2018: December 9th

Let's start the day with some Sabbath, shall we?

When I first moved to LaLaLand in 2006, I'd come home every October with a small cache of CDs. Eventually, of course, technology prevailed and my travel bag got lighter with the iPod; I bought one of those handy cassette to 1/8th jacks and music could follow me even in my Dad's truck, which only had CD and cassette capabilities. So far this trip I can't find that damned device, and in a search for something to listen to yesterday on my way to see Jonathan Grimm hock his wares at the Miskatonic Brewery's most recent art show, I found this in my dad's glove box, no doubt left by me several years before:

The find dovetailed nicely with waking up this morning and finding Mr. Brown had texted me that Pitchfork's Sunday Album this week is Sabbath's Paranoid, written by Grayson Haver Currin. I pretty much hate pitchfork except for this weekly column, and if you're a Sabbath fan, this is a great read. You can find the article HERE.

All this fits, because I can't come home and not become immersed in Sabbath, so the cassette was more a spiritual omen or reminder than it was a coincidence. My parent's place breathes Sabbath to me; some of my favorite and most vivid memories of the heavily wooded property where I grew up are of my friend Jake and I getting stoned and listening to Sabbath. Not just listening; this was clinical. We reveled in it, picking lyrics apart and building the exo-skeletons of our own philosophy around some of the words in the songs - especially the ones on Sabotage - the riffs and rhythms serving as mnemonic anchors, activation triggers for me later in life (sadly, Jake did not make it to 'later in life'; that's shit I work through in my writing, if you know where to look), so that the simple act of sitting in a car behind the house at 42 years of age and hearing the opening riff of Wheels of Confusion reactivates the assuredness Jake and I had at twenty-years old that the overall pull of the Universe was a positive, loving one, and no matter what I was struggling with it was transitory because that is the nature of our reality, transition.

**

Drinking with Comics tapes and (hopefully) streams live tonight on the DwC Facebook page, somewhere around 6:00 PM CST (that's 4:00 PM on the West Coast) at the Amazing Fantasy Books and Comics Frankfort store.

Playlist from 12/08:

Black Sabbath - Children of the Grave (Import version of Vol. 4)
Perturbator - B-Sides and Remixes, Vol. 1

No card today because I'm running out of time. Heading out to see this on the big screen:

2018: December 8th

Always a pleasure to get a new video from Tennis System. L I E is the final track on this year's Pain EP, and it was one of my favorite EPs of the year. This band is awesome! Support them HERE.

Short post today, as I'm chasing down a new idea for a short story.

Long night of hanging with the old school gang. And it got Old School, believe me. The playlist was out of my control and largely nostalgic, with Mr. Brown handling most of the duties, and everyone else popping in a disc here or there for a song or two. Fantastic time, Fantastic friends, and Fantastic music. Here's what I can piece together from the fragments of memory floating on a rocky sea of Goose Island 312 and Italian Beef:

Playlist from 12/07:

Sharon Jones & The Dap Kings - It's a Holiday Soul Party
Jon Spencer Blues Explosion
Reverend Horton Heat - We Three Kings
Iron Maiden - Piece of Mind
Anthrax - Sound of White Noise
Beastie Boys - Paul's Boutique
Jon Spencer Blues Explosion - Now I Got Worry

Card of the day:

Definitely the appropriate feeling for being home among all my loved ones, so I'll leave it at that.

2018: December 7th - RIP Pete Shelley

Rest in Peace, Peter Shelley.

The first time I heard The Buzzcocks it was their single What Do I Get, circa 1998, and I was floored. After coming up in the early 90s and absolutely HATING the pop punk movement (do I hate green day more than I hate crappy 70s bands like Ace, Styxx, and Kansas? Yes. Yes I do), I was shocked to find there was pop punk that didn't turn everything I loved about the original 'punks' - a social movement more than a sound, per se - into a marketing ploy. Then, to find that as that as they evolved, the Buzzcocks melded more with the Post-Punk movement, I've often felt this band were way more important in the annals of rock history than they are generally given credit for. Even I haven't listened to the Buzzcocks as much as I feel I should, my familiarity starting and stopping with songs on an old mixtape back in the day, and an career-spanning anthology Mr. Brown gave me years ago.

I began working on my Top Ten Favorite Albums of 2018 list the other day. Did Beak>'s L.A. Playback make the cut? Honestly, I'm not even sure yet. It's always a favorite year-end activity of mine, to comb back through all the music that came out over the past year and boil down my ten favorites, but it's never easy. There's A LOT of good music out there. I also always look forward to reading other people's lists, chief among them the ones published by Heaven Is An Incubator and Joup's Daniel Fiorio. I'll definitely be posting links to those here when they drop.

In the meantime, here's some Live Beak> I found on youtube. Love KEXP! So many awesome bands - reminds me of the old Peel Sessions, or in a more contemporary, LA way, Part Time Punks.



Playlist from my travel day yesterday was primarily six sustained hours of Burial's Untrue, with a few other things thrown into the mix. That's how I travel: I put on an album, almost always electronic in nature, and drill it on repeat. This helps me reach a strange, liminal state, a kind of hypnogogic trance, and that helps me ride the day out in a strange but beautifully peaceful fugue, where none of the inconveniences or discomforts of traveling bother me, and I end up with a creative re-charge. Previous albums I've done this with are Boards of Canada's Geogaddi, Music Has the Right to Children, and Tomorrow's Harvest, and Moderat's II and III.

12/06:

Burial - Untrue
Burial - Kindred EP
Bohren & der Club of Gore - Gore Motel

Card of the day is super special today, because my good friend Missi surprised me with a present last night - a Mini Thoth deck. No disrespect to that Hansen Roberts deck I've been using as a back-up over the last year, but I have absolutely NO connection with it. Actually, while I can admire the beauty of many decks out there (chief among them that mind blowing Vertigo Comics deck), Lady Frieda Harris/Aleister Crowley's Thoth deck is the only Tarot deck I have a working connection with, so it's the only one I use. Maybe someday that will change, but I kind of doubt it.

I broke the deck in reading for Missi last night, and as usual, her understanding and interpretation of Tarot always inspires me, so the cards are charged and ready to go, and to celebrate I'm doing a spread today instead of just one card:

Full disclosure: I never factor in reversals. That said, while making this giff, I wanted to portray the cards exactly as they were drawn, so I kept that intact. Also, the fact that all three cards are reversed either totally negates the idea that a reversal in this case would matter, or testifies to it. Either way, I read them as the card, not their positioning.

This is interesting because it slightly mirrors the drawing I did for Missi last night, with two Cups divided by a Sword card. My overall reading is simple - I'm having trouble with the setting for the final scene in the book, because it's not enough of a 'set piece.' to change it, I must be cruel or kill one of my darlings - something about the scene that I've been adamant not to change. This will lead to a breakthrough.

2018: December 6th

I'm doing Thursday's post on Wednesday night because I'm up and off to LAX early in the morning to fly to Chicago! Yay!

A couple months ago I posted about Perturbator's side project, L'Enfant De La Fôret. Well, that record fell right the heck off my radar, and it wasn't until I saw Heaven Is An Incubator post this GORGEOUS track that I remembered how much I'd been looking forward to it. And Tommy hit the nail right on the head - this track reeks of Lynch/Badalamenti, which, of course, immediately endears it to me. I can't wait to ingest this entire record during my trip. Name your price and buy it HERE.



Playlist from 12/05:

The Veils - Total Depravity
Grimes - Art Angels
Godspeed You! Black Emperor - Hallelujah! Don't Bend! Ascend!
The Body - I Have Fought Against It, But I Can't Any Longer.
Gil Scott Heron - The Revolution Will Not Be Televised (Single)
Scroobious Pip vs. Dan Le Sac - Thou Shalt Always Kill (Single)
Algiers - Eponymous
Jóhann Jóhannsson - Mandy OST
David Lynch & Alan Splatt - Eraserhead OST

Card of the day:

"Insatiable hunger for life and endless, powerful energies." Well, that definitely is the standard definition for how I roll in Chicago. It'll be interesting to see if this year is any different? Well, I've hit a point where I just don't have the energy I previously had. I knock out during movies at home ALL the time now on weekends. I feel a general, low-grade exhaustion on a daily basis. Part of it is I'm 42, and part of it is my first alarm rings at 4:07 AM, five days a week. Normally, I hit Chicago and hook up with my lifelong friends and I can hang out all night, drinking beer and talking music, movies, comics, whatever. Will that be the case with this trip? Well, the card seems to imply it will, so we'll see.

2018: December 5th

How do you get me to be excited about Sabrina, the Teenage Witch? One word:

SATAN!!!

Defying ALL fucking logic, I absolutely loved the first half of season one, and was pleased as a goat's paunch to hear there's a second half coming on April 5th. The severity of Sabrina's actions in the 8th episode especially sold me, and

I head back home to Chicago for a little over a week tomorrow. VERY excited. This year it is twelve years since I moved, and previously I have only ever gone home in October. Last year when my Uncle Phil passed away I flew home for about a week right after Christmas and realized I actually enjoyed being home in the winter. I wouldn't want to make a yearly habit of it, but there was one night that really made an impact on me. A Sunday, I drove up to the North Side of the city to see my sister and her boyfriend's new apartment. From the South Suburbs where I grew up and my parents still live, that's Lagrange Road to I-55 to the Dan Ryan 90/94. It had just snowed and the trip was stark, desolate and beautiful. I loved the empty trees, the way their branches crosshatch the sky, and the moon irradiates the clouds. I realized I missed winter, in a small way, and when K said she wanted to experience it I was only too happy to book this year's visit in December.

Along with the general vibe I'm interested in exploring in a winter setting, the trip also gives me the opportunity to do something I have wanted to do for years now, namely, film a Drinking with Comics in my old Chicago comic shop, Amazing Fantasy, with two of my best friends, two fellows that, unbeknownst to them, helped me conceive the concept of the show, just by always being the guys who stand around at gatherings with me, drink beer and talk comics. So Sunday, 12/09 we're planning on streaming live to Facebook from Amazing Fantasy in Modena, IL, with Mike Shinabargar and John "The Viking" Bickness. Can NOT wait.

NCBToo many comics out today to go into great detail. Here's my list:

If this is the return of Negan, I will be SO very happy!

Playlist from 12/04:

Opeth - Watershed
David Bowie - Station to Station
Ghost Cop - One Weird Trick
Emma Ruth Rundle - Marked for Death
The Veils - Total Depravity
The Besnard Lakes - The Besnard Lakes are the Roaring Night
Jim Reeves - The Best of Jim Reeves

No card today.

2018: December 4th

Recently, I've had a brutal nostalgia for the late 00s. In some ways I find this odd, because that time period is largely a cold, lonely bubble for me. At the same time, I am a person who often enjoys cold, lonely bubbles, and winter always brings that out in me, so I guess this is all right on schedule.

The other thing about the time period in question is, by and large, the late 2000s didn't seem at the time like a hallmark era for new music. There was a definite feeling of lethargy and fraud as the digital file model began to destroy the industry we had known. Looking back now though, there was a lot of good stuff (not as much as now). Just look at a lot of the what's been creeping into these pages the last few weeks and you'll get a taste of what I was listening to during those years: LCD Soundsystem, Underworld, Burial, Kylie, Friendly Fires, Crystal Castles, Arab Strap. Lots of electronic, pop, and dance. I feel like the first decade of the new century, my second and final, ended when I fell back hard into metal, specifically black metal. The interest had been bubbling up again for a few years - Opeth and High on Fire were really the only 'metal' bands I listened to consistently during this time (Type O doesn't really count as the kind of metal I'm talking about and they're always a constant), and then really only closer to year's end. Somewhere around 2009 I got curious and began skulking through the metal sections of the few remaining record stores in the area. I discovered The Ocean Collective's Fluxion, the reissue, and from there it wasn't long until Blut Aus Nord blew my mind and sent me into a progressive Black Metal spiral. But as I said, most of that era was electronic music-oriented for me, and I'm falling back into those sounds pretty hard right now. Especially Burial's 2007 debut, possibly both the most iconic and enigmatic record of the era. Nosing around online for a track to post here, I found this:



I haven't had a chance to watch this documentary yet, but I can't wait to dig into the story of this album, because as I intimated above, I was still under the impression there was a cloud of secrecy around Burial and his music. I knew at some point an actual picture of him made some rounds online, but other than that I know nothing. Also, this is another little tidbit I found that blew my mind.

**

To wrap around back to a topic from a few days ago, during my recent re-watch of 28 Weeks Later, I found that it contains one of the most horrifying sequences I've seen on film. A lot of the horror is created in the camera work, but let's not gloss over directing a crowd this size; the sequence really gives you the feeling of utter helplessness that can accompany being stuck in a surging crowd. I've been there - not on this level, but in my teens I was at a Pantera show at Chicago's Aragon Ballroom where, after the show as everyone filed out of the concert area and down the double stairs that led to the ground floor exit, some stupid with a taser began to send wicked jolts of electricity running through the nuts-to-buts crowd. This was only a year or so after the AC/DC stampede that killed several people, so probably with that fresh in their minds, the crowd began to panic. Luckily, the situation never escalated beyond mere potential for disaster, and we all made it home safe after all.

Here's a little bit of that scene I'm talking about; it will suffer viewed out of context, so I'm really only leaving this here as a frame of reference for what I'm talking about. If it's been a while since you watched it, or if you haven't seen it, 28 Weeks Later is one of the most worthy sequels to a fantastic original film in recent memory, and very much worth your time. Plus, Robert Carlyle:



Playlist from 11/02:

Frank Sinatra - Ultimate Sinatra
Zombie Zombie - A Land For Renegades
Playlist - NIN between live sets (get HERE)
Opeth - Deliverance
Burial - Untrue
David Bowie - Low
Jóhann Jóhannsson - Mandy OST

11/03:

The Music - Eponymous
Burial - Untrue
Arab Strap - The Red Thread
Brainiac - Hissing Prigs in Static Couture
Polvo - Today's Active Lifestyles
Mastodon - Once More Round the Sun
Uniform/The Body - Mental Wounds Not Healing
Perturbator - B-Sides and Remixes, Vol. 1

Card of the day:

Instability. Situations that can lead to hot-tempers. This is a work-related pull, I think so I guess I should be on the look out for things that piss me off here and try to play it cool when I encounter them.

2018: December 2nd

The B&W photography in this video is breathtaking. Directed by Katherine Dieckmann, who did a lot of the breakthrough REM songs back in the early 90s, with DP duties by Jim Denault, who, among many other things, shot more than a few episodes of seminal HBO series Six Feet Under and Carnivále,  this video blew me away. Sharon Van Etten's new record Remind Me Tomorrow comes out January 18th, 2019 omg Jagjaguwar; you can pre-order the record and stream Jupiter 4 and another track HERE, and keep in mind, that's barely a month away at this point.

Early last year when Oz Perkin's Blackcoat's Daughter hit Prime streaming, I'd been waiting for the film for what felt like forever. When I finally sat down to watch it, the experience was a touch anti-climatic because, well, I fell asleep. Now, this happens sometimes - more and more often actually - and I never blame the film. The fact of the matter is I wake up while it's still dark out and work long hours and I'm just not able to hang sometimes. But during that viewing, I nodded off, woke up, rewound and finished the film despite my grogginess. And as often happens in situations like this, the movie suffered for it. But again, I'm always hesitant to blame the film when this happens. What I usually do is put the flick on the back burner, wait a good long while, and then try again.



So last night I re-watched Blackcoat's Daughter - formerly titled February (which I think is a much better title, despite the fact I'm not sure why the school would be going on break in February instead of December) - and I'm not entirely sure I think my narcolepsy during that first viewing was my fault. The pacing is slow but that's not really a problem, as some of my favorite horror films are 'slow burns'. This though, I don't know. Maybe the thing that makes me less forgiving is the fact that there is one thing about this film that I think completely ruins it. I don't want to go into spoilers, but there's a casting issue that I call complete bullshit on; the kind of subterfuge that doesn't work at all but was done simply to add a red herring element and keep the audience in the dark until the end. Makes the film fall into the High Tension category for me, where no matter how much I did like about it - and there's plenty, including a pretty powerful final twenty minutes - the film will never 'work' for me because of the filmmaker's reliance on a contrivance that is beneath the quality of the rest of the film.

Oh well. It was very cool however to revisit this and realize that the main girl has gone on to become Sabrina! Very cool surprise.

Playlist from 12/01:

The Atlas Moth - Coma Noir
Judas Priest - Fire Power
Impaled Nazarene - Suomi Finland Perkele
Emma Ruth Rundle - Marked for Death

Card for the day:

And just like that, the cards reflect that after calling myself on my own BS yesterday, I had a killer 2+ hour writing session, made serious headway, and intend on doing the same today.