More new music from SQÜRL's upcoming album Silver Haze, out May 5th on Sacred Bones Records. Pre-order HERE.
Watch:
I've been pretty meh about all things Marvel, but I really want to watch this one:
I never read the comic storyline Secret Invasion, however, I like the idea A LOT and remember how Bendis would drop scenes that pointed to it years before it happened (remember Rick Jones showing up yelling about Skrulls being everywhere?). What I did not expect from this, and what totally hooked me with this trailer is how the Secret Invasion series draws inspiration from the 1989 prestige format, six-issue series Nick Fury Vs S.H.I.E.L.D. - one of my favorite Marvel Comics stories EVER. Just by virtue of Fury facing most of this threat essentially alone (insofar as no major hero costars, or at least as we can ascertain from this trailer), it makes sense the creators would draw from that series, and knowing that makes me very excited.
Playlist:
Hum - Downward is Heaven
David Bowie - Heroes
Clouds Taste Satanic - Tales of Demonic Possession
Shrinebuilder - Eponymous
Pigs Pigs Pigs Pigs Pigs Pigs Pigs - Viscerals
Pigs Pigs Pigs Pigs Pigs Pigs Pigs - Land of Sleeper
Eagulls - Eponymous
Card:
From Jonathan Grimm's Bound Tarot, which you can buy HERE.
I intended to do a three-card Pull, however, this one jumped out of the deck at me, and I thought I'd concentrate on that because, in a nutshell, Motivation - a form of Will - has been lacking and this is a nice cue to get my ass back in gear. I have been writing almost daily, however, not in increments of time and attention that would gather me the momentum I need to get back on track. I'll fix that today.
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.
From the album Some Music For Robby Müller, out January 31st on Sacred Bones Records. Pre-Order HERE.
**
I'm nearly finished with David Cronenberg's novel Consumed. It is fantastic. Seriously, so interesting and unnerving. Conceptually, it's another "How did he even think of that?" which is pretty common for Cronenberg. The idea that he's adapting this for a Netflix series makes me super happy, and here's a short I found online that looks like a dry run at the idea for translating this novel to the screen. Starring Evelyne Brochu, from Orphan Black.
Yeah. The story is creepy AF and a return to the body horror genre Cronenberg defined in the 70s/80s.
**
Playlist:
David Bowie - Heathen
David Bowie - Outside
Damage Manual - Limited Edition
Zonal - Wrecked
Zonal - Eponymous Single
Godflesh - Love and Hate in Dub
Zombi - Shape Shift
Preoccupations - Eponymous
King Krule - The OOZ
Carpenter Brut - Trilogy
David Bowie - Low
Tomahawk - Mit Gas
Jarmusch is doing a zombie movie? With Bill Murray and Adam Driver? Count me in! I mean, I am just about as burnt out on the Z word as one can be; I remember back in 2004 when my good friend Mike who runs Amazing Fantasy Comics in Chicago told me to read The Walking Dead, my initial reaction was, "Zombies are over done. Give me the first three Romero flicks, Return of the Living Dead, and Children Shouldn't Play with Dead Things, and I'm good." And that was before the real over-saturation occurred, before even Arnold Schwarzenegger had made a zombie movie. Now? Well, it takes a hell of a lot to get me interested in the living dead; there really has to be a unique and unexpected spin on the concept. The Night Ate the World definitely did that for me last year. The Walking Deadcomic does it every month (hint: because it's not really about the zombies). Cinematically, comedies appear to have the highest success rate with me, i.e. Sean of the Dead and Zombieland, are two that I adore. But having just watched and LOVED Jarmusch's Patterson, the idea of him doing a Z flick with a cast like this, well, I'm very intrigued.
And hell, look what he did for Vampires in Only Lovers Left Alive, probably my favorite V flick since Coppola's Bram Stoker.
**
Yesterday I listened to the Beyond the Void Podcast and absolutely loved it. I'd listened once or twice before, or so I thought, but had no lasting impression of the show. Not surprising: my memory is chewed and the amount of content I consume probably borders on insane. And there's so many podcasts out there, it's hard to nail down the good ones. BTV is definitely one of the good ones.
I started with BTV's top horror movies of 2018 episode, and wow. I mean, it wasn't just the thrill of our lists mostly lining up; hosts Alex and Britni both have a similar aesthetic, but beyond that, it was super cool to hear films like The Night Ate the World and Incident in a Ghostland given their due, because I feel as though both were largely absent from a lot of the 'best of' lists I saw last year. Really great 'cast and a ton of additional content on their site as well, so if you're in a horror discussin' mood, give these folks a listen.
**
Playlist from 4/03:
Talking Heads - Remain in Light
Matthew Dear - You Put a Smell On Me
Brand New - God and the Devil are Raging Inside Me
Tricky - Maxinquaye
Martina Topley-Bird - Too Tough to Die
Twilight Singers - Too Tough to Die
Matthew Dear - Bunny
Sleep - Dopesmoker
Perturbator - The Uncanny Valley
Card of the day:
Because I'm getting nothing fucking done, my even-steven level (6) has become unstable.
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.
I'm a pretty big fan of Jim Jarmusch the filmmaker, and Only Lovers Left Alive is probably my favorite of his films. But Jarmusch also makes music: sparse, eerie, haunted music. Lately, as I've gone deeper into his musical collaborations with Jozef Van Wissem, I've found my favorite of their work is the OST for the same film. The Only Lovers Left Alive OST is a deep dive record; despite the epic rock-dirge of the opening track, embedded above, this album pulls me down into what feels like a sacred, cavernous place in my psyche. A place daily life makes it hard to get to often. It's a great feeling, to connect with myself through music like this, especially when it's not dependent on the application of mind-altering substances to get there. It's literally just 'Press Play and Go.'
This past week, K and I went through the first season of David Fincher's Mindhunter series on Netflix. It is fantastic. I've heard some folks say this is 'boring,' but I don't get that at all. Fascinating is the word I'd use. And I often avoid sequence, *ahem*, serial killer stories because they disturb me too much. Something about the way this one unfolds is very balanced though, so that even though you go a lot of dark places, it's not all there is. Can't wait for the second season.
Oh! And Hannah Gross - who I got to know as the lead in Dead Wax late last year on Shudder - is a co-star, and she is terrific!
Playlist from 01/25:
Tool - Aenima
Dillinger Escape Plan - Calculating Infinity
Explode into Colors - Quilts
The Effigies - Remains Nonviewable
Boy Harsher - Careful
Gary Numan - Replicas
Boy Harsher - Country Girl EP
Curtis Harding - Where We Are (Single)
Specimen - Azoic
David Bowie - Low
Card of the day:
Loud and clear. See, what's happening is, when I finished the book and began reading it to K, I expected to find some problems areas that needed edits. I made it through a near-pristine first act, only to get four chapters into the second act (of three) and get caught up in a chapter that I have now been re-writing for five days. It's all there, I just can't seem to get it fluid. There's a social obligation we have today, and I'd been wondering if I should skip it to write. This tells me my hunch is correct.
There's a new Jozef Van Wissem and Jim Jarmusch album set to drop on February 8th via Sacred Bones Records, and so far it has my favorite album title in quite some time. You can pre-order An Attempt to Draw Aside the VeilHERE.
Rounding the final lap on Nick Cave's And the Ass Saw the Angel, which I absolutely love. And interestingly enough, Cave's take on a gorgeous baroque, inbred Southern Gothic aesthetic hit a nice harmonic node with my impromptu re-watch of True Detective Season 1, as well as last night's True Detective Season 3, which takes place in Arkansas in 1980, 1990, and 2015 and has a similar tone.
Thus far, Season 3 follows Detectives Wayne Hays as played by Mahershala Ali, as he tries to solve an unsolvable case over the course of three decades. Two episodes in and I'm digging it; I find it a little bit of a lack of confidence that the show went back to the 'deposition and interview' mechanism that worked so well in Season 1, but hey, to climb out of the swamp of Season 2, do what works. With Jeremy Saulnier's episodes now under the belt and his leave approaching, next week's episode is helmed by Daniel Sackheim and then I guess HBO will announce directors as the episodes come up? I'm struggling not to take that as a bad sign, but for right now, doubts or not, the cinematography, acting, and atmosphere are so fucking tight and thick, I'm sticking.
I had actually planned at the last minute to do a new weekly wrap up show, a la my Evolution of the Arm series I did for Twin Peaks: The Return, however there really isn't a lot of 'mystery' to discuss yet. The one thing I'm wondering is, if this season drifts at all into Weird Fiction territory like the first season did, maybe the book we see in missing boy Will Purcell's bedroom while Hays is searching it for clues might come into play. The book is The Forests of Long, and anyone who knows Lovecraft mythos knows Leng as location of the infamous Plateau of Leng. I did a perfunctory search for the book online and couldn't find anything, making me think it was a prop deliberately constructed for the show, which means it is potentially important in some way. I doubt this is where the show is going, but you never know. If David Milch convinced Nick Pizzalato to stick with what made Season One iconic, we may brush up against some Weird after all.
