#disc review

[lllsaslll]

WILD IN THE COUNTRY (1961) Twilight Time Blu-ray Release Review

Released in 2019, Twilight Time's Blu-ray of Wild in the Country is way more than I expected! It's part of their Limited Edition Series as only 3,000 copies were made.

The Blu-ray includes everything shown here: the disc, double-sided cover sleeve, and a booklet with photos and a detailed three-page introduction to the movie including production details written by Mike Finnegan.

Specs: English 2.0 DTS-HD MA with English SDH Subtitles | 1080p | 2.35:1

Special Features: Isolated Music Track | Original Theatrical Trailer

[modernheavy]

ディスクレビュー：『FIERCE-EP』／lynch.

簡潔に表すと、黒夢やLUNA SEAに影響を受けていることを隠さなくなったなあと。

でもちゃんとlynch.の音になってるでしょ？という自信が垣間見える作品。

今作はわたしにしては珍しく歌詞カード見ながら聴いたんですが（普段からそうしろよ）葉月さん曲、悠介さん曲以外は、玲央さんと葉月さん、明徳さんと葉月さんの共作クレジット。

そして歌詞カード最後のクレジットにはlynch.のサウンドには欠かせない存在となったЯyo TrackmakerことЯyoさん。

そしてAll sequence programmingとして悠介さんの名前が。これって『FIERCE-EP』以前もそうだった？　だったらすみません。

「UN DEUX TROIS」も「EXCENTRIC」もアヴァンギャルドなモダンヘヴィ

でもキャッチーさも忘れてない

「EXCENTRIC」で激しいのにどこかキャッチーに聴こえたところはラップメタルというらしいです。

「EXCENTRIC」のラップメタルは葉月さんのアイデアだとROCK AND READ 113（音楽雑誌）で読みましたが、そのアイデアをブラッシュアップさせたのはЯyoさんの辣腕によるところが大きいと思ってます。

ゴリゴリのサウンドなのにどこかキャッチーにも聴こえる。

それで昔の音楽雑誌でЯyoさんが、

「あんまりゴリゴリなのは好きじゃない、メロディーがたってるのが好き」

みたいなことを話していたのを思い出し。別のインタビューで葉月さんも昔同じようなことを言っていたなあと。

（昔の話なので記憶が混ざっていたらすみません）

「UN DEUX TROIS」「EXCENTRIC」は特にその言葉どおりの仕上がりの曲になっているなあと。

まさに葉月さん曲とЯyo Trackmakerマジック。

「斑」というと『夏目友人帳』のニャンコ先生を思い浮かべるオタクですが。

「斑」はlynch.お得意のエロい歌詞だった！

そしてBメロでは悠介さんの声があああああああああああああああああ（荒ぶる下手の民）

悠介さああああああああああああああああああああああああああああん！！

「斑」最強すぎる　悠介さんの声が入ってるの最強すぎる

「斑」だけ作詞クレジットが葉月さんと悠介さんの共作になってたからずっと気になってたんだけど、こういうことかー！

以前、lynch.が活動休止を発表したころ、バンドのイニシアチブを悠介さんも握れるようになっていればと、悠介さんがイニシアチブをとったlynch.も見てみたいと生意気にも思ったことがあって。

だけど、葉月さんがイニシアチブを握るバンドのスタンスは変わらずに、他のメンバーにまかせられるところはまかせるスタイルに少しずつ進化しつつあるのかな？

悠介さんのボーカルパートはライブで良いフックになりそう。

明徳さんと葉月さんの共作で、Aメロのベースがゴリゴリ。

だけどベーシストの作る曲ってもっとベースの音がゴリゴリ前に出てるという勝手なイメージがあったんですが、この曲「斑」はそれほどでもない印象。葉月さんとの共作だから？　でも葉月さんもかつてはレコーディングでベース弾いてた人だし。はて？（流行りにのってみた）

玲央さんと葉月さんの共作「A FIERCE BLAZE」は私見ですが、イントロとか、keinで演っててもおかしくないナンバーのように思いました。keinで演るとなるとテンポがもっとゆったりしそうだけど。それと北欧メタルのにおいもする曲。

「REMAINS」は悠介さん曲らしくLUNA SEAの影響が垣間見えるナンバー。でも往年より近年のLUNA SEAっぽいイメージ。

「UN DEUX TROIS」もでしたが、シーケンスっぽい音が多用されているところは健康での経験が活きているんだろうなあと。

そして他の曲がほぼ3分台なのに対しこの曲だけ5分超え

メンバー個々が各々の個人活動をバンドに持ち帰って、lynch.をブラッシュアップさせた印象を持ちました。

これも私見ですが、この作品が本当の意味での「REBORN」と言っていいかもしれません。

トータルタイム19分ってのも聴きやすくて良い。

最新作が最高って最高

初出：

[louroth]

Well, well, well. Would you look at what the cat dragged in. (it's me, Lou!)

The time is here, and oh man, do I have a lot to say! Ever since this post was posted on my personal tumblr, on the fifth of may, I have been working like a machine on all things OUROBOROS. I had originally planned for this to just be a progress report/ announcement on what I will be working on now that I am free of the shackles of work, but, somehow, I managed to finish all bullet points, and more. So, let's get into it!

First off, the title.  Ouroboros becomes all capitalized OUROBOROS. Idk. It's neat. Next!

Art. Whew. I didn't think I could draw like this anymore- drawing has been more of a struggle than writing has been, forever, always- it was something I really strived to become good at, for a time. And I gave up. Only to pick it up again when I started ouro, and ever since I released that pressure, something just clicked and I have been churning out art like never before. I don't know if this is a fluke, a stroke of luck or if all that hard work I once did slaving away with menial art practice… but I'm grateful nonetheless. (A note on official RO art: I lost my ipad pencil somewhere on the lawn, lmao. I haven't been able to get a new one yet, so there is a slight delay here.) I am hoping that I get to make some commissions too, in the near future. Visit the forum to see some works in progress (amongst them, Yor's RO portrait!)

Onto the hellscape that is coding! I have been growing more proficient with CSS and html with the help of the ones that run so that we can walk; I have studied and researched and tested and tinkered until my eyes crossed, finding my way into this medium with the incredible guidance of the giants of whose shoulders I stand on. I will talk about this in detail on a later date. So I think it's finally time to reveal that yes, I am working on a twine version of ouro. I will develop it in tandem with choicescript; the porting over from one to the other isn't the herculean task I thought it would be.

Why am I doing this? Because I need to have a save system. I am continuing to write the whole alpha draft in choicescript in hopes that CoG will announce the ability to have a native save/checkpoint system, but if that doesn’t happen, I can’t publish this story without one. Unfortunately, I am not willing to code in a savesystem in choicescript myself, because this will be a large game, with far too many variables for that to be sustainable. Trust me, no one is more disappointed by that fact than me. If it comes to the point that twine publishing will be what I do, I will set my sights on writing a smaller game for hosted games. 

Now the meatier announcements!

New Socials!

Tumblr: You are looking at it!  This is the new, exclusively OUROBOROS blog where I will share all announcements and sneak-peeks, and future updates. I worked together with the dev of the theme and made it oh, so pretty and functional. Please check out their portfolio here, if you are ever in the market for sprucing up your (desktop version) of tumblr. They were a pleasure to work with. Amongst other things, it has a gorgeous header (again, only if you visit on web and not mobile) where I am showcasing fanart and official art. Go check it out! This month, I am showcasing a truly breathtaking art from KAIRELART, and you can find the full art here, or follow the links in the “FEATURED ARTIST” tab in the top bar.

I hope you enjoy this new haven for OUROBOROS! I will be answering questions once a week (saturday) and ramping up as I adapt to this new schedule, more on that further below.

My old tumblr, honeypeabrain, will revert back to being my personal blog. Feel free to keep following me there, but know that it will be inundated with shitposts, crass humor and the occasional poetry dump and personal post. You’ve been warned!

Discord!

By the good graces, this was ROUGH to set up. Working with discord bots is akin to wrangling code, and it was well and truly, a war. But with the help of many, it is finally all done and ready for anyone to join and talk to me and others about OUROBOROS and anything else between heaven and earth. 

I will also greatly appreciate if any future bugs and feedback are submitted through here, so I can keep easier track of it. Come join us! (18+ ONLY.)

Patreon & Ko-Fi

Yep! Ko-fi is just a place to toss me a coin if you wish to help me towards the goal of new PC parts to make testing easier, or to just show appreciation for those that have it to spare. Patreon however, already has a multitude of posts and will be a hub for exclusive NSFW sidestories that you get to vote on, loredives and extensive sneak peeks, Q&A’s, polls and weekly dev logs. 

Right now, there are only two tiers, but I expect it to grow as my story does. I have many plans, but I am going at a steady pace. 

Amongst tiered content, there is a (free) NSFW story with female MC and Idren to read there right now, if you want to check it out! I am mgoing to post it on tumblr and the adult thread here over the weekend.

NOTE: I stupidly didn't realize that patreon had a review process after I pressed launch, which I did just a few minutes ago. Sigh. I am going to post the short on tumblr and the adult forum thread as soon as I get to it.

It is not mandatory by any means, so if you do choose to support me, you have my eternal gratitude as these places will be the sole source of income for me.

Onto writing:

The best news out of this whole bunch is that I have worked so hard on editing and writing, that in the past month I have all but finished a two chapter update! I have a chunk of about 5-6 thousand words left to write, and I am going to buckle down over the weekend to see it through. I wanted to have it done so badly for today, but I lost three days of writing time last week due to still being weighed down with work. I hope it isn’t too disappointing to have to wait until monday for the demo update! I am going to post a link to an as-I-write updated demo on Patreon and Discord, if you want to see the ugly face of raw wip drafts. Otherwise I will post the demo update here on Monday with a comprehensive post!

And now!  the biggest news is… from now on, I am writing full time!

This is what I have been tossing and turning about every night ever since Easter. It started as a silly idea while talking to some friends and family about how I was looking for a change in career. And then, little by little, that idea whittled down to a plan, carefully carved by my partner and his whispers of a happy future, a finished dream project, and something to be proud of until the day I wither and die. 

Somewhere between then and now, I grasped a tiny sliver of bravery and held on for dear life. 

I quit my job as a teacher, and instead of accepting a cushy office job, I started behaving as if OUROBOROS and writing was my work (for all the moments I could afford). I have researched and tried different methods from week to week, and although I was still tired from work, I felt like I was onto something that could build into a sustainable future. 

I have no doubts that this journey will be bumpy and long, but sometimes all it takes is to take that first step, and do it with determination. It might all crash and burn and fail in a spectacular way, or with a whimper, but then I will know that I have tried. I will know that I gave myself the chance to be who I want to be, work on what means so much to me. 

And that’s it. I think the hardest part of formulating this post (I’ve written about 50 versions of it!) is getting to the point; the kernel of what makes it so special to me. So, in my heart of hearts, what I'm trying to tell you is that I'm gonna give it my all- and while I know the road to having a sustainable career in writing is rough and ever winding, I do know for sure that I am ready for a challenge, to pour my heart and soul into it until the day I rush out of the office screaming IT IS DONE. IT IS DOOOOONE!!! 

If you decide to join me, I will treasure your company like a lantern in the dark. Hand in lovable hand, let’s fucking go.

[glaobobotalrynn]

Retrospective album review (these have been out for ages but this is my opinion)

Planet Her- Doja Cat

slay

I listened to it in my car until I got bored of it

9/10

Better Mistakes- Bebe Rexha

Good music but the songs feel all over the place, emotional rollercoaster

feels like it isn't organized right

I feel like it should have opened with Baby, I'm Jealous but Break My Heart Myself is also good

4/10 for emotional rollercoaster

I'm ordering MCR's 'May Death Never Stop You' and I'm trying to find a silly light album to pair with it (IE something not rock, I'd be down for like folk music or something but the library doesn't have the country albums I want) but my library is limited and so I don't know what (I'm already in line for Sabrina Carpenter's "Short and Sweet") so I'm also grabbing Doja Cat's 'Scarlet'.

Update: I got 'Dear Wormwood' by The Oh Hellos, so side thing remember that you can request materials from outside your library's jurisdiction online :D

[augment-techs]

OPERATION OVERDRIVE. First thoughts. GO!

Alright. I'm only on the first disc, but alright.

Andrew Hartford is a fucking asshole. I didn't think it was possible for me to hate someone more than Mentor Ji on sight, but holy fuck.

Spence is a good man and deserves rights. And a triple point raise. And six months vacation in his contract.

I hate this theme song. SHUT THE FUCK UP. STOP.

I can already tell they are leaning HARD into the Indiana Jones theme and...I already dislike India Jones, so this might make it worse. Harrison Ford is a king who could get some any time, but Indiana Jones can go fuck himself. This is not great.

Hello, Rose, you are perfect and deserve better teammates.

Mack is okay. An oversized golden retriever with enough daddy issues to bury them all, but a Good Boy.

I really, really, really hope Will gets a personality apart from smug thrill seeker coming up soon. He seems like he could be a good character with the whole aversion to items in a museum "belonging" to colonist thieves and stealing them for good but...it's very slow going.

Ronny is shaping up to be another in a long line of lesbian Yellow Rangers. And I am going to be VERY pleased if this is true.

Damn, they really did push Dax into immediate heteronormative Blue Ranger romancing to distract from him obviously playing for the boys early on, didn't they.

Please let Miratrix stay evil. I am totally okay with this villain not getting a redemption arc.

The brother villains are stupid. The ice lord's face looks gross and the heat lord/king of the lizards is getting bothersome.

I am trying to keep an open mind, but please let there be a real plot coming around the bend soon.

[more-relics]

Suck My Disc section of Back Door Man underground fanzine, magazine with Wish You Were Here album review in 1975

[carcarrot]

has anyone gotten that bootleg complete night court blu ray thats on etsy

[thedissociatives]

trying to burn cds is turning out to be a fucking Nightmare

[frmulcahy]

Y’all is it really worth it to get a blueray player? I still use a dvd and vhs combo player but I feel like most physical media offered nowadays is only blueray and 4k.

[thislovintime]

Peter Tork onstage at Wembley, London, 1967; photo 1 by Michael Putland, photo 4 by Peter Stuart for Disc & Music Echo.

“Then, clad in a very tasteful chunky knitted white sweater and knitted trousers, Peter Tork returned with his banjo for one of the highlights of the evening — a beautiful version of a Buffy Sainte-Marie folk song. By straining all my ear-power in one direction I could just catch the sound [over the screaming of the fans] — at least sufficient to realize that this is a Monkee talent we should hear much more of.” - David Hughes, Disc & Music Echo, July 8, 1967

[the-everqueen]

i think maybe the problem with kuang's "yellowface" is that there ISN'T a constructive way to write that kind of story. either you do what she did, and make the white protag a parody of personhood (which further obscures the material and systemic realities of racism in the US, while allowing white readers a sort of...distance from id-ing with a Bad Person). or you write something very subtle, with the understanding that readers and reviewers might totally miss the mark, rendering your "critique" worthless. either you write a popular, obvious satire, or you--idk, don't, i guess. because i'm not entirely sure who this book is FOR. we KNOW whiteness hates us. we KNOW we're the Other. we know how they think about us. and white people based entire (economic, social) systems around antiblack, anti-indigenous hierarchies that profits off our creative labor while denying us personhood. so they're aware, too. no matter how much they pretend ignorance.

[skylilac]

gonna scream i have sm to study for why am i on tumblr

[boomstab-papa]

there are children in the reviews of CD player listings, upset because there is no speaker in the CD player, and they are being forced to wear earphones to listen to the CD

and im

[mywifeleftme]

90: Joe Coleman // Infernal Machine

Infernal Machine Joe Coleman 1990, Blast First

Joe Coleman emerged in the late 1970s from the alternative comix scene established by artists like Art Spiegelman (Maus), Kim Deitch (Waldo the Cat), and Bill Griffith (Zippy the Pinhead), but found greater notoriety as a painter and a shock artist. Here’s Spin’s Dean Kuipers on a performance (as his character Professor Mombooze-o) that resulted in one of Coleman’s numerous arrests:

“Boston, October 22, 1989. Reel after reel of ancient hardcore porno films flash onto a black screen onstage at BF/VF—the Boston Film/Video Foundation—grey and grainy, somebody else's fucking and sucking memories of indeterminate age. After 20 minutes, the hundred people in the audience are quiet and disarmed. The lights come up.

Joe Coleman instantly comes whapping through the film screen from behind, hanging upside down from a climber's harness attached to the ceiling, screaming and choking like a man condemned. This is the man everyone came to see. Green flames and acrid smoke belch from his chest as strapped-on explosives detonate under layers of shirt, ratty duck jacket and lab coat. Half a minute later, the booming and gnarling subside and Coleman's wife, Nancy, leaps out and douses him with goats’ blood to put out the fires. She cuts him down and he tears away what's left of the black screen to reveal a dead goat hanging upside down, twisting slowly. The goat is real. The odor of spattered blood and gunpowder seeps into the stunned crowd.

'Here are Mommy and Daddy!' cries Coleman, rushing to the front of the stage and pulling two live white mice from his pockets. He sits down on the edge of the stage and holds Mommy and Daddy up to his scorched beard and talks to them. Meanwhile, Nancy pulls out her Zippo and torches a cloth/plastic effigy of Coleman. The stage is consumed by fire as Joe screams at the squirming mice, 'I'll eat the cancer out of you!' and bites the head off Daddy, spewing it back into the audience. Then he snaps Mommy's head: hers he swallows.

This is Joe Coleman's stone ritualization of his mother's death. Four days earlier, she had died of cancer.

The befuddled firemen who arrive minutes later are sure that this must be the meeting of a satanic cult. As police investigators pick through the chaos of greening humans, brown smoke and bloody carcasses, the owners of BF/VF finger Joe and Nancy, then fire manager Jeri Rossi. All three are arrested and Joe is charged with—among other things—an old Massachusetts blue law charge that hasn't been used since the 1800s: Possession of an Infernal Machine."

(You can watch an excerpt of a similar performance in the 1988 pseudo-documentary Mondo New York, though I do not recommend doing so if you’re troubled by animal cruelty.)

The Infernal Machine LP is a figurative soundtrack to the Mombooze-o character, which he retired following the Boston bloodbath. Side one (“Homage to Mass Murderers”) intersperses vintage country and blues murder ballads with exploitation film clips and interviews with murderers Ed Kemper and Charles Manson. Side two (“Infernal Machine”) is a collage of clips from TV shows and ‘40s films noir, audio from Coleman’s Mondo New York performance, and early live recordings by NYC noise punks Steel Tips.

The overall effect is eerie, and there are some powerful juxtapositions. The way the clip of Kemper’s tearful description of murdering his own mother segues into Eddie Noack’s 1968 recording of “Psycho” underscores the song’s unnerving potency; tucked between relatively jaunty tunes by Bessie Smith and Tex Ritter, a long clip of character actor Don Russell’s genuinely moving performance as a kidnapped schoolteacher begging for his life from 1963’s The Sadist (based on the Charles Starkweather murders) seems to represent man’s powerlessness in a capricious universe. Side two is bookended by excerpts from the 1947 film Nightmare Alley, in which a series of disasters reduce cocksure Stan Carlisle (played by Tyrone Power) from his position as a carnival barker to the role of a despised geek who earns a meagre living by biting the heads off chickens in front of jeering crowds. The implication is that, as Mombooze-o, Coleman himself has been similarly forced into the role of a freak by the diseased contemporary world.

The LP includes a twelve-page booklet of Coleman’s paintings and, most interestingly, a picture-disc reproduction of details from its cover image, Portrait of Professor Mombooze-o. I’m not normally much interested in picture discs, but the sight of Coleman’s zombified head spinning on the table (or the dead fish bursting from his crotch on the flip) really does complete the package. It’s as a visual artist that Coleman’s chief gifts reveal themselves. His obsessively detailed paintings, which he works out over months and sometimes years using a single horsehair brush, are the most successful transference of an alt. comix sensibility to the gallery I’ve come across. If the work in R. Crumb’s classic Weirdo anthologies could feel like a mutated, devolved descendent of the feverish iconography of sixteenth century religious art, Coleman’s paintings are that mutant culture’s return to high art.

Coleman frequently conflates people like Charles Manson with Jesus Christ, saying in a ‘90s tour of his collection of oddities that he keeps a lock of Manson’s hair and a sample of Christ’s marrow. Falling back on the Blakean idea of a marriage of heaven and hell, he claims that if the pair’s DNA could be mixed in a clone it would create a perfect Messiah. However, the mingling of deviants and prophets in Coleman’s hagiographic art does not, as Coleman seems to mystically intend, elevate the former towards divinity so much as it pulls the latter earthward. Serial killers are, almost without exception, insipid creatures, powerless to explain their own behaviour with any real insight—as are for that matter, many holy men. Maniacs and religious figures are akin in the sense that each possesses intense evocative potential. A crazed killer’s actions, which seem both primal and alien, tear at the fabric of our notion of a shared reality. It is tempting to read their murders, being as superficially inexplicable as miraculous events, as signs or portents, the killers themselves as visionaries. Put another way, both religious phenomena and psychopathic behaviour create a void of ostensible meaning that humans are agitated to fill. Meaning does not arise from their actions but is imputed to them by witnesses. In Coleman, these boring, broken men who kill find a witness capable of making them a genuinely mythic force.

Portrait of Charles Manson, 1988 I find Coleman’s art as inspired and fascinating as I find his philosophy stunted and dull. In an interview with Richard Metzger on the BBC series Disinformation, Coleman says, with reference to mass murderer Richard Speck, “I don't want to kill anybody, but I want to express that pain. I want to express what he was trying to express. What if he didn't have to do that? And maybe, just maybe, art is a thing where you can do that.” Ten years previously, Coleman told an anecdote in Mondo New York about covering himself in blood and harassing random women at New York bars; when their boyfriends would intervene, he’d light the fuse on the hidden explosives attached to his chest and then calmly walk out of the bar in the confusion, enjoying the screams and smoke. Whether he’s spinning a yarn or recounting something he actually did, it’s clear he gets the same petty thrill out of terrifying strangers as the sickos (both real and fictional) excerpted on the Infernal Machine LP do. This doesn’t make him a monster, but it does clarify that when he talks about “expressing” their pain he also wants his share of their freedom to do violence. Of all the reasons it’s good for Coleman that he ended up an artist instead of a cut-rate David Berkowitz, the most telling is this: if he had, what artist of his quality would’ve wanted to take him as their subject?

90/365

[frigidreads]

This week's guest review is Monstrous Regiment by Terry Pratchett. Next week we kick off Atlantis Summer with a video review of Plato's Criatis I hope to see you there.

[afriendlyirin]

I reviewed Disc Creatures on my blog.