a Blue Pair

I found this adorable couple last weekend, a thrift store find. I picked them up and put them down more than once, but in the end, had to take them home. I can't imagine what their use was/is. I feel if they were simply figurines then they wouldn't be hollow, perhaps that's a bad assumption? Upon seeing them, I immediately thought Dickens, and Victorian England, but again, that might be a bad assumption. I also think they are someone's creation as opposed to some commercial item based on markings in the base.

From the Least Cool Sister's Album

Though I do admit, it has some great tracks. And "Sister's Least Cool" is still rather fucking cool. I've had an utterly defeated kind of day, so there's this.

Thrifted

Yesterday, I had a few moments free, so I swung by my favorite cd thrifting spot and picked up three completely unknown-to-me discs, much as I have done my entire post-adolescent life. This is obviously a hit-or-miss process. So, here's the three:

Dewey Defeats Truman: "b-sides, rarities, and out-takes"
This early 2000's, San Diego-based band is not terribly unique, but offers enough nuances that makes it worthy of listen. Clearly talented, and diversely influenced, it's surprising that it doesn't seem to fight beyond such familiar trappings. It is at times familiar to Harvey Danger, and probably a lot of pop-punk bands I am barely familiar with, but as I mentioned, there are some sparks that grab hold. Tempo changes, and Fugazi chord progressions wrapped in a bittersweet punch of Weezer is my best effort to offer some define. Unfortunately, I couldn't find a single thing on YouTube, or the interwebs to provide a sample. So, unless you are a huge fan of indie/pop/punk - then I think you might not want to seek this one out. But if you should locate one of their two releases, I wouldn't say, skip it. It's worth a listen and it's worthy of being in your collection.

The Teacups: "This Will Come Back To Haunt You"
Okay, this is immediately adorable. It's "Lump"-era Drop Nineteens, Deerhoof and They Might Be Giants. Not at all surprised that their label is based in Athens, GA., or at all surprised this they are Wisconsin-based, but quite surprised to discover this is a '98 release. This may very well be pre-hipster?! It is painfully familiar, and simple on most levels, but it's permeable innocence is intoxicating and I love it. This disc is a gem and I am ecstatic to have discovered it. Again, couldn't find anything to share. Eff! The album is on iTunes.

Homescience: "Jungling"
This was another score. I love that it was recorded into multiple channels, so that sitting in the car listening to this disc is like being surrounded by the band. Homescience is from Edinburgh, and that comes as a bit of a surprise because the britpop elements are subtle at best. They may very well be Scotland's answer to Low. It's equal elements harmony, and muttered vocals subdued beneath a wave of keyboards and 60's fringe pop. It's a brilliant melange of textures, unique instrumentation and manic-depressive lyrics.

Haloeween V.3

Okay, the final installment. I do like this one best, because it is so mixed and offers some indie selections. I am addicted to the Big Bad Voodoo Daddy track, but my favorite is the Sneaker Pimps choice. Something about it... mellow and infectious. Also included my favorite Oingo Boingo track. I still laugh when I think about that night Maisy and I discovered The Shaggs! The link will remain active until Halloween. Enjoy!

01. Surfin' Spooks - Ghastly Ones
02. I Go To Bed With The Undead - The Meteors
03. No One Lives Forever - Oingo Boingo
04. Funeral Song - Sleater Kinney
05. Small Town Witch - Sneaker Pimps
06. Attack Of The Ghost Riders - The Raveonettes
07. Swamp Witch - Jim Stafford
08. Zombie Riot - Batmobile
09. Dracula's Wedding - Outkast
10. Spooky madness - Big Bad Voodoo Daddy
11. Monster Mash - The Misfits
12. Evil - Nerve Agents
13. Zombie Stomp - Ozzy Osbourne
14. See You In Hell - Grim Reaper
15. She's A Zombie Now - The Meteors
16. The Halloween Dance - Reverend Horton Heat
17. Devil's Dance Floor - Flogging Molly
18. Vampire Ska - Horny Toad
19. Halloween - AFI
20. Rotting Vampire Eyeballs - Tsunami Bomb
21. Night Of The Vampire - Roky Erickson
22. Zombie Crush - Groovie Ghoulies
23. Halloween Night - Gypsy & Queen
24. It's Halloween - The Shaggs

Haloeween V.2

Here's, "Haloeween V. 2". Again, a mixture of some obvious choices and some rather obscure pieces. I was never able to identify the artist on Ghostbusters, but it is in the vein of Me First And The Gimme Gimmes. Addictive comes in the form of My Girlfriend Is A Vampire and the Penis Flytrap selections. Again, I will keep the link active until Halloween. Enjoy!

01. Werewolf - Southern Culture On The Skids
02. The Creature From The Black Lagoon - Dave Edmunds
03. Ghostbusters - ?
04. Emotional Vampire - Butt Trumpet
05. Village Of The Damned - Penis Flytrap
06. Tonight - SSQ
07. Dead Man's Party (Techno Mix) - Oingo Boingo
08. Haunted House Of Rock - Whodini
09. Ghost Town - The Specials
10. Is It Scary? - Michael Jackson
11. I Walked With A Zombie - R.E.M.
12. My Girlfriend Is A Vampire - Planet Smashers
13. Surfin' Dead - The Cramps
14. Cemetery Girl - Penis Flytrap
15. Monsters - The Cruxshadows
16. Vampire - Bif Naked
17. Monsters - Pushmonkey
18. Horror Movie - Lords Of Acid
19. Haunted House - Jumpin' Gene Simmons
20. Furry Happy Monsters - R.E.M. with Sesame Street Monsters

Haloeween V.1

One of the things on my mind a lot this past week has been Halloween. It's been kind of killing me that I won't be sharing it with somebody that I know absolutely loves the holiday and "goes a bit overboard with the decorating". I was secretly so excited about it that I was fantasizing. Anyway, I don't know what will happen, where I'll be or what I'll be doing, but for a number of years I was making Halloween compilations dubbed, "Haloeween". I am ready to retire these and share them one final time in this format. They are not perfect, and some of the selections are predictable. I warn you ahead of time, Go Go To The Graveyard and Vampire Girl are utterly addictive. I will leave this link active until Halloween...

01. Bloodletting (The Vampire Song) - Concrete Blonde
02. This Is Halloween - Danny Elfman
03. Halloween - Siouxsie And The Banshees
04. Burn The Flames - Roky Erickson
05. Riboflavin-Flavored, Non-Carbonated, Polyunsaturated Blood - 45 Grave
06. Go Go To The Graveyard - Deadlines
07. Pet Semetary - Ramones
08. Black Magic - T.S.O.L.
09. Over At The Frankenstein Place - Rocky Horror Picture Show
10. (Everyday Is) Halloween - Ministry
11. Monster (In My Pants) - B-52s
12. Halloween - Aqua
13. The Witch - Rosetta Stone
14. The Mummy - The Slackers
15. Little Red Riding Hood - Sam The Sham and the Pharoahs
16. Cemetery - Headstones
17. Vampire Girl - Groovie Ghoulies
18. Vampire Love - The Misfits
19. Zombie - Cranberries
20. The Phantom of the Opera - Me First and the Gimme Gimmes

Diane Arbus

I have been on a bit of a Diane Arbus kick lately, and thankfully the Orlando Public Library system has my medicine; hell, they even leave it on my doorstep. My exposure to Arbus came in the form of "Fur" with Robert Downey Jr. and Nicole Kidman, and I have been curious about her work since. My exploration into her body of work revealed an artist that found beauty in the taboo; on the fringe; and where most refused to look. More importantly, she found beauty in the every day; the dirty, the untouched, unglamoured reality of living and being true to one's passions, interests and desires. I know there's been claims that Arbus was exploitative, and an early embodiment of current individuals such as Harmony Korine. If that is the comparison, then the problem isn't the artist, it's the one offering the critique, because just like Korine, Arbus wished to strip away those taboos by forcing you to look; and using her notoriety to encourage the glance. The reality is, years spent photographing for fashion magazines was not her idea of beauty; it was not real and had no soul; but a drug-addled, broken-spirited model on the verge of collapse or a war hero nearly crippled by the weight of his choices were characters full of life, and begged for Arbus' lens. Not to mock, but to offer truth. Her name alone gave her access to the most powerful people in the Western World, and she embraced their cracks in the same light as she would the pride of a 75 year-old nudist.

Mia Farrow

Arts Critic John Gruen

Female Impersonators, Club 82, New York City, 1962

Which one is the real one?

Max Maxwell Landar, Uncle Sam

Tiny Tim has never been so handsome...

Little Richard

Winston Churchill

Mrs. Dr. Martin Luther King, Jr. at his wake

Audra - "Everything Chamges"

Let me preface this post by saying this is not as much a review as it is a chunk out of my life. I could never have anticipated the events that preceded "Everything Changes" or the emotions that would follow. So, please forgive if this review bleeds into personal depths.

"Everything Chamges" is Audra's finest release, without question. The fact that it is independently released, and steers clear of the familiar (or expected) shows the band emerging and rebirthing. Audra was never a "goth rock" band, but their connections with the Rozz Williams community, their tribute song to Rozz, their infamous show with Gitane Demone, and of course the comparisons of Bret Helm's vocals to that of Peter Murphy sort of locked the band into a scene that while loved, was not one they coveted. Anyone blessed enough to hear their material prior to their self-titled Projekt release knows that Audra has more in common with Jane's Addiction than Bauhaus, but in all honesty, they wouldn't shy away from either accusation. The three members of Audra, Bret Helm, Bart Helm and J. DeWolfe encompass such diverse musical interests, and present themselves with such mastery of their craft, that trying to compare Audra as a whole to anyone is fruitless. It's a line you can draw from Gram Parsons to Venom... but I challenge you to pinpoint any single note and say, "See, there, that's so and so!" Audra is wholly an original band that is not relegated to any one sound or genre.

I was fortunate enough to see Audra perform live at Convergence 14 in Tampa, Florida. They offered a preview of what would become "Everything Changes" and they truly rocked the hell out of the Tampa Convention Center and blew away all other acts that night. Fuck, even a "techno-viking" wannabe was enamored with them and shred the dance floor. The much more important event that took place that night was the bond I made with Bart, Bret, and Greg Gibbs. It is one that transcended that night in Tampa, and has become a part of my life. I couldn't have prayed for a nicer group of people, or a more fun adventure in S & M, body builders, and corny jokes. And I learned how to tell what side the gas cap is on without getting out of the car. It has and always will be etched upon my memories, and had I known what was to come, I likely would have grasped a lot more tightly to that moment.

It's eerie how profound the songs on "Everything Changes" would become, and still are. It's a powerfully, and personally written collection of songs complemented by an emotional and driving musical arrangement. There isn't a track on the album that doesn't illicit for me some memory; flashes of the show; flashes of words exchanged; flashes of smiles. The disc opens with 100 Years, a driving track that soars and makes the limbs move. A song about being true to yourself; trusting yourself in spite of the walls that crash in around you. It's a powerful opener and set's the stage for the songs that follow.

The title track, continues you on the path of wisdom and "Everything Changes" sort of takes shape as a concept album. You realize that this truly is a transition for the band; shedding the cloaks of expectation; transgressing into who they want to be musically. It's a difficult and painful journey, and this album paints such a brilliant and precise portrait of that landscape that the immediate response is to draw parallels to your own adventure through life. It is a personal album, not only for the band, but for the listener.

What's Meant To Be continues that conflict of stay the course or give in and be someone else. Bret's vocals have never been so inviting. Musically, it's a brilliant blend of electronics, subtle keyboards, and amazing drums/percussion. It fills you with hope, gives you some assurance that life is what you make it.

Robin Wilson of Gin Blossoms offers vocals on I Just Can't Let Go, and this is a song that is most evident of Audra at their best. Passionate vocals, a wall of guitars and driving drums. It's a chilling song, and it builds and builds and then the backing vocals come in, and it's simply brilliant.

Jason And The Doors is that track from every Audra album that you know is somehow influenced by some bizarre night or some unexpected event that is an inside joke amongst the members. Opening with vocals and piano, slowly accompanied by percussion and then a beautiful and subtle song evolves with slide guitar.

Forceful, frenzied and decadent is Ocean. The underlying electronics fill this song with anticipation, while you are propelled to move to the rhythmic assault of bass and drums. Definitely a club favorite!

Life On This Planet is in my opinion a total departure for Audra. They will likely smack me for this comparison, but upon hearing it the first time, musically I would compare it to something from "Anti-Christ Superstar", it is bombastic, and seethes with a sinister beauty. "Bret, are you inviting me to take a bite of the apple...?"

My favorite track from "Everything Changes" is Syd Barrett. Audra absolutely captures the madcap musician perfectly, I believe he would be honored by this presentation. The opening notes are intoxicating, and J. DeWolfe's percussion is so precise and a perfect blend between subtle and driven. The echoed vocals give way to Bret Helm spitting his affirmations of being okay. Bart Helm's guitar wails as if exorcising the insanity. There isn't a more appropriate close to this story.

I unfortunately can't listen to "Everything Changes" as much as I would like to, it's simply too personal, another scar, however brilliantly colored, on my heart. It's a tremendous album and Audra's finest. It's a special journey and if you find yourself at a crossroads in your life, this could perhaps be your closest companion.

"Everything Changes" is available thru Audra's Website: Audra's Official Website

Shark Egg Blues - "Logic Vs. Magic"

Shark Egg Blues is a solo project for Zara Kand of The Crystelles. Possibly it's unfair to have such high expectations of someone born into a musical and artistic family and expect them to churn out something wholly unique and spellbinding. Zara not only terraforms a completely unfamiliar landscape, she lays bare her emotion and paints each and every word with her ubiquitous presence. "Logic Vs. Magic" is permeated with stripped down acoustic guitar, accented with equal amount experimentation and blues. A listener would struggle to trace her musical influences, but find themselves in that same moment in a familiar embrace. The closest I could come to a memory ushered in while listening to "Logic Vs. Magic" was when I was introduced musically to Omewenne. I fully expected an album heavy on beat-driven elements, Zara being the percussive component of The Crystelles, but drums are used sparingly throughout and instead the songs give way to soundscape and layered structures. Then Cup Of Emptiness hits and knocks you flat, Zara has a soulful and intoxicating voice and it exudes a balmy seduction... clear and powerful. Shark Egg Blues proves without a doubt that Zara Kand's artistry transcends the brush, the pen, and most importantly - she has created a portrait uniquely her own and deserving of solely that. Speak not of the talent that precedes her... sit back, let go of what you think you know and who she knows, start "Logic Vs. Magic", close your eyes and open your ears and be transfixed by this album. It's a journey far from over, but savor it's sweet beginnings.

"Logic Vs. Magic" is available here to download for $2: Logic Vs Magic at 21st Media

Guilty Strangers - "Walking The Wire"

As I wait to receive the newest release from Guilty Strangers, I thought I'd take the opportunity to discuss the album that didn't get released yet somehow became an internet sensation and bled across the deathrock, goth, post-punk corners of the web like the seductive undead. "Walking The Wire" offers a Guilty Strangers that colors their no-wave/deathrock roots with unexpected covers and delicate fringes of paisley (yes I said it), experimental and early L.A. post punk. Officially, there's eleven delicious tracks on this release, but my copy came with just eight. Those eight however, are each individually decadent and mesmerizing. Each song leaves you begging for more of the same, but you are denied and instead offered a serving of something even more intoxicating. With the exception of the title track, all of the music is recorded and performed by Shawn and Christine Terry. Christine of course is the love child of Kendra Smith and Lydia Lunch... and it's a heritage that comes to full fruition on these recordings. Decidedly stepping away from the 'Teenage Jesus' comparasions and instead embracing the dark side of paisley/psychedelia of bands like Opal offers a whole new dimension to not only her range as a vocalist, but to the band as well. Shawn continues to be the fabric and talent that weaves such an eclectic tapestry of influences from deathrock to glam rock that he effortlessly breaks the molds of genre and transforms Guilty Strangers into an orchestra of 5 decades worth of rock and rebellion. A Lou Reed cover?! If that isn't enough to make you want to have their babies, Tumbler and Walking The Wire (featuring Heidi and Roland) will be. Do yourself a favor, support this band. Go see them when you can, and buy their extremely limited releases when they are available, they will be treasures in your collection on many levels.

"Walking The Wire" is available as a free download from Zorch Records, here: Walking The Wire from Zorch Records. A very small amount of Guilty Strangers' new album, "Oracle" is available on eBay here: Oracle on eBay.

Dead Can Dance - "Anastasis"

I was 24, I think, the last time I bought something new from Dead Can Dance, I was probably barely 20 when I bought something from Dead Can Dance that I loved from Track One to Track End. I am guilty of being utterly in love with Lisa Gerrard's voice, and cynical of nearly everything Brendan Perry does. I admit, that disdain has diminished over the years and I have found myself beckoned helplessly by his inviting, warm tone. I guess I could expect one of two things, more Dead Can Dance; or try passionately to meld the directions Lisa and Brendan have gone individually in the last two decades into what I'd imagine the new album to be. I'm pleased to say -it's both and it's neither.

"Anastasis" is comprised of eight epic-length tracks comprising a nearly hour-long journey through history; through diverged paths; and familiarity. Not that any of that is a complaint, because in all honesty, my fear was to purchase an album so foreign to the concept of DCD that it would ruin a dream. However, there is a part of me that hoped in some small way, that influeces of the past two decades might somehow breathe a vague and ghostly kiss upon these recordings. Sadly though... no. Is that a bad thing, not if you really just wanted a new Dead Can Dance record and that 14-year gap is utterly invisible to you.

Children Of The Sun is easily recognizable as a danceable, neo-classical, Dead Can Dance song that fits on "Aion", "Spiritchaser" - seriously, take your pick. You know that track from each album that dj's lust over to remix, and if it really were the 90's, there would be techno, rave, and house mixes well in the works.

Haunting and speall-weaving is Anabasis, our first treatment on the disc to the powerful vocals of Lisa Gerrard. She truly is the voice of the earth and all it's elements. Simple metallic percussion rhythmically drives the track. This is another example of DCD and what you've come to expect, but the musical tone is more reminiscent of the wordly influence the band tackled on "Spiritchaser". If the entire album had been 60 minutes of this song, I'd have nothing but total love and admiration for it.

Agape is another danceable, neo-classical beauty with Western Asian elements. Another track accenting the vocal range of Lisa Gerrard, and is more familiar as her solo efforts, and recalls Yulunga. Again, relying on simple percussion, and a eerie collage of strings and dulcimer.

Midway thru "Anastasis" it begins to shake it's warm coat of familiarity. Brendan Perry makes a sleepy and melodic vocal effort on Amnesia and it's utterly inviting. Heavy on orchestra, the only criticism I can offer is that the hign-end percussion is off-putting. It's forgivable because the wash of Perry's voice and the strings is so evocative and comforting that it's hard to be dismissive of anything musically or otherwise.

Kiko offers more Western Asian influence. Though a lush track, this is the least inviting. Each aspect; Gerrard's vocals, guitar, percussion, piano are beautiful, however they only have the depth and feel of a new age track. It's rather unflattering and flat. I don't feel transported, invoked, or even enpassioned. Not forgivable this time.

Sadly, Opium barely offers a respite from the heavy bass and drums. Brendan's undulating vocal assault is intoxicating, and the string arrangements are breathtaking. This is a Brendan Perry track beginning to end, and it could literally have been lifted straight from his recent solo works. In that context it's lost, but on this release it's another exhibition of his amazing talents and it's enough candy to make a return for more.

Return Of The She-King is a song much too long overdue in embracing Celtic, Irish, Scottish roots. Lisa's vocals are part of the mystery, soul-stealing really. Her voice is layered; part of the instrumentation, as well as above the journey. It evokes images of lush, green hillsides and faerie circles. The percussive bells has me excited to put this song on at Christmas. It's beautiful and utterly calming. Two-thirds into the song, a military snare invites the vocals of Brendan Perry and finally you have an element of Dead Can Dance that has gone missing for too long. Lisa and Brendan sharing vocals. They accompany each other so well, and perhaps because both have such powerful voices, it's a measure of avoidance, but this is so captivating to hear, but all too brief. It's almost as if it's presented to you the listener as a gift, a thank you for years of supporting them and embracing them again.

All In Good Time highlights Brendan Perry's vocal talents, and this is a nice blending of where he is now musically, with what he offered to Dead Can Dance. This is a stunning track, music is the soundscape beneath the liquor of his voice. Cresting strings, synthesizers and subdued percussion. You expect it, but this is his strength, and he carries it here as well as he ever has.

Yes, absolutely go buy, "Anastasis". There is nothing here that will disappoint you, and if you can afford to go do so, go see them. Sadly, I will not be able to go, though I fully intended to. I will have to settle on Austin City Limits, and just be happy with that. This album is rich and lush, and renews my passion for DCD that had been shattered by their final releases. There's rebirth throughout and it doesn't at all sound forced or compromised, it's truly terrifc muscianship to it's core and it feels utterly natural. I was full of apprehension, but I am happy to say I was taken on a journey and it was amazing.

45 Grave - "Pick Your Poison"

Well, you know, it's been 25 years since there was a legitimate 45 Grave release. All of the members that made "Sleep In Safety" unforgettable and culturally significant have passed on or moved on, save the intoxicating banshee, Dinah Cancer. There were only brief moments since 1989 that 45 Grave were at rest... but sometimes the dead refuse to stay in the ground. Since the early '90s, Dinah has made efforts to return to the rightful throne of punk's Scream Queen. The deplorable and unwelcomed "Debasement Tapes" from Cleopatra Records offered very little to someone unfamiliar with 45 Grave's legacy, and only annoyance to long-time fans. Dinah again began to make resounding waves with Penis Flytrap, and ironically that bone-shattering wail was such a comfort to hear. In a few short years to follow, 45 Grave began touring the U.S. and Europe with assurances of a new album. We've waited with baited breath for nearly a decade for it to come to fruition, and this August (earlier for mp3) we are presented with, "Pick Your Poison".

Of course there's expectations, 45 Grave is my love-child. You immediately recognize some titles, "Akira", "Sorceress", and the teaser from the past couple of years, "Night Of The Demons". No, right from the start, this is not "Sleep In Safety II". Dinah has been exposed to countless musical influences in 25 years, is no longer addled by addictions, and she's the sole remaining member. Not to mention, it would sound frighteningly dated if she even tried to record "Sleep In Safety II". I am guilty however of thinking maybe something along Penis Flytrap might emerge, but that too is more than a decade ago. So, what do we have??

"Pick Your Poison" is appropriately titled to be honest. One can look at it as a tip of the hat to musical influences, or you can break it down to the simple fact that this is dirty, scary, campy, bar rock album. Like Bordello Of Blood's house band. No disrespect at all is intended by those comments. Dinah's voice is still strong, and her presence is inescapable, but if you are looking for "Partytime" wails, then you will be a sad, sad deathrocker. There are elements of hard rock, post punk, dare I say, an effort at cowpunk, no, no - can't be, and a measure of rockabilly and ska. "Johnny" definitely comes from left field, which is apparently a dusty, bar with a jukebox containing only early country & western. Hey, it's fine! This is a drinking album, seriously. No beer - straight whisky my friend.

"Sorceress" is goth/death rock, and it's the skeleton from the 45 Grave wardrobe of horrors. It will appeal to hardcore fans, with it's polished vocals, a driving rhythm, and seedy guitar. It's a warm and bloody bath of familiar phantoms. It would easily be my favorite track from the disc, but I actually am impressed most with "Child Of Fear". It has a bit of fairytale horror to it, similar to early Switchblade Symphony, but with more complex guitar progressions, and I love the layered vocal effects. This is actually quite familiar to me, but damn if I can place it. Doesn't really matter, 45 Grave put forth a solid track that would make Alice Cooper take notice.

"A Desert Dream" is unexpected, a piano-driven instrumental that is a child's music box left behind after The Dust Bowl. It could easily fall into a post-rock category, but the guitar aspect is reminiscent of the 70's. It's an interesting mix that works well, and if there has to be a ballad - I'm glad we decided to be original with it.

"Winds Of Change" is the closer, and it's got horns, it's got rhythm, and yes, I want to dance, thank you for asking. It's another oddity from the curio cabinet that is "Pick Your Poison", but hell, maybe Dinah is an Oingo Boingo fan like me? It works, it's wonderful, it belongs.

Yes, "Pick Your Poison" does suffer a bit from a scattering effect of influences. It's binding element is the macabre, creep-campiness of the lyrics. You are making a mistake if you want to take this seriously and choose to accept this in any other way than a band that had a blast recording an album that is amazing to drink to. It's been 25 years, and to expect something different is unfair. Honestly, it would be unbelievable and regrettable. Elements of the part are present, a healthy enough does to know that the film projector running 80's horror movies in Dinah's heart is still a well-oiled machine, and she is still the ultimate deathrock party girl that we all love. It's enough and I thank 45 Grave for bringing the party to me.

"Everything"

This track has been on heavy rotation. I found this album at a time when my world was crumbling. Even though it's a powerful album for empowering women; I find it to be evocative and thought provoking, and I certainly made an emotional connection to it. You throw some cello into a track, and you have my attention... a total sucker for it. "Man", ironically titled given the message throughout the disc, was Neneh's third full-length, though it's domestic U.S. release either never happened, or was years delayed. She had already been written off in The States. Ridiculous timing, because as her light faded, her production team and her home town were about to strike hard at the throats of the American music scene and set it on it's ear. Go!Discs unleasehed fellow peers Portishead and Tricky, and dumped introduced trip hop to the masses. A scene that had already taken hold in the U.K., many of the acts emerging from the bleak, industrial wasteland of the town of Portishead. It was a melange of the youthful disenchantment that was the Seattle/X-Gen scene, and the underbelly of an acid generation that preferred glowsticks to plaid. It unleashed a new wave of brit-pop influence, and the acid/psychedelic culture evolved with many sounds, trip hop certainly included amongst them. It also began to shape the NY hip-hop scene, bringing in samples other than jazz.. alumni such as Beastie Boys and Moby certainly took notice and ran with it.

"Man" is a severing of expectation and being a slave to the music industry. Thrown to the wolves, and unfairly criticised on a professional and personal level, Neneh chose a measure of seclusion to focus on her family. And emerged with renewed strength, angst, and self-worth. She speaks so eloquently about love and hurt; about passion and betrayal; and eqaully about the type of love that's important to one's happiness and sanity. You can't help but fall in lust with her as she describes masturbating to her own reflection, but there's nothing narcississtic about it - it's empowering. That confidence is infectious and intoxicating. At the same time, you fall in love with her because she sings so sincerely about love of family, and love of self. How easily she could be bitter and hateful, but she teaches healing and taken care of yourself... a powerful message I am attempting to embrace...



Everything, anything I see
Anything, everything I feel
Everyday anytime I know
Anything everyone has to go
Champagne lingers in my glass
The party's over
I see my reflection, sipping
And it reminds me
I'd like to see you
Having more fun
If you can
I look at you
But it's me I see
It's everything I know ( it's me I see )
It's everything I feel ( it's me I see )
It's everything and everyone around me that I see
Everything is real
Everything I feel
In my mirror
I see myself
In that mirror
Inside myself
Sometimes I feel it coming to me
Thinking of you when I'm looking at my body
I can touch myself with my own understanding
My resolution to be broken
That I see now
And it's me I see
It's everything I know ( it's me I see )
It's everything I feel ( it's me I see )
And it's everything and everyone around me that I know
Everything is real
Everything I feel
No real solutions
In clipping from the past
I see my reflection at last
Books full of pictures
Remembering the blasts
Times consequences
Makes me go fast
And it's me I see
And It's everywhere I go
It's me I see
It's everything I see ( it's me I see )
And it's everywhere I go Yeah ( it's me I see )
It's everything I feel ( it's me I see )
And it's everywhere I go ( it's me I see )
It's everything I feel ( it's me I see )
And it's everything and everyone around me that I love
Everything is real
Everything I feel

Dark Shadows?

On a whim, I checked Colonial Promenade 6 for a showing of Dark Shadows, and was quite delighted to see that my hunch was spot on. I immediately texted Stephanie and demanded she make good on our Dark Shadows rain check. "Demanded", pleaded... you know... I needed some distraction and to be away from reminders. It was her last night of freedom, so she was onboard. She was also late in typical Stephanie fashion. We made it inside about 5 minutes into the film.

I was completely taken by the movie from the onset. Michelle Pfeifer was amazing, and I was delighted to see Jackie Earle Haley continuing in the basking of his revival. I thought briefly how ironic the casting was, in a movie about returning from the grave, that he should be cast. "Let Me In"'s Chloe Grace Moretz played the role of the daughter, and her rebellious attitude counter-balanced by a free-spirited hippie culture was a bit off but somehow worked. Maybe it's something about the 70's I missed? But then, in walked whore-orange-headed Helena Bonham Carter sporting a lob...and geez - just breathtaking. Sans accent, but nonetheless a little dirty; a little trainwreck like; a whole lot of hot. Johnny Depp's character's nemesis is played by Eva Green (Kingdom Of Heaven, Golden Compass), whom I never found that stunning, but as a long-haired, blonde in this role, she is the epitome of sex appeal and utterly salacious. The movie moves along quite quickly, but there's undeveloped aspects that I wish had been better explored. Christopher Lee's role for instance... it required more depth and background. The back story of the Collins Family losing their gasp on the town and it's industry, though throughly discussed - Burton films have cut-aways and I think we deserved on. Help me buy into this fairytale, please!

As the Collins Family begin to rebuild the tatters of their reputation, the story unravels into predictability and for lack of better word, silliness. This is completely unlike a Tim Burton film, and I can't to begin to imagine what happened? The characters become 2-dimensional, and though effort is made to explore personal flaws and weaknessed, it's so superficial and carnal, that it really serves no support to the story, it does however mire it in a swamp of disinterest, disappointment, and if the director gave up - as an audience member, I give up to. Right up to the anti-climactic ending that pulls every card out of the hat of tricks (maybe it was supposed to be absurd and a jab at current movie trends)... but it was lifeless and tracing paper for what's already been done.

Okay to watch, even enjoyable to a mid-point, but if I buy this or copy this, it's too fill a Helena Bonham Carter as a redhead fix... not much else.

Broken Therapy

A weekend that de-evolved into heartbreak and a Black Heart Procession soundtrack. I decided that the day-off I planned in my head was going to be solitary and filled with the only therapy I know how to manage. Thrifting. I don't buy clothes, I buy used cds. I picked up one for someone that doesn't want anything to do with me right now, and the rest I am listing below:

Revenge Of The Flying Luttenbachers

Seriously, what in the hell is this? A 3-piece band from Chicago (I guess), and one member is pictured with football make-up and hair greased into a pair of antennae. The disc is a pentagram a la Motley Crue's, "Shout At The Devil". Of course I have to buy this freakish disc. It's dated 1996... so I wasn't sure what to expect, the Chicago music scene I knew was long dead at that point. Musically, it's a trainwreck. The opening track, Storm Of Shit is a melange of guitar, kazoos, horns, drums, and sampled sounds. Frankly, four-and-a-half minutes of it is four-and-a-half minutes too much, because Mike Patton already mastered this insanity. It does not get any better. There are no vocals apparently... I have to assume because I began skimming after the second track. Imagine my amazement to discover this band has several releases. Once again, the one disc I purchased on a whim that certainly wouldn't disappoint - is every bit a disappointment and so much more. Steer clear!

Rachmaninov: Symphony No. 2
You really can't make a mistake with this. Someone donated their entire BBC Classical Music series, and I may go back for the rest when I have the money. I am particularly drawn to Rachmaninov; of course because he is a Russian composer of whom I have an affinity, but also because of his struggles. Critically panned in his own country; his Symphony No. 1 was an utter failure, and he was forced to flee Russia during the Bolshevik Revolution and he to begin a career anew. He eventually found himself in America where he found acclaim and respect. And who wouldn't be in love with a composer who was interred in Valhalla? Seriously! This recording is conducted by Edward Downes with the BBC Philharmonic Orchestra. Appropriate mood music today.

Zero Zero: A.M. Gold

This is pretty fucking upbeat, poppy, and doesn't match my mood today. I definitely can enjoy this, though it's commercial, slick feel probably means it won't find much rotation in my collection. The electronics are danceable, and never venture into any hard beats. Vocals are gentle, fuzzy and warm. This is summer day, car trip to the lake music. And it would help to not have a care in the world, including what you were listening to. If The Faint were forced into therapy, the hospital approved sound would be Zero Zero. My favorite track is, Pink And Green - it's a little funky, and makes me want to dance with the cat and go buy some rum.

Eric Hutchinson: Sounds Like This

I like Lenny Kravitz and Jamirquai too! But seriously, this is an upbeat, body swaying disc, it just isn't my thing right now. I can see this being played in my near future. I actually know someone who would likely really love this disc, and that's contributing to a lot of my sad feelings right now. This is palletable and radio-friendly (if it isn't already), and if you like Kravitz and Jamiriquai - pick this up or borrow it from me.

Sixty-Eight Pennies: Race-Car
If I had to guess, this is likely Alternative Christian Rock. Not sure where they hail from, but if today was 1999, when this recording was released, then it would already sound dated. It's light alternative rock with elements of Live and Soul Asylum.

Boiled In Lead: Silver

Uh - had no idea what to expect. But what it is is heavy doses of world folk. Upbeat, fun, and much too safe and friendly to really enjoy on any kind of level. I'd expect to find their cds at Epcot. I found the dark, seething bass lines of The Sunset enjoyable, but there's too much fodder and friendliness throughout to keep me intrigued. Another bust...

Imogen Heap: Speak For Yourself

I honestly couldn't remember if I liked Imogen Heap or not. I took the leap because the album title spoke to me. I probably don't need to describe it; this seems like the kind of thing you either are a devoted fan of or you hate it. Definitely something I think Tori fans would enjoy. I am not at all put off by it, and I can imagine finding a niche in my moods where this would be appropriate. There's elements of Tori, Fiona Apple, Eurythmics, and Bjork (musically), and it does tend to slip into a commercial, polished mainstream, but there's enough indie element to keep it genuine and sincere. And yes, this is speaking to my depression today.

The Wrens: The Meadowlands

This was a nice find. I am always in the mood for some lo-fi mellowness. I hadn't heard this particular album, but it's watch you expect from The Wrens. Quiet drums, subdued vocals, and gentle resonance. Slo-core a la Low, but at times strives for post-rock a la Mono. It's a welcome blend. Where this album breaks free from a Wrens mold are mid-tempo changes, and vocals that become border on a pained soul. This and the Imogen Heap are likely to get a lot of plays as I try to move forward.

I also picked up a promo disc of Bob Dylan Live at Carnegie Hall 1963. I know why I picked this up, and it's not because I am a Bob Dylan fan. Along with the other disc, my immediate thought was a gift. So, I will just hang on to it for now. I also found a dvd of High Fidelity. I am in no mood to laugh right now, so I will shelf that for a lighter day.