I'd thought I had already posted this, but apparently not. A friend shared the trailer with me several weeks ago on social media and I was immediately taken with it. The shrill, dissonant suspense the trailer cultivates makes me think that, regardless of the fact that The Witch is now getting some major hype - mostly because news outlets have latched onto the fact that the Satanic Temple are touting this as a big deal - it will still outreach my expectations.
"The Witch is not only a powerful cinematic experience, but also an impressive presentation of Satanic insight that will inform contemporary discussion of religious experience. Yet, The Witch is more than a film; it is a transformative Satanic experience that, in its call to arms, becomes an act of spiritual sabotage and liberation from the oppressive traditions of our forefathers."
Wow. One can only hope. I'm not a, ahem, Satanist, though as far as religions go I'd choose that over most others - believe in and worship yourself? Better than a flying spaghetti monster - but I definitely think our world would benefit from anything that undermines the current global war between two extreme and downright dangerous religions (in their most frenzied forms that is): Christianity and Islam.
I JUST found out that the new Deftones album, Gore, drops April 8th.
Fuck yes!!!
Also found out they released the first single today. Went to look for it and it had been taken down almost everywhere I looked. But here it is and it is, as usual, awesome!
The new Drinking w/ Comics is up! King Harbor Brewing from Redondo Beach very generously sponsored this episode where we welcome Jenny Wenger, Curtis Fortier and Chris Saunders to talk about their recent performances in The Comic Bug's Development Hell performance of Joss Whedon's abandoned Wonder Woman script!
Listening to The Self-Titled Show on KXLU while driving home from work tonight I heard this song and it just sank straight through my center mass. Wow. Reminds me of the first time I heard The Vanishing Kids, back at Chicago's now defunct long-time club Neo (sad face). The entire record by Drab Majesty - who I am going to try like hell to go and see on March 5th at The Smell ( this Saturday's gig opening for Black Queen is, of course, sold out) - is just fantastic and is available on the band's bandcamp here. Digital copies are limited to 300 copies so if you dig this, grab it NOW!
In the forthcoming Drinking w/ Comics #30 one of our guests was/is Curtis Fortier, stand-up comedian, writer, actor... jack of all entertaining trades on infinite Earths. He dropped a mention of this web series he wrote and starred in and I finally got around to watching it this evening. I love it and can't wait for more.
I forgot to post this here when it went up. Ruben Gerard, creator of the wonderful Penny Strikes is the guest, Monkish, Anchor and Inland Empire beer is consumed and a good time talking about an artist's process, comics and caricatures is had by all!
I had a Bowie party this past Saturday night. Good friends, a bunch of alcohol and nothing but Bowie. It was wonderful.
The highlight of the night was my good friend Grez picking up my now long-neglected acoustic parlor guitar and leading a sing-along of Space Oddity, Ziggy Stardust, and - of course - Heroes. It was wonderful that Grez was able to time his trip to land smack dab in the middle of this (I picked him up from LAX at 8:15 and the party began pretty much as soon as we got back to my crib.)
It has now been a week since David Bowie passed and I'm still in a funk. I'm not the super-fan that has every record, knows every lyric, every everything about Bowie. His importance to me has evolved over the course of my life, from the guy on the classic rock radio station in the car whose songs I dug, to the enigma that surfaced in David Lynch's Twin Peaks: Fire Walk With Me (that's when I became really interested) to the man who made one of my all-time favorite records in 2003 - Reality. That led to the full-on, "Now I start buying a bunch of his music" phase and, well, here we are. Still hard to believe the Starman is gone.
My good friend John hit me with this last night but I was stuck in the editing suite finishing Dw/C #30. Watched this first thing this morning and well, I can honestly say I CANNOT WAIT!!!
It's hard to look at Bowie at times during this video. Upon the release of the Black Starvideo/short film last month I found myself slightly unsettled at how he looked as though he had aged 30 years in the three years since we'd last since him in the videos released for The Next Day. After news of his death first thing this morning I learned of the release of another video after Black Star just a few days ago on the 7th of this month. Lazarus is, as this AV Club article so succinctly posits, a farewell.
The wherewithal and sheer force of will to complete make an album as a final statement, knowing you are dying, is unbelievable. I'm reminded of author Jay Lake, how he blogged his own death realtime, narrating his battle with cancer. As horrible as this is it is also amazing, as death is most inevitably a part of life, and a part that we know little about- emotionally, mentally - because it is private, and hard, and difficult to discuss, even with ourselves. Finally David Bowie died as he lived - bold, up front and totally owning his situation, converting it to Art.
If that's not one of the best ways to go I've ever heard I don't know what is. We often look to musicians and artists as inspiration, role models for how to live. Knowing that I will one day die I hope I can do so with at least a modicum of the dignity and creative force that Bowie died with. It's truly magnificent.
This particular arrangement is, in my opinion at least, the perfected version of this song.
Sad day. The Man Who Feel to Earth has returned to where he came from. As is often the case when we lose an artist we love we binge their music, scrambling suddenly to acquire some of the albums we may have put off buying. In Bowie's case there are SO MANY I don't have them all, you probably don't either (although some of you most certainly do). If you're looking to celebrate the life of this wonderful, wonderful artist by adding to your Bowie collection I strongly recommend purchasing his 2003 album Reality and the accompanying double live disc from that tour.
Reality is BY FAR my favorite Bowie album - and that's saying something because I really like Bowie. It is the most original and unique of his work, in my opinion. The live disc is 33 career-spanning tracks, many of which have been re-worked, re-arranged and re-vitalized. Loving the Alien is a great example of that, but there's also an unbelievable arrangement on Earthling's I'm Afraid of Americans and Outside's Motel.
...at 7:30 PM, streaming Live from Manhattan Beach's The Comic Bug, the best damn comic shop in So Cal! Our guests will be several of the cast of the Bug's recent live table read of Joss Whedon's Wonder Woman script. D w/C is excited to welcome Jennifer Wenger - to you that's Wonder Woman! - Curtis Fortier - aka Steve Trevor - and sound designer extraordinaire Chris Saunders (also upright bass player for the inimitable Thirsty Crows and the man who designed this beee-ooo-tiful flyer!)
If you haven't watched/heard the read you can watch it on youtube here or on iTunes. Steaming of Dw/C issue #30 will be available on the Dw/C youtube channel here, or like us on Facebook and watch for the live link to magically appear around 7:30 PM on Monday, January 18th.
...is one of the best damn horror stories I've read in some time that doesn't have the name "Laird Barron" on it somewhere. Mr. Ballingrud is the real deal and what he does in 60 something pages is worth 500 of a lot of other horror writers. What's he do you ask?
Gives me the heebie goddamn jeebies, that's what! The Visible Filth plays with that special place horror doesn't always know how to get to, the modern world; it is a story that makes small incisions in our technological awareness of ourselves, and once inside lays eggs of paranoia and revulsion. To borrow the name of Mr. Ballingrud's publisher and use it as an exclamation, This is Horror.
Also, many thanks to Justin Steele for the indirect recommendation.
My favorite Coltrane album. My favorite Jazz album for that matter. Fits this time of year like a glove. Put it on, sip some tea or coffee and maybe read a short story. However you do it, enjoy.
Special thanks to Movie Pilot's Editor At Large Alisha Grauso for returning to talk all things comics (and beer) with us! Topics include but are not limited to Netflix/Marvel's Jessica Jones and the comic it's based on, the upcoming Dr. Strange movie, Batman Vs. Superman: Dawn of Justice, Suicide Squad, Marjorie Liu's gorgeous comic Monstress, Star Wars: Vader Down, Tango Unlimited Comics' Descent of the Dead and Goose Island Brewing's new Farmhouse Ale Halia.
Parsing for my best of 2015 list is becoming f^&kin' impossible. Here's another candidate. Beautiful; kind of reminds me of the first time I heard Opeth's older stuff. The album cover is disturbing as hell and kind of evokes the first season of True Detective if its villains had been members of a Black Metal-related cult. The tape holding the paper together in the background is the perfect little detail for me, makes it feel real.
I LOVE this. It reminds me so much of Katherine Blake and Miranda Sex Garden, a band I miss dearly. M is definitely making it into my year end list. Sonically haunting, dark and beautiful; a storm that tears the heavens asunder and drenches the world below it in darkness.
...is the indie comic that has had Shawn and Joe laughing their f&*king asses off all week. Wanna know more? It's all in this week's Thee Comic Column over on Joup.
Mr. Brown sent me this at least a week ago and I've only just gotten around to watch it. New Bowie is always a good thing, and with what I keep hearing about the upcoming album of the same name (Out Jan 8th, 2016) being the 'weirdest' Bowie record in a long time, I for one am more than eager to have this in my hands.
Some observations:
I LOVE the return to the sax. Saxophone was once synonymous with Bowie - for me at least - and I feel like he hadn't really found a way to incorporate it into the new sound he's been toying with since 2005's Reality. No longer the case. Hopefully there'll be more on the record.
I also LOVE the return to utilizing synths and some of the overall aesthetic he experimented with in the 90s during his "industrial" phase.
Laird Barron has a new novella coming out in a few weeks and you can pre-order it here. Over the course of the previous four years Mr. Barron has become my favorite writer, a man whose words move me in ways that feel ancient and endless. Over the course of four anthologies*, one novella and one novel he has become the first author in years that I re-read constantly. His loose-knit mythology has burrowed its way into my brain and I think that would make him happy. Surely it makes me happy, when it doesn't make me all-out paranoid that the eye of Shiva is staring back at me from the other side of some dark cosmic mirror that is probably focusing on me even as I write this...
If you don't believe me go here and, after subscribing to an amazing podcast, take forty minutes or so to listen to Mr. Barron's short story Frontier Death Song. I've listened to it countless amounts of time and it never becomes less affecting. Read by the inimitable David Robison, this is the perfect introduction to the cosmic pulp horror of Laird Barron's work.
The best news EVER came down the pipes yesterday and I've been too busy swooning to post anything about it.
WEEN IS BACK TOGETHER!!!
Now, it remains to be seen if Boognish can go home again after all the static, but let's fucking hope so. I seriously had tears in my eyes every time I've listened to them since they broke up.
Interestingly enough, this past Saturday, two days before the announcement I spent the whole day breaking in a new Ween shirt Mr. Brown gave me a while back and that of course meant I also spent the day listening to them. All day. All night. I now kind'a feel as though I may have done something of a 'rain dance', cuz within a day or two Mr. Brown shot me a text with the announcement and my happy circuits exploded all over the got'damned place!
... is the topic of what will no doubt be a much longer conversation over the coming months in Thee Comic Column, over yonder on Joup. Part one is this week's column.
This band blows me away. It's been a while since I've listened to them, apparently making up for it by listening to Another One Lost for hours on end today.
I missed the boat on this one. Meds was in my collection for sometime but not by my intentions directly. I'd given it a half-attempted spin or two and not found the band to my liking - at the time - and that was that. And of course, the reason why I generally do not get rid of CDs is that A LOT of music is very time-and-place insofar as how you take to it. Murphy's Law dictates that if you do get rid of an album you have a pretty good chance of getting into it shortly thereafter. And that's just what happened here. My friend Katie's pick for the Joup Friday Albumthis past week was Meds and in reading her write-up and throwing the album on my headphones while at work on Friday I literally fell in love with it. First two songs gave me chills. Still do, two days and about six listens later. And yeah, Meds is no longer in my collection so I will have to be re-buying it. #don'tsellyourmusicbuildalifelibrary
I absolutely understand why previously I did not like this band. It's somewhat ineffable, however after really thinking about Placebo's sound in the context of the time this record hit I think I've come to some fairly weighty conclusions. There's no denying my initial prejudice has to do with the fact that Meds specifically and the band's sound in general has a lot of the trappings that bigger-market rock bands trafficked in during the early oughts. The voice and the way it sits in the mix, the guitar tone, the slightly narcissistic point of view and the underlying programming that gives the songs a sort of slick, Marilyn Manson Mechanical Animals three times removed feel is, to me, indicative of this era of rock music, where many of the bands that blew up to varying degrees just generally leave me cold and suspicious of contrivance. That said, I think a lot of what I just described is actually the product of one particular metric that I can't really prove as anything other than a hunch - the fact that beginning with the late 90s and traveling on into the early 00s a lot of the bands who rose to prominence were helmed by the first generation of artists to do so having been raised on meds for most of their lives. The sound I describe above has a slightly overly-polished veneer - hence the suspected contrivance - because that's what the filter of meds does, it polishing reality. That's what a lot of that era's music is about, coping with that, and it makes sense that would leave its sonic fingerprint on the music. Again, I can't prove it, but Meds specifically would definitely appear to add credence to my thinking.
Issue #27 of Drinking with Comics is up! Special guests Pinguino Kolb, Robert Walker (Cuddli) and Damphyr (The Drunken Fandom) discuss dating in the geek world, fan-inspired cocktails and a whole bevy of books including but not limited to The Weirding Willows, Dave Crosland's Ego Rehab, Rat Queens, Always Raining Here and Skottie Young's I Hate Fairyland. Check it out and if you dig it please subscribe to our Youtube channel!
My friend Lee is in this movie. I haven't seen it yet, just heard about it tonight. Watched the trailer. It freaked me out.
That's a gooood thing.
From the youtube description, which reads like goddamn poetry:
"After years of rotting in Joliet, Les, a wrongfully imprisoned street legend known as "The Ghoul", is released into a mad search through Chicago's back alleys for the man who slaughtered his mother and robbed him of his soul. Aided by enigmatic benefactors, he must delve beneath the city into a modern labyrinth of gutters whose tendrils have grown deep while he was gone. What unfolds is a desperate tale of brute force tragedy set in the supernatural underworld of Chicago, where heroes are reduced to horror-shows, villains dream of their own demise, and good and evil prove to be antiquated concepts."
No idea how to react to this. Looks to be remarkably different than the book, which is possibly my favorite comic series of all time. Will I watch this?
... um... I don't know.
I still have NO faith in AMC after the walkin' dead, probably my second favorite comic series of all time and one that they completely fucking ruined. So... I just don't know. But here it is, complete with a Cassidy that appears to be more Irish redneck than punk. Oi vey...
I've never seen any of the shows Mr. Colbert has hosted before but I LOVE his ice cream. Perhaps Ben and Jerry can give Ghost a flavor as well? Something like Chocolate-covered peanut butter crosses?
Hail Caesar!, the new Coen Brothers flick with an amazing cast. Can't wait for this; I've always felt that, although I pretty much love every movie they've done, the Coen's really excel when working on period pieces from the early days of our modern society. Barton Fink, Miller's Crossing and O Brother, Where Art Thou? are, in my opinion, amazing pieces of cinema and Hail Caesar! looks to be right in this wheel house, with a great foundation of the talent they work so well with (Clooney, Frances McDormand) alongside powerhouse talent (Tatum and Scarlett).
Just made it around to watching this. Made me smile.
I'm very behind on media, but now that I've had something of a sabbatical (and a pretty gnarly Halloween weekend) I have the headspace to catch up on some of the stuff I've missed.
Mike and I really get into swapping scary comics recommendations: Mike Mignola's Jenny Finn and Batman/Lovecraft mash-up The Doom that Came to Gotham; Tomb of Dracula; Jason Martin and Bill McKay's Night of the 80s Undead; Alan Moore's Swamp Thing; Joe R. Lansdale's Jonah Hex and The Drive In, and the Vertigo Comics' adaptation of William Hope Hodgson's insanely creepy House on the Borderland it's kind of like Fall of the House of Usher with Malevolent Pig monsters!). Also, we drink Ninkasi Brewing's Dawn of the Red India Red Ale and their Sleigh'r Imperial Pumpkin Ale and talk a bit about the new Marvel re-launch.
I always love typing the three words that comprise the title of this post. Because a new record from The Besnard Lakes is a joyous thing to me and they never disappoint. Listening to this makes me reflect on what an awesome arc this band is riding, and I am as sure that I'm going to find it hard to wait until 1/22 when A Coliseum Complex Museum is released on Jagjaguwar as I'm sure it will make my top ten of next year. That's how good the Lakes are - the time for drawing up that list is still fifteen or so months away and I'm already reserving one of those year-end slots for this record.
I was late finding out Alice Glass left Crystal Castles. I had mixed feelings about it. Crystal Castles II is, in my opinion, one of the best records of the first decade of this century. The follow-up still has not opened to me and I am unsure if it is me or if it's just not really that good (even though I always assume it's me in situations like this where an artist has previously proven themselves, after three years I'm leaning toward the latter). Ethan Kath, the other half of CC released a new track as well and it was that track that I heard first. It kinda just sounds like he found a new girl - Edith - to sing like Alice. I might be wrong here, but that was my first impression and I've not been back since for reappraisal. Alice Glass's Stillbirth however is new ground for her, and I'm digging it and the message she released with it (read it on PiFk here) so although I'm waiting for more from both sides, at this point I'm more interested in Ms. Glasses direction.
And just for old times sake, one of my favorite CC songs from II. Well, on that record they're all my favorite, so this is just the one that fits my mood more at the moment. This song sounds like being drugged out and wandering the hazy, recessed lighting corridors of a hotel at 2 A.M. That's not what I'm doing, but it's my mood.
As good as I can be burrowing in and finding obscure music in the worlds of Rock, electro, Metal and Avant Garde, the two areas of music I dig that I have trouble finding a foot in the door with is the more obscure, rootsy Soul and Gospel music of mid-twentieth century America. I always get a twinge of jealousy when I hear something in a movie or find it mentioned in a book, find it and then realize that other than that particular piece or artist, I'm stumped. A lot of this is just a facet of inkling and time, as I'm sure if I really burrowed into a group like the Del Fonics - who I was formerly introduced to in Quentin Tarantino's film Jackie Brown - falling into the associated chains of wikipedia pages associated with them and their producers, etcetera, I'd probably come up with some more artists to sate my thirst for dusty old Soul. That hasn't happened though; I'm overly self conscious in these areas and I tend to require gatekeepers. Irvine Welsh's novel Skag Boys turned me onto the tradition of Northern Soul - which previously had simply been the name of my favorite album by The Verve - and newer artists like Jamie Lidell, Charles Bradley and Alabama Shakes make access to the genre's evolution easier than digging, but it's just not the same thing, finding a new artist or finding an obscure, older artist. And really, I'm not even addressing Gospel here, as so much of that isn't easily accessible. In the 60s and 70s almost anyone can and did press records - you see evidence of this in thrift stores all the time - but today? Well, today we have youtube, which I am seriously beginning to believe is the collective consciousness of the human race made accessible. 'Cuz everything is on it. Case in point, Pastor T. L. Barrett and the Youth for Christ Choir. Listen to this, it's awesome! But how did I find the music of a neighborhood Chicago Pastor and his Choir? How did I pull that from the din?
I found this via a gatekeeper: the cool, hazy sample that ends the Algiers record? It's from this. I love the way that sample ends the record; it has a cosmic, time-machine flavored influence that reminds me a lot of the looped sample that ends Zen Guerilla's cosmic masterpiece Positronic Raygun.
And then once I started researching off the Algiers sample I found that, of course, this is another case of the absolutely amazing Light in the Attic Records has put out some of this man's music.
Yes, that's Isaac freakin' Hayes w/ Barrett. ISAAC HAYES!!!
I need to remember that: Light in the Attic. Always check back in with them. Get on their mailing list (why didn't I do that right after the first Black Angels E.P.? Or after the Louvin Bros. Or the Donnie and Joe Emerson record?
(Pause while I actually go do that...)
Then it gets even weirder. Go to the short bio for Pastor Barrett on LITA's site, right here. Being from the South Side of Chicago I remember when these pyramid schemes were big news. Crazy how something like my favorite album of the year so far - that immaculate Algiers eponymous - can bring something from so long ago back around again.
This dropped sometime within the last week and since then I've habitually forgotten to post it here. Exceptional as usual. The "new" Papa certainly takes his gig more seriously than the previous one did. No hedonistic Vegas outings for this guy - all dark work. And we're all the better for it.
New band with Omar Rodriguez-Lopez and Cedric Bixler Zavala, perhaps best known for The Mars Volta and At the Drive-In. I've been into this record hardcore of late - easily one of the top releases of the year for me so far. Very different vibe from the guys' other bands (they're in more than the two mentioned above even). My first listen I knew nothing about Antemasque as it was a burn from Mr. Brown and I drove home from work mesmerized by something that I now can't understand how I didn't put two and two together. That said, I wouldn't trade that first listen for anything; it was freeing to hear the work of two artists I have grown to love without realizing it was them.
Entire record is fantastic and Flea plays bass on it. Weird, right? Again, you'd never know.
