Not entirely sure what my impetus was for feeling this song with such gravity on this, the final morning of 2019, but the way the album version is resonating with me at the moment, it felt somehow appropriate. I'm in a very slowed down temp right now, which is unique for me.
One of the reasons I keep this blog, and the reason I started doing the daily playlist log, is to be able to look back from future space and see if I have patterns on a seasonal/yearly/monthly/whatever basis. Because I'm so down-tempo at the moment, I expected to look back at last year and see a lot of slower stuff in those playlist logs, but that's not the case. Perhaps on a larger timeline, some of this will make sense.
One thing I appreciate about being 'turned down' is once I'm vibrating at a slower level, I'm able to ingest slower things in more profound ways. When I'm dialed into speed metal, if I put on Godspeed You! Black Emperor or the Gorecki/Gibbons record, it would disappear in my wake. At the level I'm at right now, I can see more micro-detail, and that's led to some pretty great listens of new and old music alike. I've fallen off over the last month or two in keeping a daily log, primarily because I've really been hunkering down on the outlines for books two and three of ShadowPlay; I've revamped a lot of two based on a new take I've had on three's main arc, and it's taken a lot of work. You'll see a lot of what I've been listening to in a minute, but this slower tempo has both hurt and helped my work of late. I go deeper when I work, but I also feel more tired more often, so there have been more than a few days of my coming home from work exhausted and just crashing. This is the calm before the storm. Or at least I hope that's what it is. Just as man cannot live by Metal alone, Man can also not vibrate too slowly for too long; if you know anything about hummingbirds, when they sleep they can turn down to the point that they slip into what's called torpor, which is a sleep so deep they run the risk of never awakening. Eerie, but prescient, I think.
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I have a tie for the best book I read this year.
The second book in the Gravedigger Chronicles by Alan Campbell only trumps the first because of the escalation of the narrative and where it goes; both are fantastic beyond words. I was so impressed with these it's really hard to boil it down to a review, the narrative is immersive as hell, and it goes so many weird places. I mean, the imagination on this author is bar none. I really hope the third book, which Campbell says is done but which the publisher of the first two books Tor opted not to put out, eventually sees the light of day, because, you know, The Art of Hunting ends with the mother of all cliffhangers.
In preparation for the second in Laird Barron's Isaiah Coleridge series I re-read 2018's Blood Standard; both are fantastic, but Black Mountain begins to inch us closer to Barron's trademark Weird Fiction stylings, and from what the author has said on social media, the forthcoming third really gets us into a darker, stranger place, so I can't wait for that. Someone option this and make it into a True Detective-Level show NOW please!
Aaaannddd... one more...
.... because Gideon The Ninth was an extremely fun, pleasant surprise.
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I did my favorite non-horror flicks here a few days ago, and I did my favorite Horror flicks on the latest episode of The Horror Vision. Here's a quick image from my Letterbxd:
Also, the best tv show I watched this year was easily DCU's Doom Patrol. And I watched quite a few fantastic shows. Doom Patrol took the cake, though. And the donkey.
I never thought I'd live to see the day when someone brought Grant Morrison's DP run - complete with Danny the Street - to the small screen. When I get down on the state of the world, I try to remember that.
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Playlist:
The National - High Violet
Beth Gibbons/Henry Gorecki - Symphony No. 3
The National - Trouble Will Find Me
Lana Del Rey - Norman Fucking Rockwell
Neon Kross - Darkness Falls
Young Widows - Old Wounds
Huey Lewis and the News - Sports
Full of Hell/Merzbow - Full of Hell
While even after multiple attempts, I really never developed a taste for The National's much-lauded 2017 album Sleep Well Beast, I am such an enormous fan of 2010's High Violet that I give everything they do a chance. Admittedly, You Had Your Soul With You probably dropped a while ago, so I'm posting it here well after the fact, but I've been careful about getting off on the wrong foot with I Am Easy to Find, the band's forthcoming album on 4AD. With some bands, pre-album release singles can create false expectations for the overall tone of the album. Despite this, something forced my hand this morning, and now I am very intrigued about the full album, which you can pre-order HERE.
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I've been cleaning a lot of music out of my iTunes to make room on my Mac Book, and this morning I was super freaked out to find I can no longer find my Twin Peaks Music Archive tracks. For those of you who remember this, roughly eight years ago, David Lynch released a massive archive of every music track used in the original show. This included all incidental tracks, and every variation of every track. I'm not entirely sure how I would have deleted these, and there's a chance I have it backed up on a secondary drive somewhere (please please please), but until then, I'm sweating it a little bit. Here's a taste of what I was looking for this morning:
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Playlist from 3/26:
Talking Heads - Remain in Light
PJ Harvey - Uh Huh Her
Nabihah Iqbal - Weighing of the Heart
Finn Andrews - One Piece at a Time
Jaye Jayle - No Trail and Other Unholy Paths
Emma Ruth Rundle - On Dark Horses
Windhand - Grief's Infernal Flower
Brand New - Science Fiction
The Atlas Moth - Coma Noir
M83 - Saturdays Equal Youth
Brown sent me the link to this new track by The National a week or so ago but I'm just getting around to it today. It's hard to process it completely without the context of the entire album, which is titled Sleep Well Beast and available for pre-order here. I'm still fairly new to The National; I fell in love with High Violet about three years ago and since they've been one of those bands I hold my rabid esteem for the first album I love by them against everything else they've done. As usual once I find I need another sequence of songs I'll fall for another record, it's already happening a but with The Boxer. I'm hoping by the time this come out I'll be full hilt into it.
Via Stereogum, who also has a full set list here. I'm still just getting into this band and I haven't sat down to watch this yet, but I am very excited to do so.
The album High Violet by The National has been sitting in a pile for... hell, almost three years now I guess. I gave it a listen but never connected with it. I think my exact words after that previous listen was, "It's wine and cheese music". That's not a bad thing, it just doesn't come up much in my house.
Two weeks ago I discovered Bret Easton Ellis has a podcast. It's fantastic. I downloaded and listened to all the episodes (there's only a handful so far). During one of them - I think the episode where Chuck Klosterman is his guest - Ellis mentions that he has been listening to The National because, he supposed, he is white and over forty years of age.
I chuckled at this, thinking yeah, wine and cheese music.
Yesterday I listened to the newest of Ellis' podcasts where he interviews Matt Berninger, The National's singer. The podcast began with a snippet of music - it was the second verse of this song - and I was instantly haunted by it. I listened to the entire conversation Berninger and Ellis had, came home and dug out High Violet, hoping this song was on it (at the time I did not know the name of the song or what album it was on. For that matter I didn't know the name of the album I had as it was a burn someone gave me). Using Internet Music Database I found the name of the album and sat down to listen to it. I have not stopped since.
This is definitely not an all the time band for me but what I initially dismissed as a "wine and cheese" tone is actually a very sophisticated band big on sparsely appropriate arrangements and intelligent lyrics that are often much more fun than they appear to be given their delivery (this song is a perfect example of that by the way). High Violet has a very similar tone to some of Ellis' novels, a tone I refer to as "Haunted".
