more descriptive passages, and landed it clean. It was at that point I realized Infernal Ink's submissions are closed, as their upcoming October issue will be the magazine's final issue as they switch gears to focus on book publishing.
Waste of time? Not. At. All. The editing process really bolstered my confidence in a story that otherwise had me running in prosaic circles, and that's never a bad thing. Plus, I found an awesome publisher/magazine in the process (all the issues are on Kindle for under $3).
Available July 3rd. Buy it on Bandcamp, and Ms. Rundle will receive all the proceeds, as 7/03/20 is another 'no fees' day for artists.
**
It's been about five or six years since I last listened to The H.P. Lovecraft Literary Podcast, but I've been meaning to revisit it for some time now. I'm starting with Episode 37: The Shunned House, because honestly, this story came up elsewhere and I have no recollection of ever reading it.
This Lovecraft Amnesia isn't new; I began reading his work circa '92 or '93, when lyrical nods from Heavy Metal bands sent me in search of his work. At that time, it was nearly impossible to find Lovecraft's work in conventional bookstores - this predates Borders - and I ended up buying a copy of The Lurker At the Threshold at a local Record Swap store in Tinely Park, Il.
The shop had a kind of alternative press literary section, not very big at all and filled with titles like The Anarchist's Cookbook, and tomes written about the cinematic underground of Japan. Amidst those titles I came across Lurker, bought it, and promptly read it. It was't until years later I learned this was not a Lovecraft story proper - he'd helped initiate it - but was actually penned by his friend August Derleth, who functioned as a sort of understudy to H.P., eventually opening Arkham House Publishing after his mentor's death. Anyway, Del Rey began publishing cool paperback editions of Lovecraft's work shortly after that - the ones with the Michael Whelan covers - and that was how I initially read what I assumed was all Lovecraft's work. A lot of those stories didn't stick though, so that as years have passed, whenever I go back to them, it's always like I'm discovering them for the first time. After hearing a description of the climactic moments of The Shunned House though, I'm pretty sure I missed this one. I figured I'd brush up with the podcast, and dig into the story this weekend.
If you're a Lovecraft fan, The H.P. Lovecraft Literary Podcast is absolutely worth your time. Also, Chad Fifer and Chris Lackey's wonderful analytical conversations are both fascinating and oddly soothing, making them possibly my favorite podcast hosts ever.
**
Playlist:
Miranda Sex Garden - Fairytales of Slavery
RY X - Unfurl
House of Pain - Same As It Ever Was
Orville Peck - Show Pony EP (pre-release tracks)
Andy Fosberry - Death Ship 2047
Ry X - Thunder (single)
Tangerine Dream - Sorcerer OST
Ritual Howls - Turkish Leather
Card:
The fiery aspect of Earth, which can be dangerous if not controlled. I think this is a warning in regards to the story I'm editing at the moment, which is giving me a bit of trouble, as it has off and on for well over a year now.
Well, it's been a few days. In fact, the interim between today's post and my previous one on Sunday is the longest I've gone without posting since I began the new format of this page shortly into 2018. This plague I have is no joke, and to top it off we're short at work, so I've had to go in the last few mornings. It's been half-sick days all week, which isn't bad, but half measures apparently are not going to give me the rest I need to beat this, so today I am just off, period.
I'm starting the day re-watching the above Emma Ruth Rundle documentary that Sargent Housedropped last week; makes me want to move back to the Midwest, if I'm being truthful. Although, if I'm being honest, many fleeting glances into other people's lives inspire that reaction in me; from visits home, to contemplation of friends who have beautiful homes and pay less in monthly mortgage payments by half than I pay to rent a small two-bedroom, to the idea of thunderstorms owning an entire season. The early scenes in this doc, those with everyone in the bar, even just the shot of the street outside the bar for that matter because there aren't bars in LA like that, these scenes make me homesick. Then again, I remind myself, it's only one aspect of myself that pines for these things, and as green as the faraway grass of Chicago, or Dayton, or Louisville looks from here in Los Angeles, I'm well aware I have a pretty awesome life set up here. Cost of living is a big check in the CON column, but there's a lot of PROs as well. This is the mental and emotional cost of daily life: the balancing act between all the wants and needs inside us. And I do a pretty good job, for the most part.
This doc also made me remember how much I like Young Widows. Been a while; you'll notice they begin to populate my daily listening again below.
**
Here's a shocker I just found out yesterday because I don't pay any attention to music award shows: High on Fire won a Grammy on Sunday. Holy shit; hell hath frozen over. And as much as I hate to solicit for a paradigm I detest, here's their acceptance footage, because even after watching it twice, I still can't believe it. That said, I feel like this is an Oscars-like, making-up-for-lost-time awarding, because although I dig Electric Messiah, I feel as though the band's truly groundbreaking and undeniable work is well behind them. Still, who'd have thought, eh? Better late than never...
Having now crested the half-way point in Ramsey Campbell's Alone with the Horrors, I've returned it to the shelf and decided to re-read a few of the stories in Thomas Ligotti's debut collections Songs of a Dead Dreamer/Grimscribe. There's a definite pedigree here; Ligotti is clearly influenced by Campbell, although not in an overly direct way. But there are some aesthetic through-lines I am interested in exploring here, and I'm enjoying this strange little path I've discovered for myself through some of the foundations of short-form modern Weird/Horror. It's definitely helping me understand tone and craft better.
I've watched quite a bit during my sick time. First up, Anthony from The Horror Vision recently gifted me a copy of Scream Factory's Scream Queens Double Feature: John Carpenter's The Fog, and Joe Dante's The Howling. It'd been a couple years since I'd seen The Howling, and I was curious to see the difference the transfer would make, so before watching it I did a quick A/B with my old DVD copy.
Wow. Folks, this is dangerous. Having only recently been converted to the merit of upgrading to Blu Ray - because I refuse to rebuy my collection on another format - I have to say, the difference is huge. So I watched The Howling and was enraptured by the clarity. I also did some reading about transfer technology and what not (Blu-Ray.com is a near limitless source for that), and I have to say, I won't be replacing everything, but some films for sure. Army of Darkness for instance, or at least the DVD copy I have of the Director's Cut, is a laughable transfer; seriously, this was one of the first films I noticed issues on, two years ago when I excitedly sat down to show K the original Evil Dead trilogy. We made it to the third installment and I realized the picture was so bad it looked like we were watching the film on a crappy old tv in 1978 during an electrical storm. I mean, it's garbage.
Army of Darkness isn't a film I can't live without; it's easily my least favorite of all Ash Williams vehicles, but it's an iconic gem and one I want in my collection. But not this terrible transfer. Because, the idea isn't about constantly upgrading and rebuying, it's about Film Preservation. And while I'm not sure if I have to nitpick over the differences between the $10 AOD Blu Ray that Scream Factory released and the $30 one, having all three versions of the film is important to me, so it's going to have to be the $30. But that purchase is down the road, perhaps when one of SF's sales comes up. I'm still trying like hell to save money, and doing a fairly good job doing it, which is precisely why all the information available about transfers and clarity is, as I said at the outset, dangerous.
After The Howling, I changed pace and watched Jim Jarmusch's Paterson. Wow. One of the best films I've seen in a while, and one of my favorite of Jarmusch's to date; he has such a sense of forgiveness, community, and humanity that comes through in his work, that I feel like this film actually helped heal some black, sticky stuff that was left inside me after a falling out I had back in August last year. So good. I'm not posting a trailer, because there's no way a trailer could tell you anything about this film. Just watch it; Paterson is an Amazon-funded film, and thus available on Prime for free.
Next, I finally got around to Werner Herzog's Nosferatu: The Vampyre. I don't always understand or gel with Herzog's style, but he has such a knack for balancing pragmatism with artistic flourish that I always enjoy his films, even if only after they've ended and I'm re-thinking them. That might be the case here. Let's stick with the poster thing, I'm starting to hate trailers:
Finally, with all these long stretches of time on my hands, I thought I'd get around to one of the longer flicks that has been on my list forever, namely, Derek Cianfrance's 2012 MASTERPIECE, The Place Beyond the Pines. This film was enormous to me; a familial crime epic that blew me away and capped my cinema for the day yesterday because, how the hell do you follow something that BIG? And hell, Mike Patton does the score, and I can say this not just as a fan of his but as a fan of cinema scores: fantastically done, Mr. Patton.
Playlists have been tiny, so instead of doing a day-by-day, I'm summate thusly:
Playlist from Sunday, 2/10-Tuesday, 2/12:
SQÜRL - Paterson OST
David Zinman, Dawn Upshaw & London Sinfonietta - Gorecki: Symphony #3, Op 36 "Symphony of Sorrowful Songs": I. Lento - Sostenuto tranquillo ma cantabile
Young Widows - Settle Down City
Young Widows - Old Wounds
Talking Heads - Remain in Light
Windhand - Eternal Return
Morphine - The Night
Secret Chiefs 3 Traditionalists - Le Mani Destre Recise Degli Ultimi Uomini
Jozef Van Wissem & Jim Jarmusch - An Attempt to Draw Aside the Veil
John Carpenter - Lost Themes
Card of the day:
I'm hoping this is a reminder of the past few days, and not a harbinger of more oppressive illness to come.
When a Tom Waits jag comes on me like it has of late, usually a Pixies bender isn't far behind. Other than the obvious connections (moments of obvious musical influence, covers, etc), for me this is due to the fact that I discovered and was really into both discographies around the same time. Weird thing though is both are normally summer music to me. That said, it was 88° in LaLaLand yesterday, so summer is never really far behind here during the day.
Although my familiarity with Surfer Rosa has long ago smoothed away many of its deliciously uneven edges, sometimes when I listen to it - like right now as I write this - I really hear it again for the first time and realize what an unbelievably odd record it is. All the Pixies stuff is left-of-center as far as rock music goes, but this one is really, really out there at times. And I love it.
Besides spending the morning listening to The Pixies, I'm re-reading Sam Keith's seminal comic book series The Maxx. God, I love this comic. I was introduced to The Maxx via MTV's mid-90s animation show Oddities, the second season of which was an animated adaptation of the first dozen or so issues. Reading this now, I'm kind of tripping off the fact that every time I go back to the book and read the issues that were adapted, in my head, clear as day, I hear all the actors' voices as I read the lines. It's very cool, and makes these occasional revisits even more spectacular.
We had an excellent episode of Drinking with Comics last night, and I'm hoping to get the episode up on Apple Podcasts this weekend.
Playlist from Friday, 11/09:
Ethyl Meatplow - Happy Days, Sweetheart
Deerhunter - Microcastle
The Chameleons UK - Strange Times
Card of the day:
The aforementioned 88° isn't helping the fires burning in Malibu and spreading to the surrounding areas. If you look to the sky outside our apartment, you can see a hazy orange glow irradiating what is probably most of the greater Los Angeles area by now. Creepy then, that the Ten of Wands comes up. Taken from a website I sometimes turn to for interpretation purposes, "Oppression and restriction, showing the fire on the grounds of the Earth, where they cause an uncontrolled, destructive burning."
Kind of an obsession right now. I had never heard of Emma Ruth Rundle until a friend sent me a writing playlist that had this song on it. After a few iterations, this one stuck out. It has a particularly '2 A.M.' sound to me, a tone I've talked about on here at various points in the past. Might be what I need to finish my novel 2:00 AM Corridors, or at least complete the outline. Regardless of how Ms. Rundle's music fuels my creativity, you can find her full albums - including Marked for Death - on Apple Music, and I was excited to see she has a new record in pre-order mode HERE.
Playlist for yesterday:
Deafheaven - Ordinary Corrupt Human Love
Write Dark Things Playlist
Card of the day:
Oppression? In this heat? Yup. That is the word. My sleep is bad, my stomach is bad, my head is heavy. Oppression is the exact word.
Tuesday, June 5, 2018
The Bonus track from Prequelle. I didn't love this record the first time I spun it, now it's seriously grown on me. The throw was that Ghost has moved from a guitar-hook laden outfit to concentrating on vocal melodies. Also, bringing in the piano for basic song structure and composition. After Bible, the final track on 2016's Popestar E.P., I began to speculate that Ghost is working toward composing and presenting a Broadway musical. I am even more convinced of that now. As far as "It's a Sin," I've always dug Ghost's choice of covers, and this is no different. Fits perfect.
Playlist from 6/04:
Massive Attack - Protection
Ghost - Prequelle
Mastodon - Remission
The Soft Moon - Zeroes
The Smiths - Meat is Murder
Electric Citizen - Sateen
Viet Cong - Eponymous
My Life with the Thrill Kill Kult - 13 Above the Night
Underworld - Barbara Barbara, we have a shining future
Underworld - Barking
Burzum - Filosfem
Card for the day:
Wands can be seen as the creative spark, the Will of the Magus, the Living Spark or Essence. It's Will is tantamount, and you cannot hold it back. This sentiment perfectly describes my recent 'Oppression' at my own hands. I've a creative spark with this project I'm working on, bearing down on a deadline, but I've begun to feel restrained by it. I need to shirk that by taking some extra writing time and outlining this short story in my head, instead of oppressing that spark by blinding trudging along on T12, which I'll still work on daily, but perhaps just rope it back a bit; enough to sneak in some time on this new spark.
