Showing posts with label Beth Gibbons. Show all posts
Showing posts with label Beth Gibbons. Show all posts

Friday, February 9, 2024

New Music From Beth Gibbons!!!

 

Holy smokes - new music from Beth Gibbons! Interesting synchronicity, as I cracked out Henryk Gorecki: Symphony No. 3 Symphony Of Sorrowful Songs for the first time in a while. Gibbons' voice is legendary, and I'm into pretty much anything she does, so the fact that this new solo album, Lives Outgrown, drops on May 17th on Domino Records is very good news indeed. Pre-order HERE.

Man, this sounds a lot like something that could have fit into Portishead's Third. Love that!!!




Watch:

I want to watch this trailer for Late Night With the Devil SO F*&KING BAD. Not going to do it, though.


Opening in theatres on March 22nd, this is one that, if my local Regal doesn't get it, I will travel for. I've really grown to love David Dastmalchian - his performance in The Last Voyage of the Demeter blew me away, as I did not even realize it was him until well after the movie ended - and I've just generally become a fan of everything he does. His comic Count Crowley - about a TV Horror Host - makes me incredibly happy (what I've read of it, that is), and his brief appearance in Rob Savage's The Boogeyman ranked as possibly the best performance in a movie full of them. Couple all that with the little bit I know about Late Night with the Devil's concept (not much), and I'm practically frothing at the mouth for this one. No reason then, to let possible oversaturation of the trailer ruin anything for me.
 


Read:

I am happy to report I was totally blown away by the first issue of Simon Spurrier, Aaron Campbell and Jordie Bellaire's new Hellblazer series, John Constantine Hellblazer: Dead in America.


Full disclosure: I haven't read the previous two volumes of Spurrier's Hellblazer. In fact, I haven't really read any new John Constantine material since, well, long before the original Vertigo series ended. I've picked up a few number ones since the title was brought back under the "Sandman Universe" umbrella - the new sub-heading for DC's Black Label that basically indicates, "Former Vertigo Glory Days Title," because I definitely think Constantine - while I LOVE the character - is really only done a disservice by an ongoing title. So I'm reading Dead in America based on that idea, that I haven't checked in on a solely JC-focused title in years and am about due for a fix. This proved perfect because it incorporates Dream of the Endless in a story setup that takes us all the way back to John's encounter with the previous iteration of Dream in the very first Sandman storyline. Very cool way to bring things back around and give it a nostalgic twist that felt more story-driven than story-derivative. 

This looks to be a four-issue series, and I'll be sticking around for the duration, so you'll definitely hear more about this one. 




Playlist:

Genghis Tron - Dream Weapon
Genghis Tron - Board Up the House
Various Artists - Learn to Relax: A Tribute to Jehu
Alice Donut - Dry Humping the Cash Cow
Witchfinder - Forgotten Mansion
Beth Gibbons - Henryk Gorecki: Symphony No. 3 Symphony Of Sorrowful Songs




Card:

From Jonathan Grimm's Hand of Doom Tarot, which you can buy HERE.


• King of Wands
• Ace of Swords
•XVIII - The Moon

The King (or Prince in Thoth) of Wands is the Airy aspect of Fire - Drive and motivation. The Ace of Swords (what my mind keeps seeing as the Ace of Spades this morning) is a Breakthrough. Enlightenment. seeing Clearly or the intellect as a bridge to the unconscious mind. The Moon is something occulted, i.e. what am I not seeing. All of this is commentary on the last 12 hours and money situations, not bad, just seeing things clearly (which I don't always do in regards to the cheddar).

Saturday, December 28, 2019

My Favorite Albums of 2019

The order is, for the most part, negotiable by day. However, Orville Peck's Pony is absolutely the best and my favorite record of 2019.


Beth Gibbons/Henry Gorecki - Symphony No. 3 - Admittedly, I'm a bit of a rube when it comes to orchestral/classical music. I know what I like, but I don't necessarily know how to find it. Imagine my surprise when I saw Beth Gibbons name attached to this one. Gibbons, along with legendary composer/conductor Krzysztof Penderecki and the Polish National Radio Symphony Orchestra deliver a rendition of Henryk Górecki's Symphony No. 3 that makes my heart both swell and sing with all the force of a cinematic thunderhead. Also, fantastic writing music.


Sunn O))) - Life Metal - PERFECT writing music, but beyond that, Sunn O)))'s Life Music, produced by Analog hero Steve Albini, contains a lot of rewarding textures that only reveal themselves after in-depth and multiple - and I mean multiple - listens. Easily my favorite record Sunn O))) has put out since 2009's Monoliths and Dimensions.


Lana Del Rey - Norman Fucking Rockwell - A late entry, this album is as calming as it is strange. Of course, at first glance, the strange is less than apparent, buried behind the subtle, acoustic pop sensibilities on display in the making and arranging of this record. But there's some pretty strange choices here when compared to what you get at first glance, and without having much of a history with Ms. Del Rey's earlier works, this one began as a curiosity for me and quickly grew into a calming obsession.


Blut Aus Nord - Hallucinogen - As much as I love Blut Aus Nord, I've come to terms with the fact that I don't love everything they put out. After a couple years of albums I've tried repeatedly to connect with and failed, Hallucinogen hit me from the opening chord and held me all the way through its runtime. My favorite thing they've released since 2012's 777 Cosmosophy.


The Thirsty Crow - Hangman's Noose - Yes, I am good friends with one of the members of The Thirsty Crows. Yes, I co-host two podcasts with him. Yes, I love his band. Do I love it because he's my friend? Yes, but that's not the only reason I love The Thirsty Crows. I also love them because they are A) Awesome live, and B) the only Rockabilly/Psychobilly band I have identified with since I was head over heels in love with The Reverend Horton Heat back in the mid/late 90s. That scene has broadened considerably, and while I dig a lot of it, I don't love any of it like I love the Crows. Their music is catchy AF, and dusty in a way that feels familiar and pleasing, like leaving the Joshua Tree Saloon at two in the morning hammered out of your skull and meeting people with drugs in the parking lot. "Drinking and drugging 'til six in the morning," yeah, I can't live that life anymore, but I can enjoy wicked ass thrashabilly songs about it.


Federale - No Justice - Another sun-drenched album, this one with enough cinematic flourish as to play like a Robert Altman flick from the 70s. No Justice is up there with my most listened to records this year, and it's been an absolute pleasure learning every nook and cranny of these songs.


Oh Baby - The Art of Sleeping Alone - What do you get when you have a band with a terrible name releasing an album with a fantastic name? Apparently, a hell of an album. Poppier than everything else represented here, this one scratched an itch that had lingered the last few years, a good dance/electro record with pop sensibilities and fantastic arranging, eschewing bubble gum for a kind of Neon Noir Dance Floor feeling.


Spotlights - Love and Decay - Beautiful beyond words from start to finish. Epic, haunted, brash, and polished, I absolutely love this album.


Boy Harsher - Careful - Dark LaLaLand electro that feels like old Revolting Cocks did the music for an alternate version of David Lynch's Lost Highway.


A dream, a lover's return, a haunted highway at night. Orbison, Lynch, Williams. Desert, tavern, danger. Pony is a place that I have always wanted to go to and now cannot stay away from for very long.

Friday, April 25, 2014

Black Sabbeth?



I'm re-posting this from my favorite music blog, the brilliant Heaven is an Incubator. I had no knowledge previous to this of the band Gonga, but Beth Gibbons + Black Sabbath is just too good to be true.

I was a fan of Ms. Gibbon's band Portishead from back around the time of Dummy, but it wasn't until the release of Portishead's record Third in... ah, 2007 that one of their records became necessary to me. The pagan-like soundscapes of some of the darker corners of Third fell into that category of music that the first time I hear it some part of me feels as though it were made specifically for me. So it's really no surprise that I feel the way I do about this cover because Black Sabbath's Black Sabbath - along with much of their Ozzy-era catalogue - also hits me that way.