Let us rejoice...
Thursday, October 16, 2014
If you don't know SCARFOLK -- check it out. There's nothing I can add, because they have magick psionic tendrils that vibrate like spider web strands when anyone dares quote or discuss the town beyong cautious, brief, respectful praise. I will tell you that they're sooo British that their newly released book 'Discovering Scarfolk' isn't even available in the U.S., you have to go to Amazon UK and deal with all that currency exchange and overseas shipping.
BUT - we can see, at last a lot of the origins of the amazingly specific and haunting motifs at work, namely scary British TV shows aimed at children, both cautionary, imaginative and in general vibing off the local richness of Stonehenge, druids, human sacrifice, and psychedelics.
One show that apparently scared every kid who saw it is called CHILDREN OF THE STONES:
Also, check out 'The Hauntological Society" for summaries and capsules of old British shows, like A Come Andromeda.
And the magazine The Unexplained -- and to think of all the time I wasted reading Ranger Rick!! Would love to find these somewhere.
Lastly, a British Public Information film called The Finishing Line.
And to think what we missed by having only one public-funded TV channel and prudish corporate-driven censorship that forced everything into treacly mush!
Here's the piece by Scarfolk writer Richard Littler discussing these and other horrors you'll want to unearth, if you're daft.
Wednesday, September 24, 2014
Retrofuturist Synth Module Scores is Then: Sinoia Caves (BEYOND THE BLACK RIANBOW); Tom Raybould (THE MACHINE);
Dig these bizarro retro phat synth paranoid scores: Rayboulds is somewhere between Vangelis for BLADE RUNNER, John Carpenter for ESCAPE FROM NEW YORK and Tangerine Dream for SORCERER, and the perfect wallpaper for a crisp fall afternoon wandering through a dying landscape, each rustling orange leaf in the street an ominous portent. And Sinoia Caves is for when your floating down the street at dawn, chased in slow motion by your own shadow looming 60 feet tall and with burning coal eyes but you are not afraid, in other words part György Ligeti from THE SHINING and part Claudio Simonetti from TENEBRE. And it's on Spotify, which you should have if you don't, human, because the future is now and nearly everything but the Beatles can be crawling all over you...
Thursday, August 14, 2014
Friday, July 18, 2014
I once had a weird old Stones bootleg LP called 'Taxile in Main Street' and it had this song on it. The rest was just muddy jams from old concerts or alternate takes from Exile. I loved this song so much, it was worth the price. Why they never put it on a real album is one of those great mysteries. Actually - I might have got it off my punk friend's bootleg LP, but I can't remember the name. Oh well here it is:
Friday, June 27, 2014
Here's my favorite Floyd song and its original single wrapper. Damn them for never putting it on one of their records so it would be avail. on Spotify -- not even on one of their recent grand remaster deluxe versions of PIPER AT THE GATES OF DAWN and all that. But hey, youtube comes through again:
Tuesday, May 6, 2014
An accessible punk St. Vincent crossed with Debbie Harry if played by Darryl Hannah in replicant mode, ready to hit the Deckard like a sonic version of She-Hulk or break k-addicted hearts like Lana Del Rey, Erika M. Anderson (EMA) is one of my favorite artists ever since her Past Life Martyred Saints blew me away and helped me accept the inevitable dark death horizon (see "Strangers with Wet Hair")
Standing at a colossal six foot and looking like some glamazon mix of my Aunt Anne, Kim Gordon, Courtney Love, and a blend of every character in Kathryn Bigelow's NEAR DARK, she handles lots of make-up and hair bleach like to the punk rock manor-born, and while some of her more shrill noise stuff doesn't grab me, the contrast it creates with her slower more glacial stuff makes it all worthwhile. While critics fawn over St. Vincent's recent release -- which like EMA's focuses on the pros and cons of the digital age - the slow unmooring from this crinkling earth reality -- it's EMA's stuff that is, somehow, for being a little more chaotic, darker and lighter at the same time, more human, sexier, toothier. Ger recent album inspired me to collect my favorite of her works thus far. Why wouldn't she deserve a best of?
I even made her a mix CD on Spotify to show my devotion! I know she's on there, but she hasn't answered my letter. I listen to it anyway... aren't all mix tapes better when made for someone you adore in one way or another, even if you never even met them?