So I've been digging on witch house act White Ring ever since I saw them live early last year, and their track lxC999 has been on constant repeat on my iPod. So, boy am I happy to say they've got a new single out. It's a 12" out on the Handmade Birds label, and contains two tracks, one of which is a cover of Neil Young's "Hey Hey My My."
I wrote previously about IDing a cover of a book I own from several seconds of noticing it as set-dressing in an unrelated production. Watching Law & Order recently, I caught a new one:
L&O S4E14 "Censure"
Yep, that's Lt. Anita Van Buren, under cover and reading a copy of the 1974 Bantam printing of Gravity's Rainbow. A book I owned for years.
I put down that book in sheer exasperation more times than I could count. When I moved, I finally realized that if I was going to ever read the damn thing, it would be on an eReader and I sold my copy, along with 75% of my library.
I've gone on and on and on about how great horror movies are and how I still can't bring myself to watch any of them. I remember trying to watch The Strangers, getting feelings of godawful anxiety, and turning it off because god dammit I was an adult and didn't have to put up with anything that made me uncomfortable. So it really, really sucks that I will never bring myself to watch either version of Michael Heneke's Funny Games. Not only because Boardwalk Empire has made me a fan of Michael Pitt, and not only because the idea of a director remaking his own film shot-for-shot a few years later sounds amazing, but mainly because the movie is constantly violating the fourth wall to include and implicate the audience in the horrors going on around -- and, more importantly, for -- them. Here's a few choice cuts. There's no violence, but the first scene has a dead dog in it, so heads up:
The idea that the innocent family in the movie is terrorized, tortured and murdered for the audience's pleasure and the audience's pleasure alone is brought right up to the audience on a silver platter. The most infamous scene, and one of the hardest fourth wall breaks in a non-comedy, follows. If you don't want to watch it: one of the antagonists is killed when the wife of the tortured family grabs suddenly grabs a shotgun and kills him. The other antagonist finds a remote control, rewinds the film, and grabs the gun right before she does. Needless to say, this scene contains gore and the rest of the mise en scene of a home invasion flick:
The boys who are torturing this family are doing it for us, and they will use our techniques as the audience of a film when their techniques are not enough. The victims aren't given a chance to fight back against the flow of violence even when they succeed. Nothing prevents this movie from going to its inevitable and desired conclusion and the cycle starts again with a new family at the end. Goddamn if I didn't wish I had the temerity to watch this damn movie.
Co. Alt Sounds
I have a odd sensation guilt when I like first song of an album considerably more than the other the tracks. Unless the rest of the album is absolute crap, I feel like I really didn't put as much effort into enjoying the album as I should have. So, when it happened to me with The Black Ghosts' new release When Animals Stare, I decided to really give the album a shot beyond the first track. This first track, meanwhile, is wonderful, fitting into that grew-up-listening-to-Michael-Jackson groove, within which every other band that tries to cop MGMT's sound resides. Listening to it for the first little while, I could've sworn it was a cover, just because it feels like a dusted-off and remastered track off a forgotten album from 1994. Take a listen:
So, I decided to keep listening to it. My bus ride home from work was probably my fifth or six go-around, and, lo and behold, I managed to find a track I like equally, if not more. "Forgetfulness" is one female vocal track short of a great, early Architecture in Helsinki track, and rather different than the darker tone When Animals Stare has. It's sweet and even a little goofy, albeit the lyrics aren't any brighter.
In completely unrelated news, a spambot seems to have exploded in the comments section of one of my posts. Go check it out.
I have absolutely nothing to say about this video by David Lewandowski, who also did a lot of the graphics for Tron: Legacy. Anyway, outside of the fact that the sound editing is brilliant. And also that it's a modernd-day dadaist masterpiece. It's under a minute long. Just watch it and be amazed.
A while before Depeche Mode released their first album, Speak and Spell, their song "Photographic" appeared on the New Wave/New Romantic label Some Bizarre's first compilation of unsigned bands. This version was significantly different than the version that would eventually appear on Speak and Spell. It's considerably more hard-edged, with more primitive synth and, in my opinion, is a much better mix than the album version.
I wrote about Cyriak earlier, and he's got a new video out. I have to say that the more of his videos I watch, the more I'm delighted by the music as much as the video. It reminds me of a harder-edged Belbury Poly (who, themselves, sound like a more whimsical Boards of Canada.) So, enjoy his latest, "Kitty City":
Someone on MetaFilter recently linked to an amazing piece of work from 1973. It turns out that as party of some crazy scheme to nail Reed Richards, Doctor Doom had hired the services of Luke Cage (Hero for Hire) and ended up stiffing him on the $200 bill:
Naturally, Luke Cage beats the crap out of Doctor Doom and then proceeds to save him -- a corpse can't pony up a pair of c-notes, after all -- when the Faceless One shows up for one reason or another. Also, may I say he idea that Doctor Doom has two hundred dollars (in small bills) hanging around his Latverian fortress is delightful.
I've talked about my delight with electromechanical games earlier, and while they have basically no advantages over their fully-digital counterparts, there's still a certain amount of charm to them. So there was a bit of delight when I stumbled across this. I also have a lot of love for Out Run's aesthetic which is admittedly a bit underrepresented in this adaptation.
In case you don't remember it from sucking up your quarters at the arcade from 1986 onward, Out Run looks like this: