The final song on Human Impact's new album Gone Dark, which dropped this past Friday, October 4th. Fantastic record and the final two tracks really seal the deal.
I knew this was former Unsane guitarist/vocalist Chris Spencer's band. However, I did not realize that the other members hail from equally awesome groups, with Cop Shoot Cop's Jim Coleman on Electronics, Daughters' drummer Jon Syverson and Eric Cooper from Made Out of Babies. Syverson and Cooper replaced Drummer Phil Puleo and bassist Chris Pravdica, both of whom previously played with Swans.
31 Days of Halloween:
Holy cow. What. A. Fucking. BANGER!
I don't know what to say other than what I always say: I went in 100% blind, you should too!!!
1) The Killing of a Sacred Deer
2) The Houses October Built (2011)/Texas Chainsaw Massacre (50th-anniversary theatrical screening)
3) Loop Track
4) It's What's Inside/LONGLEGS
5) The Babysitter/Abbott and Costello Meet Frankenstein
6) The Hitcher/Lost Highway
Read:
I pulled out some of my old issues of Craig Miller and John Thorne's Wrapped in Plastic to prep for a new episode of The Horror Vision Presents: Elements of Horror, where we're going to deep-dive David Lynch's Lost Highway.
If you don't know, Wrapped in Plastic was a bi-monthly magazine published by Win-Mill Productions, which also published Spectrum magazine. WIP was published for 13 years, from 1992 - 2005. I came into it around issue 17 in 1995. This was pre-internet for me, and I no longer even remember how I became aware of the publication, although smart money is on Amazing Fantasy Books & Comics - still my Chicagoland shop of choice - as I remember them having it on their shelves, and '95 would have been about the time I began frequenting A-F every week. Issues 28 and 29 hit hot on the heels of Lost Highway's theatrical release, and I probably read these issues half a dozen times each. My idea in pulling them out was to supplement this next viewing with some outside analysis, and I have to say, it added a lot.
Incidentally, WIP went digital a few years ago, and you can now buy a digital bundle on their website HERE.
Playlist:
Moon Wizard - Sirens
Zeal & Ardor - Eponymous
The Mystery Lights - Purgatory
Human Impact - Gone Dark
Double Life - Indifferent Stars
Ministry - Hopium for the Masses
System Of A Down - Eponymous
The Mysterines - Afraid of Tomorrows
Various - Lost Highway OST
Wilco - A Ghost is Born
Iggy Pop & James Williamson - Kill City
Ministry - The Mind is a Terrible Thing to Taste
Card:
My card today for exploration today is 7 of Cups - Debauch:
I think I've found a better way to do these research entries. I've been treating them like a Pull, in other words random. Here now, though, I think grouping them from here out might be better. I didn't pull this card from the deck today, I specifically chose it to follow the 7 of Swords.
From Crowly's Book of Thoth: "The Seven of Cups... its mode is poison, its goal madness. It represents the delusion of Delirium Tremems and drug addiction." False pleasure.
John Carpenter and Sacred Bones announced Lost Themes IV a few days ago. You can pre-order the record HERE. I'm not going to lie - I don't love this first single (or its video); the song feels like a long 5:44. That said, I've also not had the greatest morning - I woke up with one of my cats puking next to my face, so I might just be in an ornery temperament (JC can no doubt relate given that sour look plastered across his puss in the video). I'm suspending judgment - and all further listens - until I can hear the entire album. Something tells me "My Name is Death" will work better as a lead-in to the rest of the ten tracks.
Watch:
I watched Terry Gilliam's 12 Monkeys for the first time in what I'm realizing is close to twenty years last night. This flick was very important to me when it came out, and afterward.
No one uses a camera the way Gilliam and long-time Cinematographer Roger Pratt do; a lot of the angles here just reinforce Gilliam's Orwellian, bureaucratic worldview even more than the way he tells his story. This really put me in mind to finally order that Criterion Brazil 3 Disc DVD set they put out in the 90s. The update to Blu-Ray is tempting. However, I can't quite discern from what I'm seeing online if the other versions of the film in the 3 Disc were ported over to the Blu-Ray.
Gilliam's worldview, especially his sense of humor, very much shaped me as a young adult. I'd go so far as to say that, without early exposure to the works of Terry Gilliam and David Lynch, I would not be the person I am today. It's been quite some time since I revisited Gilliam, so perhaps it's time.
I'm sure I've posted this here at some point in the past, but it felt like the right thing to do this morning. From The Ravenonettes PERFECT 2011 album Raven in the Grave, this has long been one of my favorite songs by the band. That guitar just breaks my heart in the best way possible!!!
Watch:
Sacred Bones just announced a new edition of Julee Cruise's 1989 album Floating Into the Night, her collaboration album with Angelo Badalamenti and David Lynch. If you know the record, you know it's HUGE for Twin Peaks fans, as several of the tracks here went on to populate the soundtrack to the original two seasons of Twin Peaks. To promote the re-release, Sacred Bones produced this charming little video:
You can order a copy HERE; I was able to snag the Pink and Black Galaxy Vinyl, although I am uncertain if I qualified for the poster. Either way, I'm happy as hell to finally have this on wax without having to pay for an original pressing on eBay.
NCBD Addendum:
On a lark, I picked up the first issue of Bliss on Tap Publishing's new series Killing Hope. I was not disappointed.
Written by Josh Barbee and Maloney, with art by Alex Cormack, who I was familiar with from 2020's Aquatic Horror mini-series Sea of Sorrow, Killing Hope starts out as a thriller then veers into what I'm guessing is going to be full-on Horror territory. It's a woman on the run from seemingly unstoppable forces, and I can't wait to read more!
Bliss on Tap is new to me, but a quick gander at their website shows they've got quite a few titles under their belt, with seemingly something for everybody.
Playlist:
Blut Aus Nord - 777: Cosmosophy
Principles of Geometry - Lazare
Roxy Music - Eponymous
Colors of the Dark Podcast - Episode 61: The Boogeyman
Chamber of Screams, Clement Panchout & Mxxn - Murder House (Original Puppet Combo Soundtrack)
The Sword - Warp Riders
Faetooth - Remnants of the Vessel
M83 - Saturdays = Youth
Card:
• Ace of Disks
• Two of Swords: Peace
• Prince of Swords - The airy aspect of Air, or conflict with intellect
Resolving issues with spending money leads to further resolution of internal conflict. I think this is a tit-for-tat response to my current state of continual distraction. The internet is both a powerful tool and a siren that calls me away from my work on a regular basis. Fighting this over the last couple days has led to a huge breakthrough in my work. I was stuck on a final act, but I believe I now have it well underway and it's better than I first imagined!
Hailing from France, Mascara is a band I know very little about. I picked this up after hearing the guys at Cinematic Void talk about the latest single, which this song is on. I really dig this and recommend checking out their Bandcamp HERE.
Watch:
Let's talk about David Lynch's Inland Empire.
I have to laugh at the idea that a trailer was cut for this film. I mean, this tells you nothing except Laura Dern is in the movie. I plan on writing a bit more extensively at some point, possibly on my Letterbxd, but for now, suffice it to say that while I love this film as an example of how David Lynch's mind works, I find it nearly inscrutable and a bit of a chore to watch in its entirety. I always think back to seeing this in Hollywood when it premiered. What I experienced that night was what I have always described as an absolute free fall - the film swallowed me whole, and I did not become lucid until the moment when Beck's "Black Tamborine" kicked in. Resurfacing, I had absolutely no idea how long I had been sitting in that theatre; it could have as easily been four hours as forty-five minutes. That's one of the best theatrical experiences of my life, the experience of being so taken over by a film. Translating that to at-home viewing, however, has been unbelievably difficult. I must have attempted to watch the Inland Empire DVD a half dozen times since it was released in '07 0r '08, and every time I failed. Until yesterday, when I watched it with headphones on.
Yes. Headphones.
You would not believe the sound design in this, and while I still felt the burden of sitting through the entire three hours, I made it and am glad I did. While I can't see myself ever frequenting this film like I do most of Lynch's other works, I'm glad I own it and look forward to whenever the next time I watch it - as long as the tv I watch it on has blue tooth.
Support:
Jonathan Grimm has his new Kickstarter up, and I'm blown away by the artwork he's produced for this.
I've known Grimm for a long time, and he has come a long way with his art. In the last year, however, his talent has grown exponentially, as has his business plan. Having all the risk removed from these campaigns before even launching them should instill a confidence in his fans and supporters that is equal to the awe his work inspires. Solid Dude, Incredible Artist. Honored to call him a friend.
Playlist:
Thou - Rhea Sylvia
Alice in Chains - Eponymous
Oh Baby - The Art of Sleeping Alone
Anthrax - Persistence of Time
Mascara - Hla-11Tf (single)
Deafheaven - Sunbather
Mascara - Cameo Blue Estate EP
Card:
Back to the Thoth deck for today's single card pull:
The Airy aspect of Water, so Will applied to Emotion. Sounds like this is still pointing to that same Emotional Breakthrough I keep missing on my recent daily spreads - and I believe I just figured it out. In jogging back through the other posts, I realized I've been reading these in a completely distracted state. On Friday, 1/20/23 my Pull had an Ace of Cups at its center, however, the two days this week I mistakenly read as a reiteration of that were actually Ace of Wands, thus Intellectual Breakthrough. Or an achievement of Will. This, I believe is a reference to a slight incoming lifestyle adjustment in terms of finally being removed from my salaried Associate Manager position I stepped down from in August when I moved and shifted to a work-from-home position. Not a huge change, but you'll be seeing a lot fewer picks for NCBD for starters. Hence, Will Power Adjustment.
My first re-watch of the original Twin Peaks since 2016 is digging up all kinds of deep memory and psychological stuff that has 1990/1991 fresh in my head again. I will never be able to overstate my gratitude that I found this show when I did, as a 15/16-year-old stoner; it changed me for all time, for all the better. This morning, while I sat on my porch drinking coffee and reading from Lynch's Room to Dream, I played several of the soundtracks on my turntable - I still have all the CDs, and I put up the $77 back in 2011 for the digital music archive Lynch released through his website - ALL the music from the series. Everything. Then Mondo put out Twin Peaks Season One, FWWM, and the two soundtracks from the 2017 series on vinyl a few years ago, and I grabbed them all.
So I get around to The Return's score and hit "Slow 30s Room," and immediately remember that, at some time in the not-so-distant past, I found this hour-long loop of the track on youtube.
Presto - here you go.
Also, Happy Birthday David Lynch!!!
Watch:
Since moving, I have fallen a bit behind on all the podcasts I listen to; my primary podcast time was in LaLaLand traffic, and being that I work from home now and pretty much listen to music all day, there's no equivalent time. So I have to make that time. To accomplish this, I've begun making a concentrated effort to set aside time, usually on Friday afternoons, specifically for podcats. In this way, I've knocked out a few of the Bret Easton Ellis show but not much else.
One podcast I am currently behind on is the brilliant Cinematic Void. Cinematic Void is a monthly cult film screening series in Los Angeles at L.A.'s American Cinematique Theatres, as well as a pretty damn great Podcast with online Cinemadness Screenings that showcase some of the best in Horror and Exploitation Cinema. For some time now, The Void has been hosting January Giallo screenings in L.A., and now it appears they have locations in both Massachuttes and Chicago, as well.
I don't think I've been to Chicago's Music Box since I saw Don Coscarelli's Bubba Ho-Tep premiere there back in 2002. I am heading into town next week, but unfortunately, I probably won't make a screening. I wanted to put the word out there, though, for all my Chicago folks. I can vouch for The Void's programming, so next year I will be all over this!
Read:
David Lynch and Kristine McKenna's Room to Dream is currently having an indelible effect on my mornings. This book puts me in such a good mood; it's remarkable. The book has led me back to my recent inclinations to begin meditating again, and this time, I think I'm going to attempt Transcendental Meditation, something I've always been intrigued with but felt self-conscious about.
When I began serious meditation back in my former life, circa 2014, I used an hour-long tone I constructed using fundamental principles of the Binaural Approach - something I'd learned about and messed around with long before it became a hokey product called binaural beats that populated the 'new age' section of music shops. Using a tone generator, I built a multi-layered mediation track in Pro-Tools and would take periods out of every day in totally random places to use it. For one regular spot I favored, I'd walk up to Olympic Blvd, just North of Bundy in L.A. There's a CBTL there, so I'd grab an Americano, then walk down Olympic to a bench-like ledge in front of an office building there, and with my headphones in, I would sit and meditate for 9 minutes. This is directly across from a bloodbath and beyond store and a block or so down from a Trader Joe's, so it's a high-traffic area. I always got an extra charge out of creating a little bit of novelty in the middle of this area where all these L.A. People tended to be so L.A.
Anyway, because I'd meditate anywhere back then, I avoided trying TM because making audible noise just seemed as though I'd be really calling attention to myself, which in turn would make me self-conscious, which would make it impossible for me to actually achieve any kind of meditative state. I no longer have any of those problems, and after things went a bit batty in 2015 (a story for another day), I have been reticent to use that old Pro Tools track. Thus, my impending return to Meditation will require something new. Reading Room to Dream, I think TM might be just the thing. First, though, I want to re-read Lynch's book on the subject, Catching The Big Fish.
Hearing the first-hand accounts of the people in Lynch's life talk about the change that TM produced in him when he first began practicing, I think this could be a very good tool to rid myself of some of the residual anger and frustration that I've fallen prey to lately, living with and helping to take care of an elderly person who just epitomizes a lot of the ignorance and blind consumer mindset I have such a hard time with in the human race.
Playlist:
The Police - Synchronicity
David Bowie - Outside
Talking Heads - Fear of Music
Talking Heads - Remain in Light
Iggy Pop - The Idiot
Iggy Pop - Every Loser
Iggy Pop - Lust for Life
Final Light - Eponymous
Godflesh - Pure Live
Low Cut Connie - Get Out the Lotion
NIN - Hesitation Marks
David Bowie - The Buddha of Suburbia
U2 - War
G Love & Special Sauce - Yeah, It's That Easy
Card:
From Jonathan Grimm's Bound Tarot, which you can buy HERE.
I love an easy Pull! An emotional breakthrough that will provide a solid foundation for moving forward with a sustainable degree of patience and cohesion.
I had not even heard of this track's extended version or the accompanying 'film' before Saturday night. I love that I'm still discovering things about Bowie now, seven years after his death.
Watch:
Continuing my own personal seven days of Bowie, I watched Francis Whately's documentary David Bowie: The Last Five Years on HBO this past Saturday night. Really great film; I've never made any bones about saying that Bowie's last few albums are among my favorites of his (2003's Reality is my favorite, to be exact), so this one was sure to strike a chord with me.
The film begins by setting the stage with the RealityTour, where Bowie first fell ill, and then moves backward and forward through his career to give the proper context to Reality, 2013's The Next Day and finally, his final album, Black Star.
Read:
I finally started David Lynch's autobiography Room to Dream this past weekend. About 85 pages in, it's every bit the balm I knew it would be.
Actually a hybridization of bio/autobio, the book is a collaboration with writer Kristine McKenna. McKenna interviews an enormous cross-section of people from Lynch's life - she's talking to childhood friends in the first few chapters! So one chapter is her speaking to these folks, the next is Lynch reading and reacting, filling out what others have said about him. The technique is genius, in my opinion, and makes for marvelously joyous reading. But then, it's David Lynch - no artist I know of makes me happier.
Playlist:
Deafheaven - New Bermuda
M83 - Oceans Niagara (single)
Ministry - Animositisomina
G Love & Special Sauce - Yeah, It's That Easy
Frank Black - Live at the Utah Hotel Saloon
David Bowie - A Reality Tour
David Bowie - Nothing Has Changed
Lustmord - Hobart
Metallica - Kim 'Em All
Card:
Just a quick one from my trusty Thoth deck:
Off-the-cuff reading - "Applying Will to Wonder in order to learn and grow."
This gels. I'm poised at a position where I've done some deep reflection on my own ins and outs, motivations and hangups, and I find that I have a short attention span - I want to start and finish projects within a very brief time, or they give me anxiety, and I avoid them. The only place this is not true is in writing, although my mileage varies there, as well. Hence, I need to address this, and the one big elephant in my room that I am 100% aware of but avoid like the fucking plague is returning to Meditation. I really think applying my Will to restarting that practice will reap huge benefits, I just have to do it.
YES! I have been waiting for this for about five years now. Not sure how long it usually takes between records - it was The Veils' performance on David Lynch's Twin Peaks: The Return in 2017 that introduced them to me (despite Mr. Brown attempting to previous to that), so this will be my first new Veils' record since becoming a fan.
Wow. Right when I start my Twin Peaks re-watch, too. The Stars, they are aligning!
The new double album, "...AndOut of the Void Came Love" drops March 3rd; you can pre-order it now HERE.
Playlist:
Angelo Badalamenti - Twin Peaks Season Two and More
Angelo Badalamenti - Twin Peaks: Fire Walk With Me OST
Card:
Continuing my three pulls for the new year, here's my card from Crowley and Harris' Thoth:
Typically, I read Aces in this deck as Breakthroughs and the fact that we're looking at a breakthrough in Disks reflects the fact that I received a completely unexpected 'extra' paycheck this year and was able to all but pay off the credit card that I used to help us move. This is a HUGE breakthrough, because now, as long as I'm diligent for a bit, I can finish these and then help K whittle down the big box hardware store card she got when we first moved. I can only imagine this Breakthrough should echo good things into the new year.
My good friend Amy posted a track by her nephew's new band on her socials the other day, and I was floored when I followed the link and hit play. Can't wait to hear more by Bedridden soon; this band rules! Buy the track and hit follow over on their Bandcamp HERE.
Watch:
Starting my first full rewatch of Twin Peaks since before 2017's The Return (which I've rewatched twice since it aired). This time, however, I am starting with Fire Walk With Me.
Watched it today; never fails to blow me away.
Playlist:
David Lynch and John Neff - BLUEBOB
Stan Getz - Focus
Talking Heads - More Songs About Buildings and Food
Made Out of Babies - The Ruiner
Lustmord - Hobart
Angelo Badalamenti - Twin Peaks: Fire Walk With Me OST
Card:
For the first of my three New Year's Pulls, I used Missi's Raven Tarot for a single card to indicate where the new year will take me.
A paradigm shift! Good news. This leads me to believe I am on firm footing with the projects I am currently balancing. Let's revisit this for each of the next two days with my subsequent pulls.
"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.
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.
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!
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.
More on the money front, which has been an open loop for a while. I need to square this CC bill soon, before the no-interest period runs out, but hidden costs continue to keep the balance level. This is nothing dire, but it would definitely be nice to be at 0 by year's end.
Discovering Black Mare last week has sent me into a spiral with Sera Timms music. Following my own advice and clicking on that Bandcamp link for 2020's Death Magick Mother, I sat completely transfixed by the record yesterday in the wee hours of the morning. This record has an extremely ethereal quality. I can hear Pornography-era Cure, Cocteau Twins, and contemporaries, L.A.-based Chasm, but the space created within the walls of this aural shrine are all Timms's own. Turning this one on feels like stepping into an hour-long fog bank. Through the obfuscation, you see outlines of landmarks you think you recognize, except they're all wrong, and give you an immediate impulse to be at the ready.
Watch:
A few weeks back, my cousin, Charles told me about the Youtube channel Twin Perfect's video, "Twin Peaks Actually Explained (No, Really)." I'd seen this floating around in my feed and ignored it. Despite the fact that I often create or take part in videos similar to this - well, NO video is similar to this one - I rarely watch them, and I certainly go out of my way to avoid any video that claims to explain any movies or shows I dig, most especially Peaks. However, Charles told me enough to get me interested, and if you'll recall, there was one other Twin Peaks Explanation video I took to heart a year or so ago - Wow Lynch Wow's "Was Mr. C Victorious?" This new video, then, wasn't exactly unprecedented. What was unprecedented was the fact that, after watching about the first twenty minutes of this 4 hour+ video, I truly believed in my heart of hearts that holy F'ing shite - this guy COMPLETELY EXPLAINS TWIN PEAKS. It's not what you think it's going to be, it's far better. I cannot recommend this one enough unless you do not want to have the show explained.
Seriously, without spoiling anything, when you get to the part about what the light shining on Laura Palmer's face at the end of FWWM means, you'll know if you're on board or not.
Playlist:
Black Mare - Death Magick Mother
Metallica - Seek and Destroy (single)
Black Sabbath - Paranoid
Faith No More - The Real Thing
King Woman - Celestial Blues
Windhand - Eternal Return
Conan - Monnos
Guns N' Roses - ABSURD (wow, this is awful)
Jane's Addiction - Ritual de lo Habitual
The Last Drive-In with Joe Bob Briggs - Original Series Soundtrack
Card:
Okay, so what am I battling here? I feel like most everything is in line.
Fell back into Chicago's super underrated industrial grindcore masters Plague Bringer yesterday. This band should be so much more well-known in the metal/industrial community than they are. There's literally nothing I can think of that batters me like this album does. From the drawing of breath that opens the first track, I smile and prepare to be undone.
While looking around on their Bandcamp for any sign of recent activity (none), I discovered that in 2017 they released this "Lara Flynn Bringer' shirt and now I am extremely sad that it's sold out, there are none I could find on ebay or etsy, and I'm shit out of luck acquiring one.
Maybe Plague Bringer will resurface and do another run of it. Maybe. In the meantime, if you dig this kind of sonic madness, PB's Bandcamp is HERE.
Watch:
After hearing about Willard Huyck and Gloria Katz's 1973 underrated Horror film Messiah of Evil for the first time back on the old Shockwaves podcast a couple years ago, I started to look around for where to watch the film. The title alone had me, along with the fact that I couldn't remember ever hearing of it before. Back when I was cutting my teeth and really getting into the genre twenty years ago, the two friends who indoctrinated my interest and made it an obsession both had extensive film collections, so the fact that, between the two of them, I don't think either ever mentioned it surprised me. Turns out that's because the film wasn't released on DVD until 2009. That brief mention on Shockwaves sent me into a tizzy trying to track down a streaming service that featured the film. No dice, until two years ago I found it on Prime.
Score, I thought. Only no, no score at all. I started the film and turned it off after only a few minutes because, whatever source the streaming giant culled the film from, the picture quality was unwatchable. Maybe my relatively recent conversion to the Cult of Blu Ray at the time - something I swore for years I would never do - had spoiled me. I've become a bit of a stickler for clean picture transfers, and this one wasn't even what I'd call weak. It was awful. This prejudice is not a bad thing at all, I realize now, except that, for Messiah of Evil, it meant I would have to wait.
Fast forward to last week when I fired up Shudder and found that not only had they added Messiah of Evil, but the picture quality is gorgeous! So after a few false starts over the last five days or so, I finally watched the film last night. I was not disappointed.
First, I don't know if it's just the similarities between Phillan Bishops's electronic score for the film and Carl Zittrer's for another under-seen film from the 70s I adore, Bob Clark's inimitable Children Shouldn't Play With Dead Things, but Messiah of Evil's score made me warm to the film immediately. Add to that the fantastic settings - most especially our heroine Arletty's missing father's home on the beach, the design behind which was created by artists Jack Fisk and Joan Mocine, the former of which would go on to work with David Lynch on Mulholland Drive and Paul Thomas Anderson on There Will Be Blood and The Master, and I could not take my eyes off the screen. If you read this blog, you'll know how important both Lynch and PTA are to me, so you can imagine what a harmonic charge I felt realizing there was precedent here that fit with my own personal film aesthetic.
There is not a lot of information about Messiah of Evil out there on the internet. However, in regard to the design and look of the film, I found what I feel is the holy grail over on Dr. John Trafton's website. His article Messiah of Evil: Film and the Influence of L.A. Pop Art absolutely blew me away. Mr. Trafton's wealth of knowledge on not only Los Angeles' history, but Film, Pop Art and the overall social fabric of the City of Angeles post-1940 makes for fantastic reading. I can't recommend this enough, whether you want a deep-dive into Messiah of Evil, or just an interesting read that focuses on Art can influence Cinema; you can find the article HERE.
Messiah of Evil has a real work-with-what we have vibe; Katz and Huyck smartly use a lot of California's most attractive and, when shot right, surreal asset: the beach. The sound of the waves is nearly omnipresent here, and if you've ever stayed in a town where that is indeed the major sonic background, you'll know it makes for a heightened, slightly surreal experience. The constant sound of the ocean seems to work in contrast to the everyday world we humans have made for ourselves, especially here in LaLaLand where commerce is god. This makes sense when you think about it; the ocean has always been a transcendent experience for me because to sit on the beach and quietly listen to the waves, you're literally sitting on the edge of humanity's world, listening to the planet breathe. In other words, this is one of the few experiences available to us where humanity is dwarfed by the larger organism that birthed us: the Earth.
It's worth mentioning that this oceanic setting firmly establishes Messiah of Evil in a sub-genre I have recently become quite enamored with, the aptly named Seaside Horror. I guess I've always been mildly aware of the feel of this genre-within-a-genre, however, it wasn't until Joe Bob Briggs showed both Dead and Buried and Humanoids from the Deep on his Last Drive-In double feature this past season that I fell in love with both and gained an understanding of the Seaside Horror aesthetic as a style for which many filmmakers have contributed entries. The idea of a double or triple feature with Messiah and either or both of these films, or John Carpenter's The Fog or even Dan Gildark's Cthulhu makes me nearly giddy with excitement. Hell, perhaps I should look into organizing a Seaside Horror Marathon?
Finally, another aspect of this film I found fit its tone perfectly was the Night of the Living Dead references in regard to its ghouls. Messiah seems to split the difference between zombies and vampires, which is cool because I don't know how much of either creature I need to see again at the moment. Mr. Trafton talks at length about this in the piece I linked to above, so I'll just implore you to go read what he has to say, while I wrap up this rather lengthy post and get on with working on the sequel to Shadow Play.
Plague Bringer - As the Ghosts Collect, the Corpses Rest
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In some respects, I have been listening to my own personal dogma and not to my intuition. This is a nice reminder to be aware of that. We all need help thinking outside the paradigms we draw up for ourselves.
From the hallucinatory reverberations of the sax that opens this track, to the seething keyboards that close it, here's an entry from the original Twin Peaks series first OST that often gets taken for granted. Plus, the Bookhouse Boys!
Watch:
A few nights back, K and I finally got around to watching the copy of Criterion's 40th Anniversary, 4K restoration of David Lynch's The Elephant Man. This proved to be a deeply emotional experience, not just because of the movie itself, which is an emotional juggernaut, but also because of Criterion's loving restoration of the film and DP Freddie Francis' realization of Lynch's glorious Black and White vision.
This is one of Lynch's films I had only seen twice before: once just after High School, a few years after I got into Twin Peaks' original airing, and once when I bought the DVD released in the early 00s. Neither viewing proved super memorable to me at the time, and now, I can't imagine why that would be.
Playlist:
ACDC - Highway to Hell
Nick Cave and Warren Ellis - Carnage
Alan Vega - Saturn Strip
Nick Cave and the Bad Seeds - Push the Sky Away
Nick Cave and the Bad Seeds - Skeleton Tree
David Lynch and Marek Zebrowski - Polish Night Music
Aphex Twin - Syro
John Carpenter - Lost Themes III: Alive After Death
Ilsa - Preyer
Angelo Badalamenti - Twin Peaks OST
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As the Firey aspect of Fire, we're doubling down on activity, aka actually getting some shit done. The pre-sale for Murder Virus is underway (I officially announced it on social media last night), and I'm taking a bit of a breather by editing a friend's first novel. Meanwhile, I'm reading up on Hassan I Sabbah and the Assassins, as well as the Tetragrammaton, both subjects that will inform the next two books of the Shadow Play series.
As a side note, if you're reading this and you pre-ordered Murder Virus back when I originally announced it here, please allow me to ask a favor of you. Go back in, cancel that order, and then re-order the book. Due to a printing error with the proofs I was sent, the early pre-orders will be getting an inferior edit of the book, thus I'm trying to catch the few that may have gotten through and get those folks squared away with the definitive version.
Over the weekend, Chelsea Wolfe released a cover of "In Heaven" from David Lynch's Eraserhead. After being a fan for years and charting her remarkable evolution as an artist never content to stay idle in any on particular sound, I didn't think it was possible for me to be surprised or 'like' Ms. Wolfe any more than I already do.
This proved I was way wrong, and that's awesome. There's a level of excitement introduced back into my relationship with her music that makes it feel kind of new again.
31 Days of Halloween:
I had a hard time deciding on a flick last night and ended up doing something I'd been meaning to for a few years now - going back and revisiting Mike Flanagan's 2011 feature film debut Absentia. Still holds up like it did when I watched it back when it first landed on Netflix, circa 2011 or 2012 - this was the flick that put Flanagan on my radar and the reason I went out and saw Oculus in the theatre. It's really been awesome seeing him grow into such an awesome director, and all the indications were here in this first flick. Limitations be damned, he really made something special with this one:
1) Tales of Halloween: Sweet Tooth/The Wolf Man (1941)
2) From Beyond/Monsterland: "Port Fourchon, Louisiana"/Tales of Halloween: "The Night Billy Raised Hell" & "Trick"
3) Mulholland Drive/Creepshow (1982): "The Crate"
4) Waxwork
5) Synchronic/Bad Hair
6) Dolls
7) Lovecraft Country Ep. 8/Tales of Halloween: "The Weak and the Wicked" & "The Grim Grinning Ghost"
8) 976-Evil
9) Repo! The Genetic Opera
10) Firestarter/George A. Romero's Bruiser
11) The Haunting of Bly Manor episodes 1 & 2/Texas Chainsaw Massacre 2
12) The Haunting of Bly Manor episodes 3, 4, and 5/House of 1000 Corpses
13) Masque of the Red Death/Creepshow (2019) Episode 7/Creepshow (1982)
14) The Haunting of Bly Manor episodes 6 and 7
15) The Haunting of Bly Manor episodes 8 and 9/Roseanne (88) season 2 and 3 Halloween Episodes
16) The Mortuary Collection/Roseanne (88) season 4 Halloween Episode
17) Ginger Snaps Back: The Beginning
18) Lovecraft Country episode 9/The Haunting/Roseanne (88) season 5 Halloween Episode
19) Lovecraft Country episode 10/Tales From the Crypt season 1 ep. 5 "Lover Come Hack to Me"
20) George A. Romero's Season of the Witch
21) The Omen
22) Texas Chainsaw Massacre: A Family Portrait/Masters of Horror: "Sick Girl" (Lucky McKee)
23) Joe Bob's Halloween Hideaway: Haunt/Hack-O-Lantern
24) Eight Legged Freaks/What We Do in the Shadows season 1 episode 1/Night of the Demons
25) 10/31 - "The Old Hag"/Absentia
Playlist:
The Sisters of Mercy - Floodland
Iress - Prey
Low Cut Connie - Hi Honey
Brand New - God and the Devil are Raging Inside Me
Doves - The Universal Want
Perturbator - Dangerous Days
Type O Negative - October Rust
John Carpenter - Lost Themes
Zeal and Ardor - Wake of a Nation EP
Chris Connelly - Artificial Madness
Zeal and Ardor - Stranger Fruit
Chris Connelly - Phenobarb Bambalam
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Continue to build upon the solid foundation you have previously laid. I'm hoping for an extra day off this week. If so, MASSIVE writing day.
I'd never head of Night Club before when this track from their forthcoming album Die Die Lullaby showed up in my youtube feed. The aesthetic is obviously in my wheel house, so it caught my eye. After watching the video, I can say I dig the visuals but am unconvinced by the music. Still, might not be my thing exactly, but I was intrigued enough to google them, where I found Night Club did the music for a show I have never seen but K has been wanting to show me since we met, Moonbeam City. This put the band in my, "need to know more" category. In the meantime, if you're so inclined, pre-orders for the new album can be had HERE.
Love the close-up of the zombie hand clap, and the appropriation of the Brady Bunch squares.
31 Days of Horror:
Saturday night, K and I hit the Beyondfest David Lynch triple feature at the Mission Tiki Drive-in Movie Theatre. Blue Velvet, Mulholland Drive, and Lost Highway, however, we only stayed for the first two, the second of which ended about 12:30 AM and precipitated us returning to our hotel - a freakish experience in COVID times, let me tell you - in time to catch the Hal Holbrook-starring segment "The Crate", from 1982's Creepshow on some cable network's month of Halloween flix.
1) The Wolf Man
2) From Beyond/Monsterland: Port Fourchon, Louisiana
3) Mulholland Drive/Creepshow (1982): The Crate
4) Waxwork
Playlist:
X - Los Angeles
Darkness Brings the Cold - Devil Swank, Vol. 1
Misfits - Collection II
Metallica - Master of Puppets
Styx - Pieces of Eight
The Runaways - Queens of Noise
Kevin Ayers - The Confessions of Dr. Dream and Other Stories
Rupert Lally - Where the Dark Speaks
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This could be a reference to the weird cycle I find myself in with writing at the moment - a cycle preventing me from doing much of it - or to the film I'm headed out to see tonight at Beyondfest's Mission Tiki Drive-In screening of Benson and Moorhead's Synchronic, which I'm thinking is a continuation of the world they began in Resolution and The Endless, and involved loops, reiterations, and cosmic comeuppance. Maybe it's both.
Episode two of Halt and Catch Fire's fourth and final season ends with James' Laid playing over the characters as they move through the culmination of the episode's interactions, relationship and business shake-ups that no doubt begin to move all these people I've grown to love into position for the series' end in eight more episodes. It reminded me how long it had been since I last listened to James, and how much this song - a song I despised when it made its initial splash in the mid-90s zeitgeist - has come to mean to me since I fell in love with it in a pub in Dublin, circa 2001.
Watch:
I'm not really a Dune fan. I've never read the novels, and the 80's film adaptation is the only film directed by David Lynch I abhor - and feel fine doing so, considering Lynch petitioned to have his name removed from it. That said, I am definitely a Denis Villeneuve fan. And this looks gorgeous, so I'm in:
I'd love for Mr. Villeneuve to pattern his career after someone like Christopher Nolan - alternating big-budget, franchise, or high-end IP projects with original films, and I have a feeling that's exactly what he will do. In the meantime, I loved Blade Runner 2049, and I think I'll love this, too.
Playlist:
I don't do many shuffles, but I ended up having a pretty good one this morning on Apple Music and then translated it into a playlist on Spotify. Here it is:
From there the day's music looked like this:
Firewater - The Ponzi Scheme
Darkness Brings the Cold - Devil Swank Vol. 1
Lawnmower Deth - Billy
Iress - Prey
The Bronx - The Bronx (I)
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"Quiet contemplation yields unexpected results."
I'll be looking for that today, in the (hopefully) quiet moments when contemplation often sneaks up on me.
Extra posts may be a common thing for a while, as I'm attempting to work around the frustrations I have with the new blogger format. Also, I haven't posted enough from David Lynch Theater of late. Here's a recent favorite.
Wow. Didn't expect to see this. Very cool to see two very different icons come together to perform the music of a third.
**
I fell down a youtube rabbit hole after clicking on this video of David Lynch directing the infamous "Gotta Light?" scene from Twin Peaks: The Return. There's some really great supplemental Lynch material that came up based on viewing this one. I'm not sure how the algorithm works, so I'm not sure if you'll get the same videos I did, but my trip was both wonderful and strange...
Speaking of Lynch, I realized recently that the Wrapped in Plastic fanzine I subscribed to throughout the 90s and into the early 00s now has every issue available in ebook format. Read about it and link to buy HERE. John Thorne and Craig Miller's studious magazine is one hundred percent worth your time if you're a fan.
**
I took a break from Clive Barker's Books of Blood to blow through Sarah Lotz's The White Road. HIGHLY recommended. I literally blew through this one in a day.
The novel deals with the Third Man Phenomenon in and around extreme caving and climbing scenarios. It's horror, but it's Earthy and believable while still coming across visceral and haunting. I loved it.
**
The Cure - Seventeen Seconds
David Bowie - Outside
David Bowie - Black Star
L7 - Bricks Are Heavy
Body Count - Carnivore
Body Count - Cop Killer (Anti-Single)
Led Zeppelin - Physical Graffiti
Revolting Cocks - Beers, Steers and Queers
Revocation - Teratogenesis EP
Anthrax - Spreading the Disease
NIN - Pretty Hate Machine
NIN - Bad Witch
Motörhead - Ace of Spades
Lustmord - Hobart
Soundgarden - Superunknown
Pixies - Surfer Rosa
Perturbator - The Uncanny Valley
**
Solid ground again after an anxiety-ridden couple days waiting for a COVID test result that, thankfully, came back negative. Sinus infection, I've never been so happy to see you!
I haven't much time to hang out here lately, and since I've been away, David Lynch has started releasing daily Los Angeles weather reports, and now he's dropped a short, hand-drawn film!
**
NCBD is back! A light week for sure, however, it was murder waiting an extra two months for the final chapter in Bone Machine, the current storyline in Rick Remender's Deadly Class. It still bums me out the SyFy adaptation was cancelled, but the book remains one of the strongest titles I read on a monthly basis.
Now that Diamond is distributing again, I can't wait to watch Marcus and friends' lives splinter as he returns to King's Dominion and all hell breaks loose.
**
Playlist:
Stevie Wonder - Greatest Hits of the 70s
Megadeth - Rust in Peace
They Might Be Giants -Flood
The Darts - I Like You But Not Like That
Arpeggiators - Freedom of Expression 7"
Cybordelics - Adventures of Drama 7"
Metal Master - Spectrum 7"
White Lung - Paradise
White Lung - Sorry
Kensonlovers - Keep Rolling (Single)
Ween - GodWeenSatan Live New Hope, PA 9/14/01
Black Sabbath - Sabotage
Revocation - Deathless
Revocation - Teratogenesis
**
When driven by an intense sense of righteousness, beware of making foolish decisions.
I'd never really thought about which card I am, or even if there is one card that best represents me. I think this is the one. That said, I believe I drew this to remind myself of the slow slide away from my more compassionate qualities. This has been an ongoing recent insight, as the overflow of stupidity and selfishness that abound in the world at the moment drive me to sometimes frightening degrees of malevolent thought. Simply put, I very strongly dislike the human race as a whole. The last two months have made me slip closer to actively hating it. Maybe that's an oxymoron, considering how many individual humans I love and adore - there's A LOT - but it seems to be the case, and I find myself needing something spiritual to blanket my frustrations, even if it's just a more regular dose of marijuana, Stevie Wonder, and David Lynch. I'm tempted to start meditating again, however, that often leads to deep-level experiences that might not be so pleasant at the moment. Either way, I need something to mellow me out, before The King of Wands draws the Ten of Swords.
