Mr. Brown had to remind me several times to look up Low Cut Connie, and when I finally did, I understood and became extremely thankful for his persistence. So far, 2015's Hi Honey is all I know, but MAN is it a fantastic album. This is a tie for my favorite track - so far - with Royal Screw, which I might just post here tomorrow.
**
As of yesterday, my short story Pentagram Girls is available to read for free on Wattpad, just follow the widget below:
If you dig the story, you can follow the widgets to the left to order the book - I have a 'quarantine special' of $.99 for the Kindle copy running now, so that's a pretty great deal, if I do say so myself. Also, that fantastic cover art is from my good friend and often co-conspirator Jonathan Grimm. If you dig his art, check out his site HERE.
**
Playlist:
Primus - Frizzle Fry
Low Cut Connie - Hi Honey
The Smiths - Louder Than Bombs
The Blues Brothers - Briefcase Full of Blues
Orville Peck - Pony
Baroness - Gold and Grey
Nothing - Guilty of Everything
Joy Division - Closer
Black Sabbath - Sabotage
Dead Swords - Enders
**
Card:
I keep getting this card because I shake my head like I understand and heed the advice contained therein, then turn around and do the exact opposite.
It was a real disappointment to learn that Shane Carruth - whose films Primer and Upstream Color are among the best films made in the last twenty years - is not a very cool person. I won't go into everything, but aside from numerous accounts of his assholery to everyday people, it appears that he may have made public certain aspects of his estranged relationship with director Amy Seimetz in a weird attempt to sabotage the release of her new film, She Dies Tomorrow. I'm not sure this is exactly what's going on, but regardless, I wanted to see this film before all this happened, now I'll be making it my Friday night watch next week when it drops on the 8th, just to help bump the film's numbers. Looks awesome, and seeing Jane Adams and Tunde Adebimpe from TVOTR is just too good to be true.
**
K and I caught up to the current episode of HBO's I'll Be Gone in the Dark last night. This show is a powerhouse of emotion and terror, and although I usually don't have the stomach or nerve for true crime - I prefer my horror to have at least a dash of supernatural so it doesn't color the world around me any darker than I already perceive it - this is one I would recommend to everyone. I've loved most of what Michelle McNamara's husband Patton Oswalt has done since someone turned me onto Feelin' Kinda Patton in the mid-00s. To see this side of his life, and the lengths Michelle McNamara went to hunting a decades-old killer, it's inspiring.
**
Playlist:
Primus - Frizzle Fry
Count Raven - Storm Warning
Angel Witch - '82 Revisited
Testament - Titans of Creation
Low Cut Connie - Hi Honey
A couple years ago, I caught Sumac live opening for Converge. Fantastic band. I kind of forgot about them after that, but with this lead track off their forthcoming album out October 2nd on Thrill Jockey - Pre-order HERE - I'm all in.
**
NCBD:
Finally! We haven't been waiting for this new Brubaker/Phillips graphic novel for very long, but it's felt like a millennium! These guys are aces, and if you subscribe to Brubaker's email newsletter, you will have seen his announcement that they are releasing three original graphic novels over the next year as part of a new series. He hasn't released all the details yet, but he did include a few pages of the finished product, and it looks fantastic. Of course.
I'm a bit on the fence with this one, but I'm absolutely down to give Chris Condon and Jacob Phillips' That Texas Blood the benefit of a few issues to lock into place.
I LOVE this cover! So old school, black and white TMNT. This book just gets better and better, breaking new ground with world building no longer beholden to the old iterations.
**
Playlist:
Mitch and Ira Yuspeh - Seven Doors of Death OST
Godflesh - Streetcleaner
Low Cut Connie - Hi Honey
JK Flesh - Depersonalization
Baroness - Gold and Grey
Blueneck - Repetitions
Primus - Frizzle Fry
Blut Aus Nord - Hallucinogen
Black Sabbath - Sabotage
**
Card:
I was super excited to draw a card this morning from my new deck, one my good friend Missi colored for me. The deck is just the Major Arcana, but that's super cool. I know a few people who only draw with the Majors, and I've kind of always wanted a deck to do that with. Broadstroke answers can be insanely helpful.
Of course I shuffled the hell out of the deck - I could feel the energy Missi put into these things - and what card flips out on its own and lands face up in front of me? The Fool, of course, because I'm beginning a new journey with a new deck. Not replacing my beloved Thoth, but adding to it, in a way.
I've never been one to have multiple decks, but this is special and I love it. Look at how gorgeous this card is! I'm christening this deck the Raven Deck, after Missi.
I was elated to see this trailer yesterday. Ever since Tusk, I've been on the outs with Kevin Smith; I used to be a huge fan of his films and his podcasts. Even when his material wasn't great - Clerks II - I always gave him the benefit of the doubt, simply because I'd heard him talk about his creative process and the industry numerous times in person or on his podcasts, and always considered him an aspiration. The thing about Tusk that sunk that boat was despite the fact that Michael Parks gives a fantastic performance, and the cinematography and set design is fantastic, it felt stupid and ill-conceived, not to mention a total tonal mess. Why didn't he get the benefit of the doubt that time? Well, in the year or two before Tusk, Smith began talking about how pot had become a major part of his creative process, allowing him to follow through on ideas he normally would have dismissed. Guess what? That's not a good thing, to jettison your internal quality department by way of inhibition dampening drugs. Hey, I'm no angel. I drink and smoke often. That said, I rarely work on major projects when under the influence. I might get a breakthrough idea while stoned - that happens somewhat often - but I also know when I sober up what to discard as fanciful crap and what to keep. Tusk feels like a pretty good idea that went off the deep end, I'm guessing due to Smith's state of mind while writing it.
All that aside, Kilroy looks FANTASTIC. I'm super happy to be excited about a Kevin Smith project again, especially one that's horror.
**
I received my copy of Eibon Press's The Beyond #1 yesterday, and I'm excited to confirm that this is not a straight adaptation of Lucio Fulci's film. There's a lot of background here, with the issue ending where the film begins, so that we get an interesting backstory for Schweick and Liza. Very cool, and the art is just fantastic in all its gory goodness!
The fourth issue finale comes out this Friday, and I'm pretty sure I'll be ordering the rest of the series then. Eibon Press's Fulci page is HERE. If you dig Fulci, support a truly independent company!
**
Playlist:
Thirsty Crows - Hangman's Noose
Talking Heads - Remain in Light
Metallica - Master of Puppets
The Stooges - Funhouse
The Smiths - Panic (Single)
The Smiths - The Queen is Dead
Brainiac - Bonzai Superstar
Savages - Silence Yourself
Low Cut Connie - Hi Honey
**
Card:
Lots of feminine energy this week so far. Makes sense.
Following up yesterday's Sunday Bandcamp feature of JK Flesh's 2012 Posthuman with his newest release. Depersonalization dropped at the beginning of the month on Hospital Productions, a label I am completely unfamiliar with. Buy on cassette HERE.
**
After watching that video of Henry Rollins geeking out over Rhino's 50th Anniversary box set of The Stooges Funhouse, I knew there was no way I was going to spend $400 on it, so I did the next best thing. My copy of Raw Power on CD disappeared a few years back, so I decided to finally replace it with Vinyl. Huge bonus, too, because without even realizing it, the copy I picked up has four sides - the complete 1973 Bowie mix, and the complete 1997 Iggy mix, both remastered, both sound great.
Bowie Mix:
Iggy Mix:
There's some insane differences between the two mixes, and where I used to prefer the Iggy mix hands down - it's the first way I ever heard the album - after spending part of Friday night comparing the two side by side, I think I'm split perfectly down the middle. The one huge sticking point has always been Penetration, which I prefer with the chime. However, the remaster of Bowie's mix shows what older copies on disc don't - the chime is there, and slowly creeps into the mix, where in the Iggy mix, it's pretty much in your face from the jump. Both have merit, especially when you factor in some of the insane levels Bowie mixed Pop's vocals at. Having Iggy sit that far on top of the mix doesn't always work, but on a few tracks, it gives the music an even more intense feeling of chaos.
**
Playlist:
Iggy and the Stooges - Raw Power
My Bloody Valentine - MBV
Discharge - Never Again
Heads. - Push
Gösta Berlings Saga - Konkret Musik
Baroness - Gold and Grey
La Hell Gang - Thru Me Again
The Smiths - Louder Than Bombs
The Smiths - The Queen is Dead
Mannequin Pussy - Patience
Godflesh - Streetcleaner
JK Flesh - Depersonalization
**
Card:
Taming creative force with strategy. This is PERFECT, as Saturday I put myself in a bit of a tizzy in regards to what I'm doing with the new book. There's so many avenues out there for authors now, but it's hard to figure out exactly what to do. This leads to stalemate, a feeling of paralyzed frustration that comes from the paradox of choice. Weathering this will be no small feat, but it is possible.
Another track from the forthcoming album Prisyn, out August 7th on Sargent House. Pre-order HERE.
**
I've had Fulci on the mind of late. Yesterday after work I threw on The Beyond, and my love of this flick - which is still pretty new, as previously I just did not get it at all - prompted me to go to Eibon Press and finally order one of their Fulci comics, specifically the first issue of The Beyond, the signature edition that comes with the premiere of the US version of the film's soundtrack by Mitch and Ira Yuspeh.
The edited, US version of the film, re-titled 7 Doors of Death, was the only one available here until Quentin Tarantino helped Grindhouse Releasing put out The Beyond in its original form in 1996. The 7 Doors of Death version eschewed Fabio Frizzi's soundtrack for one by the Yuspehs.
The comics Eibon Press makes all look fantastic. I've been curious about their Fulci stuff for a while, but I've been unsure if the books are simply adaptations of the films or extensions of them, the latter what I'd be interested, the former not so much. Either way, the inclusion of the score on this package - even if its not vinyl - is what ended up sealing the deal for me. And worse case scenario, I have a cool comic based on the film, too!
**
Playlist:
Stereolab - Mars Audiac Quintet
The Smiths - The Queen is Dead
The Smiths - Louder Than Bombs
The Smiths - Meat is Murder
La Matos - Summer of '84 OST
M.I.A. - Arular
Baroness - Gold and Grey
La Hell Gang - Thru Me Again
House of Pain - Same As It Ever Was
**
Card:
I get it. I've been tempted to tinker with the finished product. I've seen this card enough lately to know I should just leave it alone and concentrate on moving on.
I've had The Smiths on the brain of late, particularly The Queen is Dead, and even more particularly this song. I love Morrissey's lyrics, but even more, I love his delivery of the lyrics. "Dreaded sunny day, so let's go where we're happy, and I meet you at the cemetery gates" is a hysterically subtle indictment of 80s Goth culture - a considerable part of the band's fan base - that is beautifully countered by genuinely thought provoking and despondent lines like, "All these people, all those lives, where are they now? With loves and hates and passions just like mine, they were born and then they loved and then they died."
It's just so damn good.
The Smith are a band that, when I'm into them, I feel my love for each song and album deepen with each listen.
**
Last night, K and I finished Dark Season Three.
Holy. Shit.
In the interest of understanding the insanely well-written intricacies of this series, we'll be starting season three over again tonight. This time, however, we're going to follow every episode we watch at night by listening to the Digesting Dark podcast episode pertaining to the episode. These guys really know the show, and both K and I are really looking forward to having some third person insight into this one, because no one else we know is watching this, and it BEGS to be discussed.
**
Last week, the Maniac Cop trilogy dropped on Shudder. I've been wanting to see the original for years but haven't had much luck. As far as I knew until Arrow's recent release, the Larry Cohen created, William Lustig-directed Action/Horror classic had not been in print for quite some time. How was it? Exactly what I expected, and wonderful for just that reason. It's not everyday you have Bruce Campbell and Tom Atkins in the same flick.
**
Playlist:
The Smiths - The Queen is Dead
Tamaryn - The Waves
The Soft Moon - Deeper
Jello Biafra and the Guantanamo School of Medicine - White People and the Damage Done
Me and That Man - New Man New Songs Same Shit Vol. 1
The Stooges - Funhouse
Steve Moore - Bliss OST
The Beatles - Sgt. Pepper's Lonely Hearts Club Band
Card:
Big influences spur a new project. Yes. Very big. Not a new project, but a new direction for the current book as I've decided to take a completely different tack than I was originally planning.
Mr. Brown sent this video to me yesterday and it absolutely made my day! Henry Rollins' excitement for music is an enjoyable thing to experience, and watching this has made me miss listening to his radio show on Los Angeles Public Radio KCRW (Link directly to his show, where past episodes are streamable HERE). The show used to be my regular Saturday night thing, but that was years ago, and as soon as KCRW moved him to Sunday at 9:00 PM, it killed my patronage. I've been meaning to make a habit of streaming the shows the day after, and I think this video was just what I needed to finally make that happen.
As far as the subject of the video, Rhino's Funhouse 50th Anniversary pressing - it's awesome for sure, but not something I'd shell out $400 (plus, as Brown pondered in a text, what about shipping on a box that size?). Still, it's a pleasure to hear Rollins geek out about that which he loves, and it's definitely infectious.
**
Two nights ago I woke up from an after-work nap and found K about fifteen minutes into a movie I'd never heard of before. I sat down and ended up getting sucked in, especially when I saw that Hannah Gross and DAVID CRONENBERG both had roles in the flick (as does Aaron Poole). Albert Shin's Disappearance at Clifton Hill is a weird little flick, visually gorgeous, and with definite Lynch influence. Until I looked the film up, as we were watching it, I began to suspect it might be a Brad Anderson film, as Clifton definitely feels like something Anderson might have done around the time he made The Machinist or Transsiberian.
The film is currently streaming on HULU, and is definitely worth your time.
**
Playlist:
François-Eudes Chanfrault - Computer Assisted Sunset
Metallica - Master of Puppets
Melvins - Houdini
The Smiths - The Queen is Dead
The Stooges - Eponymous
The Stooges - Funhouse
**
Card:
Too much to get into at the moment, but let's just say I re-thought the book and am going to try something a little bit different with it than I originally intended.
Kind of a slow news day, so to speak, so I landed on this via Brooklyn Vegan. Apparently, Metallica has been doing "Metallica Mondays" which sounds like some weird food theme at a Chili's restaurant, but is actually a kind of cool quarantine coping mechanism the band has been doing for their fans. As my interest in this band stops after about 1988, this video is of particular interest to me. 1983 at Chicago's Metro? As a young metalhead in the 90s who would go on to frequent shows at the Metro, this is the kind of show I often dreamed of having been able to go back in time and see. Now, thanks to Metallica, I can. You have to get through a rather annoying minute or so of Lars talking about... not really sure, but I have to admit it. As hard as I am on these guys, they often come off pretty cool to their fans.
**
NCBD tomorrow is another short lister this week. Action Lab's Sweet Heart #2 finally hits the stand - this was another one I'd mentioned a few weeks ago, only to realize I had my dates completely out of order.
Other than that, the first issue of a new Image book called Bliss caught my eye recently:
The cover art is obviously gorgeous, but what really has me curious is this book's solicitation description from Image that ends with, "Breaking Bad meets Neil Gaiman's Sandman."
Huh?
The first issue of a two-arc maxi-series, I might just pick this one up. (Yes, I'm still attempting to limit taking on new books. No, it's not always easy.)
**
Playlist:
Cypress Hill - III: Temples of Boom
Soundgarden - Super Unknown
The Smiths - The Queen is Dead
Sleep - The Sciences
**
Card:
The urge to do bad is often extremely strong. It's part of the flow of life to balance that out with positive stuff.
16 is new to me, but I'm digging their new albums Dream Squasher, just released on Relapse Records!
**
Saturday we ended up having an impromptu Danny Boyle double feature. It started with his latest film Yesterday, which is absolutely fantastic. I'm not a very big Beatles fan, but I can definitely recognize the impact they've had on the world, so the idea that their music would disappear is a pretty interesting one, especially when your main character is the only person on Earth who remembers it.
Once Yesterday, I followed up an itch I've been meaning to scratch for quite some time now, and put on Boyle's 2011 Oscar-winning Slumdog Millionaire. I hadn't seen this one since it was in the theaters:
Slumdog holds up 100%. Loved it.
**
Playlist:
Cypress Hill - Elephants on Acid
16 - Dream Squasher
Coheed and Cambria - The Aftermath: Ascension
Various - James Brown's Funky People Vol. III
An awesome two-piece I found while snooping around at the Wäntage USA label's Bandcamp page. These chaps are from Australia, and they make some heavy freakin' tunes.
Back in the 90s, Cypress Hill completed the holy trinity my friend Jake and I were musically obsessed with, the other two groups being Black Sabbath and Type O Negative. I hung with the Hill all the way until Skull and Bones, but even my fan inertia couldn't get me to listen to that one for very long before I bounced, and I've never looked back. The few tracks I've caught wind of on subsequent records felt watered down and lame (What's Your Number? Really?), and without Muggs at the helm for ten years, I was definitely not interested.
Until now.
IV ended up in my rotation recently, and I found once I'd listened to it the first time, I couldn't get it out of my head. My favorite will always be III: Temples of Boom, specifically because at the time of its release, I'd never experienced an album that affected me the way that one did. There's a sick undercurrent to its amalgamation of Muggs' music and production and the cartoonish violence of the lyrics that just left me feeling unsettled for the first few listens. Full disclosure, this was the year Jake gave me a glass bong for my birthday, so I was really high most of the time I was listening to it.
At any rate, IV is the first of their albums to show a crack in their sound; I really dig about 80% of the record, but the stupid sex rhyme and an over abundance of down-tempo tracks on the B side means it starts strong and peters out. I'd forgotten how strong that first half was, and after falling back into it, I noticed the group released an album in 2018. I decided to give it a try.
Elephants on Acid is fantastic! There's probably too many songs again, but over all I am absolutely loving this album. Muggs in on 100% of this one, and it feels a bit like a sequel to Temples of Boom, with similar imagery and aural textures; lots of sitar and otherworldly atmosphere. The opening track takes this a bit overboard, and initially I almost turned the record off because of this. However, I hung in for a full listen, and immediately went back for a second. It feels like old Hill, but not in the way that, say, Rick Rubin returns old metal bands to their former glory by basically creating a caricature of their original sound. This feels fresh at the same time it feels old school. and I'm assuming that's because the group has stripped away ideas of doing anything other than being true to what they are.
I was especially pleased with the track above because it brings back Sick Jacken from The Psycho Realm, whose first album is an underrated 90s hip hop classic.
Now, if only I still had that bong Jake gave me...
**
Last night's viewing:
Also, I did House By the Cemetery with commentary the day it arrived, and saved the actual movie for last night. It didn't disappoint. Never does. "Mommy..."
One of the extras on the main disc is the original TV spots for the flick that aired back in '81. Tell me this doesn't sound like Brother Theodore's character from The 'Burbs did the voice over:
**
Playlist:
Cypress Hill - IV
Cypress Hill - Elephants on Acid
The Psycho Realm - Eponymous
The Atlas Moth - Coma Noir
Brainiac - Smack Bunny Baby
The Cure - Kiss Me Kiss Me Kiss Me
**
Card:
An abundance of ideas, projects, and interests, it takes a greater strength than usual to narrow things down and get anything done at all.
I feel as though I've been waiting for this trailer forever. Now that it's here, I really just want the movie. The real shame is, if not for COVID, Brandon Cronenberg's sophomore flick would most likely be premiering at Beyondfest. As it stands, I guess I'll be doing a big VOD event for it when the release is finally announced (please announce soon!)
**
Late last week I caught wind of William Lustig's company Blue Underground having released a 3-Disc, 4K Blu Ray edition of Lucio Fulci's House By the Cemetery. I love this flick - while it took me a while to come around on The Beyond and City of the Living Dead (I love both now), House has always been a film that fascinates me. So as soon as I saw this, I ordered it. Pricey, but worth it.
The restoration is, as with all Blue Underground's restorations - gorgeous. If you go to this edition's page on Blu-Ray.com (HERE), you can read about the transfer and see some screen shot comparisons. The second disc is filled with extras, including a lot of interviews with the actors and crew, and the third disc is a CD edition of Walter Rizzati's brilliant score for the film.
**
Playlist:
Walter Rizzati - House By the Cemetery OST
Primus - Antipop
M83 - Hurry Up, We're Dreaming
Moderat - II
Perturbator - The Uncanny Valley
Elephant Tree - Habits
Cypress Hill - IV
Flying Lotus - You're Dead!
Nine Inch Nails - The Slip
Agnes Obel - Citizen of Glass
Brainiac - Hissing Prigs in Static Couture
David Lynch and Marek Zebrowski - Polish Night Music
**
Card:
Power struggles, internal or external. I'm taking this as a warning that discipline will be needed to fully reintegrate my writing time back into The Secret Life of Murder, now that my belabored short story Fixation on a Coworker is finally finished.
Coworker proved extremely difficult to write; I worked on the thing off and on for a year and three months. I finally brought it in at ~7700 words, then decided I wanted to try submitting it to a publication I recently discovered called Infernal Ink. Some of my stories skew into what I'd call Erotic Horror, and this story especially plays in that arena. There's an overarching theme - or character actually - that runs through these stories, so even though they are stand alone, they're part of a bigger story slowly forming in my head. Anyway, Infernal Ink's submissions cut off at 5K, so I knuckled down and decided to practice one of my favorite parts of writing - editing. I cut the story down to 6K, then down another thousand to 5K.
It felt good! The story as it was is probably perfect at 6K. Chopping it down more wasn't easy, but I eliminated a supporting character arc that originally dovetailed with the protagonist's, eased the throttle back on some of my more descriptive passages, and landed it clean. It was at that point I realized Infernal Ink's submissions are closed, as their upcoming October issue will be the magazine's final issue as they switch gears to focus on book publishing.
Waste of time? Not. At. All. The editing process really bolstered my confidence in a story that otherwise had me running in prosaic circles, and that's never a bad thing. Plus, I found an awesome publisher/magazine in the process (all the issues are on Kindle for under $3).
Previously, I've had no interest in audible, as I'm not one for audio books. This changes everything. A star-studded audio presentation of Neil Gaiman's Sandman? Count me in.
**
I'd been under the impression the final episode of Borrasca was to drop this past Monday, so imagine my surprise when the episode - at a paltry 33 minutes - cut off in an unceremonious manner. Creator Rebecca Kingel had previously said the podcast would wrap with ep 8, so I figured the finale might have been too long for their standard format, making them split the finale into two. I was all set to wait until next Monday when I received word the second part dropped yesterday.
It is amazing.
Easily the scariest fiction I've encountered in any medium for the past several years, the wrap up is filled with revelations and tragedy, and contained a sequence that held me so strongly under its narrative influence that the world around me kind of disappeared for a while. I'm sold on Cole Sprouse as an actor, and very much hope there will be more of this, or at least, another teaming of Klingel and Sprouse.
I really can't recommend this one enough. Earlier, I realized that, along with all the podcast platforms (Apple, Spotify, Stitcher, etc), all the episodes of Borassca are on youtube as well, so I'm posting the first one here as a way to spread the word. I's that good.
**
Playlist:
Walter Rizzati - House By the Cemetery OST
Palesketcher - Jesu: Pale Sketches
Mannequin Pussy - Patience
Exhalants - Band (single)
Le Matos - Summer of '84
Barry Adamson - Stranger on the Sofa
Perturbator - The Uncanny Valley
DAF - Die Kleinen Und Die Bösen
Last week, Metal Blade Records announced the new album from Germany's reigning Post-Metal champs The Ocean. Phanerozoic II: Mesozoic drops on September 25th. Pre-order HERE.
I've followed The Ocean since I stumbled across 2007's reissue of Fluxion in the metal section of a local record store. The group is hot and cold for me, in that I have and love all their albums in theory, but not all of those records are practical listens for me. 2005's Aeolian and 2007's Precambrian have their 'I have to hear that song right now' tracks, but overall are so academically 'post-metal' that, although I appreciate their sonic integrity, I find listening to them for any extended length of time often cumbersome. That said, Fluxion and 2010's pair of albums Heliocentric and Anthropocentric are year-round go-to's, and 2013's Pelegial also easily fits into regular rotation. I'm not quite sure where last year's Phanerozoic I fits into my listening routine yet, primarily because the record kind of got lost amidst a ton of other albums that held my attention for most of the year.
**
A new episode of The Horror Vision Horror Podcast went up yesterday. I've added the handy little widget in the upper right-hand corner of this page where you can listen or follow over to our page on Spotify, since this is the service most of our listens seems to filter through. In this episode, Ray and I go Dynamic Duo and talk about Natalie Erika James' Relic, Jeffrey A. Brown's The Beach House, as well as a bunch of other cool stuff. Also available on Stitcher, Apple Podcasts, and Google Play.
**
NCBD - I messed up and posted this week's books here last week, so I'll be picking up those today.
**
Currently reading:
Last week I finished Mark Frost's The List of 7 - very good Victorian mystery novel. Thoroughly enjoyed, and although I was tempted to start the sequel, 6 Messiahs, instead I started Matt Ruff's Lovecraft Country in anticipation of the upcoming HBO adaptation. At a third of the way in, the novel is as fantastic as the trailer looks, so I'm doubly excited now:
The book is very much not what I expected, and that's good. Reading it is a cathartic, as being a long-time Lovecraft fan - we're talking since '92 - I had built up a pretty big head of fandom steam before I ever realized HPL was a completely racist xenophobe. Through the mid-to-late 90s, as his personal correspondences were published, I made it a point to avoid them, as that's when the depth of his ignorance really became apparent (it's in the writing, but not exactly overt, especially not when you're younger and not as skilled at reading into things). Still, as more has come out, it remains more difficult to balance being a fan of his fiction with abhorring his personal philosophies. The first book I read that really played with this was Seamus Cooper's The Mall of Cthulhu, where the protagonists are accosted by a skinhead group who have adopted worship of Lovecraft's entities (great book and only $2.99 on Kindle at the moment). That was a comedy though. Lovecraft Country is not. A taut exploration of this country's racists underpinnings (that just won't seem to go the fuck away), the story is less about Shoggoths and more about human monsters.
**
Playlist:
The Birthday Party - Mutiny/The Bad Seed
Mannequin Pussy - Patience
United Future Organization: 3rd Perspective
Henry Mancini - Charade OST
Charles Mingus - Blues and Roots
Cypress Hill - IV
Raury - Indigo Child EP
The Chameleons - Script of the Bridge
Blut Aus Nord - Hallucingen
Palesketcher - Jesu: Pale Sketches
**
Card:
"A temporary culmination of events or labors. A well-deserved breath." I'll take it.
Some time back in late 2018, my good friend Jesus gifted me a Blu Ray copy of the film Summer of 84. At the time when I first watched it, the film seemed a little too derivative of Stranger Things. Kids on Bikes felt like it was becoming the new Steampunk, i.e. ubiquitous to the point of losing me. Still, I ended up digging the movie that first time.
Yesterday, I came home from work and, as has become my custom, cuddled up with my cat on the couch to take a nap. I generally put Shudder TV on, find something mildly interesting, and nod in and out while I watch. This has been a great way for me to see a lot of films I can't commit to in the course of my regular, evening viewing. Anyway, 84 came on and I fell into it. I felt pretty much the same for most of the movie, and then the last ten minutes or so happened and I finally 'got' what the filmmakers were trying to do. Much like Twin Peaks purposely took on the language of the night time soap opera in order to completely subvert it, Summer of 84 puts on a Stranger Things costume just to turn it on its head at the end. Chilling is the only word I have for it, especially after seeing on Reddit where in a post-screening interview, the directors - François Simard, Anouk Whissell, and Yoann-Karl Whissell - stated they would never make a sequel because - and this is me quoting someone paraphrasing - "The terror was from the ending as it was, and to make a sequel would take away some of the effect."
That's fucking hardcore.
**
The new issue of Fangoria arrived this past Thursday. Look at that cover! The cover story is based on a comic strip Patton Oswalt sent in to Fango in 1984, and the print the entire thing. It's fantastic.
With information about Fangoria's parent company Cinestate coming out on how they ignored one of their producers who sexually harassed women on set coming on top of former Fango head of acquisitions being accused of harassment, it seems that everyone is jumping ship from the magazine.
Not me.
I don't really understand cancel culture in general, but this is insane. The moment the Cinestate story broke, Fangoria Editor in Chief Phil Noble, Jr. posted that Fangoria was looking for new owners, and the head of acquisitions in film had been on board for probably a year since coming over from the same position at Dread Central's film division. He stepped down from Fango immediately, and from what I've seen, there's no suggestion that anyone at Fangoria even knew about his actions. So why then did Shockwaves, Mick Garris, and a host of others dump their association with the beloved Horror mag? Why did one of my favorite new authors not only pull his upcoming book from Fangoria's publishing imprint, but also post a letter to his social media saying that although he has never sexually abused or harassed anyone, he realizes this may have hurt people and he apologizes (I think that's what it says. It's really confusing)?
This apologizing for for nothing is a panicked overreaction in the age of the SJW and cancel culture, and I think it sucks. People are pulling their association with the magazine as a preemptive strike, which is seems more than a little like being guilty until proven innocent. Until someone shows me Fangoria itself actively ignored or fostered this stuff, I'm sticking in as a fan.
The re-launch has been such an amazing vessel for critical and thought-provoking Horror discussion. Much more than the later days of the original magazine's iteration. I never consistently read any of the horror mags when I was younger, but I'd pick them up on occasion and, through the 00s when I worked at Borders, read them on break. By that time, Fangoria paled in comparison to Rue Morgue, in my opinion. No longer the case. Rue Morgue and Horror Hound are still great, but the new volume of Fangoria is fantastic from an academic perspective, and I think everyone who is afraid of the SWJs swooping down on them are going to regret their actions, especially if it tanks the magazine. If you didn't do anything wrong, you didn't do anything wrong. Period. I reject absolutely the idea that everyone on Earth with a penis is a rapist by default, and although I absolutely believe predators of any kind need to be stopped, outed, and punished, guilt by association is not a good thing. One of my closest friends in high school turned out to be a murderer and rapist, and at the time that came out, a lot of people cast suspicions and, on a few occasions, borderline accusations at those of us who hung around him. Although he was my friend, I didn't know what he was capable of, and I certainly did not condone or take part in it. That's the example I use as my guide.
**
Playlist:
Brainiac - Bonsai Superstar
The Chameleons UK - Strange Times
The Chameleons - Script of the Bridge
Le Matos - Summer of '84 OST
Zombi - Shape Shift
**
Short story almost finished, time for something new.
Over the last week or so, I've fallen back into The Chameleons UK pretty hard, and now Strange Times is a daily double listen (at least). I can't explain how much this album affects me; when I first found it in 2015 I was at a precipice, an unknown crossroads before me. It empowered the part of me that knew how everything would turn out, even if another, bigger part refused to go along with it.
I'd be remiss if I didn't add the caveat that, in my opinion, to really get the maximum effect of this song, it must be listened to in the context of the entire album, or at the very least, immediately followed by the next successive track on the record, Swamp Thing. Talk about an extremely powerful double-hitter.
**
I was SUPER excited to come home from work yesterday, smoke out, and watch Jeffrey A. Brown's debut feature The Beach House on Shudder. I knew nothing about this one going in except a blurb I saw that called it "Cosmic Body Horror."
I was not disappointed.
The Beach House takes an everyday situation, makes it awkward, so that a lot of the expectation is based on social mores. The film then balances on a precipice of possibilities, slowly turning up the tension, never quite doing what I expected it to. Which is almost always a great thing.
This one would make a great double-feature with Richard Stanley's The Color Out of Space, as the two films have similar themes and color palettes. Strong tone, great visuals and camera work - some nice juxtapositions of macro and micro with the lens - and eventually, squirm-inducing effects. Highly recommended, but wait for when you're open to a slow unraveling.
The Beach House was the first in a two-day, self-styled event viewing program that culminates tonight with the VOD premiere of Natalie Erika James' Relic. Without theatrical premieres and fests to look forward to, this is the way I stay sane and psyched for Horror Cinema!
**
Playlist:
Various Artists - Twin Peaks (Music from the Limited Series Event)
Ozzy Osbourne - The Ultimate Sin
The Chameleons UK - Strange Times
Lissie - My Wild West
Emma Ruth Rundle - On Dark Horses
Flying Lotus - You're Dead!
Exhalants - Bang (single)
The Obsessed - Lunar Womb
The Jesus Lizard - Head
Jenny Hval - Blood Bitch
Mannequin Pussy - Patience
Pygmy Shrews - The Egyptian
Perturbator - The Uncanny Valley (Expansion)
EPMD - Unfinished Business
Brainiac - Hissing Prigs in Static Couture
Holy Porter - Kistvaen
**
Card:
Personal or global? I think we know the answer to that one, although I don't really have any conflicts (that I know of) at the moment.
New song from Austin's Exhalants. For my money, these guys are the closest band I know of to that old school Jesus Lizard vibe I love so much. I ordered their self-titled debut last year from bandcamp and love it, now it would seem we have a new record coming soon. Can't wait.
**
NCBD:
Didn't 22 just hit the stands last week? Looks like there was one in the queue when the Diamond hiatus happened, so we're getting an extra treat here on the backend. Very nice.
I KNEW IT! I knew that zero issue for Transformers '84 that Simon Furman and Guido Guidi did last year would lead to a series. SO excited. I don't read any other title associated with this beloved childhood franchise, but if Furman writes it, I am there! And look at that cover - does anyone ever get sick of watching Starscream and Megatron try and kill one another? I know I don't.
Love this cover too! This series continues to blow me away with its new direction, so I'm psyched to have 106 come in so close to 105.
**
Playlist:
Andrea Moscianese and Francesco Zampaglione - Tulpa OST
Iggy Pop - Lust For Life
Exhalants - Band (single)
Exhalants - Eponymous
Brainiac - Bonsai Superstar
Brainiac - Hissing Prigs in Static Couture
Perturbator - Dangerous Days
Perturbator - The Uncanny Valley
War on Women - Capture the Flag
Over the weekend, I finally got a chance to check out the Brainiac Doc that's now streaming on Prime. Transmissions After Zero is a fantastic slice of Midwest, indie rock history. I'll never forget the day Mr. Brown first played me Brainiac's Bonsai Superstar. The vocals reminded me of a cross between Marilyn Manson and Adam Sandler's Excited Southerner character (NOTE: This was before Sandler had become an affront to good taste). The music too, especially the guitars, hit the sweet spot between melodic and completely angular and dissonant.
I love all Brainiac's records, and the death of Mr. Taylor was one of the most tragic moments of 90s music history. This doc 100% does both Taylor and the band's legacy justice.
**
Another flick I watched over this past weekend is Jason Lei Howden's Guns Akimbo. Howden has already earned a place in heaven for his 2015 Heavy Metal possession flick Deathgasm, and now this? Akimbo is freakin' nuts; the absolute heir to the Crank series' throne for meth-level madness. Samara Weaving can do no wrong in my eyes at the moment, and Radcliffe gives a great performance as Miles whose punishment for being a worthless internet troll is to have two guns bolted through his palms and made to play in an underground death match internet series. Sound insane? It is:
**
Playlist:
Lustmord - Hobart
Battle Tapes - Sweatshop Boys EP
Soundgarden - Superunknown
Zombi - Shape Shift
Brainiac - Smack Bunny Baby
Van Halen - Eponymous
Brainiac - Bonsai Superstar
Brainiac - Hissing Prigs in Static Courture
**
Card:
Everything needs time and consideration. This dovetails nicely with my early morning realization that the short story I've been wrestling with off and on for over a year now, isn't working out the way I want it to because I've been trying to shoehorn a 10K words at least into under 6K. Accepting this and re-approaching it from that perspective, things may turn out better.
For our second installment of Sunday Bandcamp, I'm sticking with another Spun Out of Control release, however, this time things are not quite what they seem. After discovering Turquoise Moon and their OST from Midnight Demon, I became interested in the band. However, it appears - as in I may be incorrect - that this is actually a side project of Andy Fosberry, who is credited with re-mastering the "Original 1983 tapes" created by Terry Ferrello and Frank Heisenberg, the credited members of Turquoise Moon. That's from the bandcamp HERE. Other than that, there is no information of Terry and Frank, Turquoise Moon, or Midnight Demon anywhere online.
THIS is the kind of thing I LOVE - bands or artists that cultivate mystery. And I feel like it just doesn't happen anymore. Also, really cool album.
I have been nothing but impressed with Two Minutes to Late Night, both as an example of the Late Night TV format I grew up loving with David Letterman (that's where it ends for me), and a vehicle for outstanding cover songs. How do they handle one of my favorite Soundgarden songs?
Perfectly.
They're Patreon is HERE. I've been meaning to sign up. Seems like today is the day.
**
Last night I FINALLY watched Ti West's In A Valley of Violence. As a huge fan of Mr. West's work, my natural inclination to watch this one back when it became available on VOD in 2017. That said, the film proved a source of massive cognitive dissonance for me, as one of the stars is travolta, and I have a 'no travolta' rule when it comes to cinema. There's really no exception to this rule, and while I'll agree he did fine in Pulp Fiction, that film is one I pretty much have no interest in ever watching again, so it works out. At any rate, Valley is currently on HBO, and K was interested in seeing it, thus I had an impartial third party to help me over my hump. Turns out, as I suspected, the film is magnificent. Also turns out, JT does a pretty decent job in it.
Is this a learning experience for me? Should I break down and challenge my No-ben stiller and No jim carey rules?
Nope. Those will stay staunchly in place. I can make an argument that the JT rule was made broken already, as my boycott mainly applies to the post Pulp Fiction work of the actor. His earlier work is spotty, but definitely contains some gems, Brian De Palma's Blow Out being the example that immediately springs to mind.
**
Playlist:
Mastodon - Emperor of Sand
John Carpenter - Skeleton/Unclean Spirit
War on Women - Capture the Flag
The Chameleons UK - Strange Times
True Widow - AVVOLGERE
Prince - Sign O' The Times
The Obsessed - Lunar Womb
Megadeth - Rust in Peace
**
Card:
From the grimoire: "Big Influences and the creation of a new project."
Yes. I'm sitting down to that new project after I post this, so spot on.
Whoah. The month between now and the release of Paul Hyett's new film is going to seem interminable. Read more about it on Bloody Disgusting, HERE. Kind of reminds me of Lynch and Cronenberg in a blender.
What a great way to kick off a holiday weekend, as Sacred Bones announces new, non-soundtrack music from John Carpenter! Read about the new 12" and pre-order it directly from Sacred Bones HERE, or from their bandcamp for 'no fees' day HERE.
**
Speaking of 80s Horror icons, over the past two nights, K and I watched A Nightmare on Elm Street 2: Freddy's Dead and Scream, Queen: My Nightmare on Elm Street, the new documentary on Shudder about the fall of the film's Final Boy Mark Patton's career after staring in the NoES sequel. The doc is great; it sheds light on a lot of questions that naturally arise in the wake of watching the film, and it really helps recontextualize a lot about 80s Mainstream Horror and Hollywood in general. Freddy's Revenge still feels rushed and stilted, however, previously every decade or so I re-watch it thinking it can't be as bad a I remember, and it always is. This time? Maybe in light of the revelations that have come out about the film, or maybe just because time has turned the nostalgia factor up for me - I've never been a huge Freddy fan beyond the original - but I didn't hate watching the film this time.
**
Playlist:
Talking Heads - Remain in Light
Various Artists - The Void OST
The Atlas Moth - Coma Noir
The Atlas Moth - An Ache for the Distance
Soundgarden - SOMMS (Record Store Day Vinyl Exclusive)
Black Marble - In Manchester (pre-release single)
**
Card:
Generating positive energy shapes the world. As does negative energy. I've always been a believer in using positive and dismissing the negative. There's a fuckton of negative at the moment, so this is a nice reminder to take a deep breath and look past it.
Available July 3rd. Buy it on Bandcamp, and Ms. Rundle will receive all the proceeds, as 7/03/20 is another 'no fees' day for artists.
**
It's been about five or six years since I last listened to The H.P. Lovecraft Literary Podcast, but I've been meaning to revisit it for some time now. I'm starting with Episode 37: The Shunned House, because honestly, this story came up elsewhere and I have no recollection of ever reading it.
This Lovecraft Amnesia isn't new; I began reading his work circa '92 or '93, when lyrical nods from Heavy Metal bands sent me in search of his work. At that time, it was nearly impossible to find Lovecraft's work in conventional bookstores - this predates Borders - and I ended up buying a copy of The Lurker At the Threshold at a local Record Swap store in Tinely Park, Il.
The shop had a kind of alternative press literary section, not very big at all and filled with titles like The Anarchist's Cookbook, and tomes written about the cinematic underground of Japan. Amidst those titles I came across Lurker, bought it, and promptly read it. It was't until years later I learned this was not a Lovecraft story proper - he'd helped initiate it - but was actually penned by his friend August Derleth, who functioned as a sort of understudy to H.P., eventually opening Arkham House Publishing after his mentor's death. Anyway, Del Rey began publishing cool paperback editions of Lovecraft's work shortly after that - the ones with the Michael Whelan covers - and that was how I initially read what I assumed was all Lovecraft's work. A lot of those stories didn't stick though, so that as years have passed, whenever I go back to them, it's always like I'm discovering them for the first time. After hearing a description of the climactic moments of The Shunned House though, I'm pretty sure I missed this one. I figured I'd brush up with the podcast, and dig into the story this weekend.
If you're a Lovecraft fan, The H.P. Lovecraft Literary Podcast is absolutely worth your time. Also, Chad Fifer and Chris Lackey's wonderful analytical conversations are both fascinating and oddly soothing, making them possibly my favorite podcast hosts ever.
**
Playlist:
Miranda Sex Garden - Fairytales of Slavery
RY X - Unfurl
House of Pain - Same As It Ever Was
Orville Peck - Show Pony EP (pre-release tracks)
Andy Fosberry - Death Ship 2047
Ry X - Thunder (single)
Tangerine Dream - Sorcerer OST
Ritual Howls - Turkish Leather
Card:
The fiery aspect of Earth, which can be dangerous if not controlled. I think this is a warning in regards to the story I'm editing at the moment, which is giving me a bit of trouble, as it has off and on for well over a year now.
It's been a minute since I last broke out the House of Pain. Not sure what inspired it, exactly, but damn! I miss 90s Hip Hop.
**
The sixth episode of the Borrasca podcast dropped Monday. I didn't get a chance to listen until yesterday, and wow! Best episode yet. This one was chilling in its stoicism.
Only two episodes left. I'm all in.
**
Playlist:
Miranda Sex Garden - Fairytales of Slavery
The Chameleons UK - Strange Times
Lustmord - The Dark Places of the Earth
Helms Alee - Sleepwalking Sailors
Code Orange - Underneath
Slipknot - We Are Not Your Kind
Skinny Puppy - Bites
Crystal Castles - (II)
