Never Hike Alone 2!

 

New music from Drug Church. Mr. Brown recommended these guys to me a few weeks back but they quickly fell off my radar before I ever got the chance to listen to them. When I sat down earlier today to start this post, something just clicked. There's a distinct 90s indie rock underpinning here - I hear a lot of Bob Mould, especially Sugar-era, only with a huge drum sound that really changes the dynamic of that comparison. Turns out, exactly as Mr. Brown had promised, the entire record is Fantastic; you can order it from Pure Noise Records HERE.

 

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Watch:

The new episode of The Horror Vision Horror Podcast went up yesterday. We gathered this past Saturday to watch Mickey Keating's new movie Offseason, and in my book, it did not disappoint. You can hear our spoiler-free review if you click the little widget at the top right hand of this page, or on your favorite podcast streaming service.

Also, the IndieGoGo campaign for Friday the 13th Fan Film Never Hike Alone 2 is now live! While I'm not a very big fan of the actual Friday flicks, I quite like Vincent DiSanti's films and will definitely be throwing down on this one that brings the Thom Matthews back as Tommy Jarvis for an ultimate showdown with Mr. Voorhees.

Can't wait to get this one in my hands and then watch all three of DiSanti's F13 films in one sitting! Back the campaign HERE. 

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Dollar Bin:

Last Tuesday, I introduced a new weekly feature called Dollar Bin. This is a place where I can talk about all the cool, nostalgic, or just plain awesome items I find while flipping through the dollar bins in the comic shops I frequent. That said, while this week's featured score was indeed found in a dollar bin,  it is most definitely not a comic. 

I'd never heard of Nyctalops magazine until I brought this one home last week. Nyctalops was a literary Horror magazine dedicated to H.P. Lovecraft and his contemporaries published independently in the 70s and 80s. It featured reviews and editorial pieces of contemporary and historic Horror and Weird Fiction and often included short stories by contributors that included Ramsey Campbell, Robert Bloch, and Thomas Ligotti, and many, many more. 

This issue is #18, published in 1983, and it features two essays on themes found in the works of Robert Aickman, as well as an essay by famed Lovecraft scholar S.T. Joshi, to name but a few of its treasures. Also, I found it particularly thrilling to note that in the forward to this issue, Editor Howard O. Morris excitedly mentions that the Magazine's printer, Silver Scarab Press, has plans to publish, "... tentatively, a collection of horror stories by Thomas Ligotti, Songs of a Dead Dreamer."

Today, Horror literature fans know ..Dead Dreamer to be one of Ligotti's most influential works, and I found it super cool to stumble across a reference to it before the polarizing author made his mark.

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Playlist:

Ghost - Impera

The Devil's Blood - The Thousandfold Epicentre

Mark Lanegan - Bubblegum

Tones on Tail - Everything!

Ghost - Opus Eponymous

Danzig - Thrall- Demonsweat Live

The Twilight Singers - Powder Burns

Orville Peck - Bronco (Chapter 1)

David Bowie - A Reality Tour

Motörhead - Ace of Spades

Pike Vs. The Automaton - Eponymous

Mad Season - Above

Mutterlein - Orphans of the Black Sun

Jim Williams - Possessor OST

Young Widows - Settle Down City

Revocation - The Outer Ones

Code Orange - Underneath

Deafheaven - Sunbather

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Card:

Past = 7 of Cups: Debauch - taken here to mean I'm poisoning 

Present = 5 of Wands: Strife

Future = 0: The Fool

I'm not entirely certain how to read this one. I'm tempted to interpret the 7 of Cups as an inverted victory; a good thing that goes too long and turns sour, but I'm not entirely sure how that... wait. Maybe. I'll have to report back on this one. Sometimes it's best to follow flashes of inspiration without thinking about them too much.

2019: February 13th

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 House dropped 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.

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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.

2018: April 11th 7:12 PM

Last night we went and saw A Quiet Place. I can't stress this enough: SEE IT IN THE THEATRE. A theatre with GOOD sound. Excellent film, and outstanding use of sound. The score is a bit overdone early on, but the juxtaposition between quiet, i.e. ambient sound, and quiet, i.e. NO sound (one character is deaf), and sound, like BIG sound, is just fantastic and makes for an awesome theatrical experience.



Playlist from yesterday:

Venue - 8 song demo (circa 2001)
Preoccupations - New Material
Soft Moon - Eponymous
Isaac Hayes - ... To Be Continued
The Who - Who's Next

Just finished Si Spencer and Sean Murphy's John Constantine Hellblazer trade City of Demons. Excellent late-era Constantine story, highly recommended. Has a marvelous climax and then a nice, cinematic outro.

Also, read what had to be my favorite story in the Ligotti Anthology, The Cocoons. Short, sweet and to the point. Body horror with a nightmare finish. Very atmospheric and creepy as all hell. If you've read it, or subsequently read it based on my recommendation, Ligotti himself comments on the story at the prompt of a question HERE.

Card for today (which, despite the late arrival of this entry, I pulled at 5 something this morning:

Professionally, this card can mean a willingness to scrap with others. This fits; I don't talk specific work stuff here, but there are people in other departments not living up to their responsibilities and I've taken to throwing down the gauntlet on them. Take care of your shit, right?

2018: April 1st 10:21 AM

Yesterday was a sacrifice - finished the latest Drinking with Comics and put it up, worked in the middle of the day, cleaned and unboxed. Never had a chance to do the blog until later at night and by then March 30th, it's playlist and the idea of pulling a card were loooong gone. I do know that I woke up with this in my head yesterday though:



Nearing the end of Thomas Ligotti's Grimscribe and just finished The Dreaming in Nortown, easily one of my favorite stories in this collection of the author's earliest two anthologies. The story builds a nice, palpable dread by plumbing the depths of consciousness; that nasty little place where waking life and the oneiric plane intermingle. And Ligotti does this in a way that feels reminiscent of Lovecraft's best philosophical terror, i.e. the opening paragraph of The Call of Cthulhu, so there's a nostalgic harmony to my enjoyment of it, as well. That said, the slightly ineffective abstractions meant to masquerade as profound raison d'être for the characters wax and wane a bit in a kind of 'nothing is happening' way; not to say I'm complaining there's no action or monsters, quite the opposite. Once again though, as I have with other stories in this collection, I feel the The Dreaming in Nortown's end doesn't exactly payoff what the rest of the story sets up.

Also recently began Si Spencer and Sean Murphy's older Hellblazer story, City of Demons. So far, really good.

Playlist from 3/31

Tennis System - Technicolour Blind
Cash Money - Black Hearts and Broken Wills
Red Lorry Yellow Lorry - The Very Best of
Childish Gambino - Because the Internet
System of a Down - Eponymous
The Verve - A Storm in Heaven
Pink Floyd - the Wall
The Used - Ocean of the Sky
Garbage - Eponymous

2018: March 26th 7:25 AM

Currently listening to, my favorite track - thus far - off Preoccupations new album, appropriately titled, New Material. It dropped last Friday and I've been jamming it since Saturday. Really enjoying how this band's sound is carving its own niche. They sound like no one.

Rounding the corner on the Thomas Ligotti. Still not loving it, although the current story I'm on, Nethescurial, will probably bring me back into focus if I can stop my mind from ping-ponging around my new pad, trying to solve everything that needs solving all at once. You can actually read this story on Ligotti.net. Anyone who follows the link and reads it, let me know what you think in my comments; at this point it's really hard to know if my lack of bonding with the bulk of this book is the writer, me (when it's one of those, it's the other as well) or all this upheaval in my life.

Playlist from yesterday:

Preoccupations - New Material
Frank Sinatra - In the Wee Small Hours
Led Zeppelin - Led Zeppelin I
Black Sabbath - Sabotage
Fire Walk With Me - OST
The Antlers - Familiars

Card of the day:

Now I need to look into why this one keeps coming up.