#hereditary soundtrack horror music of all time

[biohorror-human]

Ari Aster popped off so hard with collaborating with Colin stetson on hereditary. Out of all of his films, hereditary has the best soundtrack, and it shows. You literally can't get better when it comes to "surreal horror music" than Colin Stetson. Beau is afraid and midsommar's soundtracks are both made by Bobby Krlic, who is good, but noticeably NOT as good as Colin Stetson.

DUDE. For the love of fuck please listen to Colin Stetson. Anyone who sees this, listen to his albums "New History Warfare Vol. 2" and "Never Were The Way She Was". PLEASE. for the most part, every song is created in one take, and every sound is made by one saxophone.

"but how can it be one saxophone? I can clearly hear some percussion instruments and vocalizing" that's the saxophone. He recorded NHWV2 live, in a studio, with 20 microphones in different places to capture different sounds. That means every song was played in one attempt, with no looping sounds. The only time you're hearing something that isn't Colin Stetson is when someone else is singing or playing another instrument, but the songs are overwhelmingly just Colin Stetson going fucking bonkers on the sax in a way I am 100% CONFIDENT YOU HAVE NEVER HEARD BEFORE.

Let's take Judges, one of the most listenable songs in NHWV2: The percussion? That's the sound of the keys being slammed down, picked up by mics on the back of the sax. The high and low notes are created by him opening or closing his throat. That's normal right? Except that there's also a wailing vocal line. That's HIS vocal chords. He is actively singing while playing sax.

But there's one more thing. Those 3 things already being grouped together weren't enough, he also never. stops. playing. The full 5 minute runtime of the song, the saxophone never stops. This is because he's using a technique called circular breathing which I can't even do WITHOUT an instrument. But basically, blowing out air stored in your mouth while breathing in through your nose. And he does this for five straight fucking minutes. It is a beyond Herculean feat of strength to be able to do that for 5 minutes alone, and add on top of that playing an instrument in such a unique way AND actively vocalizing???? Yeah. Fuck it. Whatever. Colin Stetson is the best saxophonist in human history. Ari Aster HAS to bring him back for his next film. Bobby Krlic is cool but Colin Stetson fucking blows every other instrumentalist out of the water.

[blackbutlerfandomnerddomain]

Silly Game Time: Are you fan of the horror genre in general? If so, what's a horror story (movie, show, book, game, etc.) you really like, and why?

I LOVE HORROR!!!

I love horror movies, games, musicals, even analog Youtube/TikTok series!

I've loved Horror since I was 11 years old watching Gremlins for the very first time, grew to love it more once I started watching the Friday the 13th series and the Nightmare on Elm Street series.

I'm more in love with thrillers or suspense horror movies, so one of my favorite movies is Hereditary (which same with Shoujo Tsubaki I do NOT RECOMMEND WATCHING IT if you are not in a good mental state or have a lot of triggers related to the themes or heavy PTSD), second favorite of all time will always 100% be the OG Scream movie. Love the series too btw but Scream 1 is the best, love it, will watch it over and over and over and over again!

I mostly like it for the creative nature or it all, the story, the makeup, the costumes, and of course the soundtracks if any are always great. But I also cause back when I was really super duper Hella depressed I would watch horror movies just for the scares and it weirdly comforted me... Making my heart race, making me know I can still feel things and also be in control of my fears and not let those who were really hurting me back then hurt me. Sorry if that sounds sad but it's the truth.

I have a long list of horror movies, some of them underrated and random cause it's either foreign or literally no one heard of them, but I won't put the list here since that'll take a while. I might post it sometime in October but we'll see

[sinceileftyoublog]

Colin Stetson Interview: The Enticing and Inviting Score for The Menu

BY JORDAN MAINZER

John Williams. Hans Zimmer. Howard Shore. These are some of the few heavy-hitters you associate with film scoring, especially around awards season. For horror films, you usually think of folks like John Carpenter or Dario Argento. But over the last half-decade, a rash of electronic or avant-garde classical producers and musicians have made names for themselves as in-demand movie composers. Two of the nominated composers for the Oscar for Best Original Score this year are experimental band Son Lux (Everything Everywhere All At Once) and Hauschka’s Volker Bertelmann (All Quiet on the Western Front). And since 2018, in-demand horror director Ari Aster has employed the unmistakable stylings of instrumentalists and electronica masters for his first three films, Hereditary, Midsommar, and the upcoming Beau Is Afraid. It’s saxophonist Colin Stetson, who we’ve covered many times live, reviewed, and interviewed, who offered his talents to Hereditary, the film that essentially broke him out as an accomplished film composer, and the name you think of when thinking about a new wave of leftfield film scorers.

The latest film to take advantage of Stetson’s compositional prowess is Mark Mylod’s comedy horror satire The Menu, released in theaters late last year and currently streaming on HBO Max. About an inter-connected group of diners traveling to an exclusive restaurant operated by a celebrity chef (Ralph Fiennes), the film’s sort of a cross between Midsommar and Rian Johnson’s Knives Out films. Like Hereditary, the frames and the sounds on The Menu are inseparable once you’ve seen the film; that is, listening to Stetson’s original soundtrack, though it is its own piece of music, you can’t help but see the faces of Fiennes, Anya Taylor-Joy, Nicholas Hoult, and Hong Chau and remember the biting, horrific events that unfold in the film. It’s also another unique entry in Stetson’s ever-growing oeuvre, its palate based in orchestration and string instruments like violin, viola, cello, bass, mandolin, and nyckelharpa, along with the usual saxophone as well as Tibetan bowls, piano, and choral vocals. Sax arpeggios and pizzicato strings, including plucked piano strings, helped Stetson achieve the ultimate contrast of light and dark, beauty and harshness that pervades each frame of the film and its overall arc and mood.

I spoke with Stetson late last fall over Zoom from Montreal about The Menu, his score approach and process, coming up with soundtrack track titles, and how composing for film compares with making solo studio albums. Read our conversation below, edited for length and clarity.

Image courtesy of Milan Records

Since I Left You: Was there anything unique about your approach to your score for The Menu in comparison to your approach to other scores you’ve done?

Colin Stetson: This one was certainly the most decidedly rhythmic at its core. So much of the bones of it is bounded in a very crisscrossing, rhythmic scaffolding, this thing that can be fun, light, and prancing at times, and also incredibly tense and driving and static.

SILY: I noticed the rhythms when listening to the first track and first single, “All Aboard”. Why did you choose “All Aboard” as the first taste of this soundtrack, in terms of it being track 1 and the first piece of music revealed?

CS: It’s a good one in terms of the first taste of something in this story. It’s the first music that happens in the film, within a minute or so of the beginning of the film, and it sets the stage so much for what happens later. A lot of the themes that are more or less weaving through all of the rest of the film start out here, in more or less innoucuous ways. They’re cloaked in a delightful sheen to entice and invite rather than forebode. I liked the idea that it would be the same opening invitation to the music as well.

SILY: When you score films, do you think about the scores as eventual standalone pieces of music, the soundtrack?

CS: Not first and foremost. I am very aware that--and this is a little more process and functional--for my initial reactions, I'm usually crafting music to picture. There’s always things from the first cut that are going to change. In many instances, on the soundtrack album, I will use my initial cue [of music] rather than what it may get edited into down the line. What ends up being manipulated on picture, in my opinion, is now standing up and propping a picture, but it might not stand on its own in a musical context. I’m aware that sometimes there are changes made to music outside of my control, outside of anything that will end up on a record. [What’s on the record are] my cuts, for lack of a better term.

SILY: Even when you’re not making music for a film, do you find yourself, in the process of musicmaking, being inspired by imagery or having images showing in the background when recording?

CS: Absolutely. It’s one of the things that’s been ever-present in my solo music, namely, and across the board for me. It’s all world-building and storytelling, very truthfully. Virtually all of the music I’ve made, the way I make it, there’s a corollary narrative structure. Imagery is something that for me informs the arc of an overall album. I’m not just making collections of songs, and those songs aren’t just collections of parts and sounds. There’s more of a thoughtful intent baked into every bit of it.

SILY: With regard to your use of vocals on the score for The Menu, did you have any newfound inspirations or intentions?

CS: There was always going to be this element of the sacred, the revelatory, the worshipful aspect to all of it. Wrapped up in the main character of the chef is a very profound love for the subject matter and craft. It felt apt for that to be represented by vocals, especially as the film neared its climax.

SILY: Is coming up with track titles for the soundtrack as simple as taking a cue from what’s happening in the movie? Are they difficult to mull over?

CS: Not really. Some of them are quite obviously what they were on a cue sheet. “Taco Tuesday” was the cue all along. Did I think of possibly changing that? Yeah, but when was the next time I was going to have the option of naming a song “Taco Tuesday”? It ties intrinsically to the film and doesn’t give anything inherent away, and it’s certainly not lofty. The track sheet, when you see it on the back of the album, there are aspects that ultimately tie in with the arc of the film’s story. I like to have some of the titles be rooted and reflected in that. Sometimes, I take it from dialogue and try to boil it down to an essence of what it is that scene is doing. Others are a little bit more esoteric. It’s not like album titles on a record of mine. Those are usually a lot more exhaustive, because ultimately, the score has its story. It has its narrative. All these cues were written for picture, for themes happening in the film. When I’m making my own solo record, the narrative and the language used is coming from a world nobody gets to see except for me. I do tend to take a different tact with that titling in comparison to soundtrack titling.

SILY: “The First Cheeseburger You Ever Ate” will also never be a Colin Stetson title.

CS: Absolutely not, but at the same time, it ties it to the film and is representative of a bigger idea in peoples’ personal experiences. That piece of music is the most loving, beautiful, angelic, childlike. It’s embracing and getting back to basics and everything made anew. That title gets to be tied very concretely and nods to experiences we had.

SILY: How, over the years, have you grown as a composer?

CS: I’d like to think in most ways. [laughs] Certainly in terms of the process. I’ve learned how it is I like to work and have streamlined that process. With every job, [there’s] something new I haven’t opened up with before. By the end, I feel as though that toolbox and comfort zone has expanded. Compositionally, I’m more able to react to picture in ways that really serve it. I’m able to do more with less. I can always sit back, watch the finished product, and understand where things really work, work, and are fine. For those that are fine, you understand how to make it, on another offering, work. In this, as in everything, it’s all a path. I can adore the object after it’s made and still understand the things about it that I can learn from and improve in subsequent offerings. I am lucky in that I have a strong sense of love and admiration for the objects I make and an equally strong instinct for the self-critical. I can identify things I deem learning instances for improvement. It’s just a constant state of that with no real destination. 

SILY: Have you ever done a live score to a film you’ve composed for? If not, would you consider it?

CS: There’s talk of that to come, so we’ll see. There’s certainly talk of presenting music from scores live. With luck, time, and effort, it will start to happen in the coming years.

SILY: What’s next for you in the short and long term?

CS: I’m working on another feature I can’t talk about yet. I’m in the midst of two solo records that will see the light of day in the next year. Uzumaki is finally coming out. There are numerous other things in the works, but those are the ones right on the precipice.

SILY: Are you making more Void Patrol music?

CS: There are certainly gonna be some shows. Who knows? I’m sure we’ll get up to something.

SILY: Do you tend to consume unrelated media when you’re writing or recording music?

CS: I expose myself to certain things when I’m working on certain things: You can’t help but be influenced by what it is you’re filling your head with. I try to shepherd my overall existence in particular ways when working, depending on the space I want to be in. I don’t know I’ve ever practiced in total abstinence. The years I did Hereditary, I didn’t watch horror or listen to anything in that genre. Certain things can be mired in trope that I like to stay away from. I have a permanent abstinence on the types of things that might lead one in a direction that’s a bit more heavily trod.

SILY: That said, is there anything you’ve been listening to, watching, or reading lately that’s caught your attention?

CS: I’ve read a book recently I did not enjoy, so I won’t talk about that one. [laughs] In the fall, I tend to get into a very re-ready space. I read two Jim Harrison books recently that I always enjoy, The River Swimmer and Returning to Earth. Hard-Boiled Wonderland and the End of the World by [Haruki] Murakami, which is my all-time favorite. Christopher Paolini’s To Sleep in a Sea of Stars was fun, beautifully imagined sci-fi and reads like watching a movie. It’s visually very striking and almost popcorn in terms of how accessible and fun and encompassing it is. Similarly, Andy Weir’s Project Hail Mary was a cover-to-cover, fast, fun, effortless read.

Music-wise, I’m not coming up with anything new, so I’ll leave it at the books.

[angelfishofthelord]

It is a new day. On earth, and in heaven. Rejoice.

for @horrornaturalevent week 5: insidious

[voldiebuns]

Horror Movie a Day 2020

The past couple of years I’ve done a challenge of trying to watch a horror movie a day through the month of October. Last year didn’t go well since I was so busy travelling, so I’m hoping for better this time around!

Under the cut you'll find my list of watched movies, plus rating and some thoughts about them. I’ll also be posting every day at my film twitter. Lemme know if you have any suggestions for what I should watch this month!

Hereditary (2018) | ★★★☆☆ This movie was... not at all what I was expecting from trailers and such. The devil worshiping angle was definitely a surprise, which I didn't entirely mind, but the first and second halves of the movie felt very disjointed from one another because of it. There were some good moments, but all in all, not entirely sure I liked the movie.

Parasite (2019) | ★★★★☆ More a thriller than horror, but I make the rules! I enjoyed this one a lot for the sense of tension it achieves even when not a whole lot of “action” was going on until close to the end. And of course how well it depicts class differences and how deeply affecting poverty is. Very good.

Attack of the Giant Leeches (1959) | ★★☆☆☆ Granted, this is over 60 years old now, but it’s still very bad. And not even in a particularly fun way. It’s honestly pretty boring and not scary at all... But at least it was short!

Piranha (1972) | ★☆☆☆☆ So 70s it hurts lol And also so boring it hurts. I spent most of the movie wondering when something was actually going to happen. But the real thing I wonder now is why this was in my sharks, piranhas, and monsters movie pack because there’s approximately two seconds of actual piranhas in this and they’re not even really attacking anyone?? I think they may have included the wrong Piranha because the picture on the cover is... not this movie lol

Them! (1954) | ★★☆☆☆ I actually thought it seemed pretty well made for the time, but it was definitely very slow. Interesting as a reflection of US nuclear fears, which I don’t think gets seen as much in movies, though!

Mega Shark vs. Giant Octopus (2009) | ★★☆☆☆ This is... so bad. I’m pretty sure their budget had to be like $5 and half a gig of stock footage, but even aside from the godawful CGI, the cinematography is almost unbelievably awful and the acting is often cringeworthy. It also wasn’t particularly fun? But the romance was actually kind of cute.

Mega Piranha (2010) | ★☆☆☆☆ I honestly can’t even count the ways this was a terrible movie lol And still, not even in a particularly fun way! More cringe than cheese, which was really just disappointing.

Beneath Loch Ness (2001) | ★★★☆☆ This was actually really not bad. The graphics were incredibly 2001, but it came off as very heartfelt and the characters and their relationships felt real in a way they tend not to in these kinds of movies. I enjoyed it!

30,000 Leagues Under the Sea (2007) | ★★☆☆☆ Not really a horror movie, but in a pack with my other sea creature horror movies so it'll do. Production value was terrible and the plot was sketchy, but it had some interesting bits. Overall a pretty hearty meh for this one.

Tremors (1990) | ★★★★☆ First rewatch of the year! It's been years, though, and I needed a refresher before watching the rest. This movie is basically the floor is lava with killer worms and I love it lol A really fun movie!

Tremors II: Aftershocks (1996) | ★★★☆☆ Earl without Val was not quite so much fun, but they did some cool things with the graboids. Plus many more explosions! Biggest complaint is the puppets and CGI didn't always mesh well.

Tremors 3: Back to Perfection (2001) | ★★★☆☆ Wish they'd stop ruining things with worse and worse CGI lol This one got a bit goofy even compared to the others, but it was overall still fun!

Tremors 4: The Legend Begins (2004) | ★★★★☆ This one was really fun! I loved that they went back to the beginning of the town, especially since it was easy to see how it became Perfection in the end. I think it's the best one, tied with the original.

Tremors 5: Bloodlines (2015) | ★★★☆☆ The cinematography on this one was sometimes very weird. And the Jurassic Park homages went a bit past "homage" at point imo. But still a pretty fun watch.

Poltergeist (1982) | ★★★★☆ I think I'd seen this before, but I really couldn't remember. Either way, it holds up pretty well! Very engaging and creepy weird, with some good gross moments too.

Sleepy Hollow (1999) | ★★★★☆ Very enjoyable! Tim Burton's style meshed very well with the story, and of course the cast was full of wonderful actors. Unfortunate that Depp stars in it, but what can you do?

Underworld (2003) | ★★★★☆ Not horror exactly, but definitely adjacent enough. Great aesthetic and very enjoyable (re)watch! Also I super appreciated the soundtrack lol

Lake Placid (1999) | ★★★★☆ After I started watching, I realize I think I've seen this before. Still enjoyed it! The characters are definitely the draw more than the croc, though. Would have liked to see a bit more of it

Ghost Town (2009) | ★★☆☆☆ Holy bad acting and shaky cam Batman! Terrible movie with the barest hint of an interesting one beneath, but I think my biggest complaint is there was a Wiccan ritual being done... in the 1800s lol

The Little Girl Who Lives Down the Lane (1976) | ★★★☆☆ There were really no horror elements in this to speak of, which I found a bit disappointing, and I also didn't feel like it had a very satisfactory ending. But I did enjoy the movie for the most part. I guess I just wanted more.

The Witches (1990) | ★★★☆☆ Mostly just pretty goofy, but a fun watch and it felt very seasonal. Anjelica Huston was, of course, the best part! Though I'm always happy to see Jim Henson puppetry as well.

The Silence of the Lambs (1991) | ★★★★☆ This was uh dated in several ways that make it a bit of an uncomfortable watch. But I really did enjoy it! The Clarice/Hannibal dynamic was even better than I'd been expecting.

Killer Klowns from Outer Space (1988) | ★★★☆☆ Wow, that was something else lol Something absolutely ridiculous and incredibly weird, but also very fun! I really enjoyed the main three characters and the music too.

Insidious (2010) | ★★★★☆ Such a good sense of tension in this! A lot of that was thanks to the music tbh, but I do think James Wan just has a really good feel for horror. Also, a very good ending, I'm definitely excited to see 2!

Malevolent (2018) | ★★★☆☆ A fairly enjoyable movie, but it just felt a little lacking and it seemed like the end came up really quickly. To be honest it wasn't quite what I was expecting. I wish there would have been a bit more with the ghosts.

The Conjuring (2013) | ★★★★☆ A rewatch since it's been a few years since I watched it. Very enjoyable movie with good music, great tension, and some actually good jump scares. The Annabelle stuff seems disconnected to the rest, though, I wish that had been more tied in.

Annabelle (2014) | ★★★☆☆ This movie dragged quite a bit and I feel like things could have been compressed quite a bit and it would have been better. The cult connection also could have been explored a lot more imo, because it felt a bit slapped

The Last House on the Left (2009) | ★★☆☆☆ Way too much sexualized violence for my tastes tbh, but I liked the concept and the cast was very good. I think I'll try the original sometime and see how it compares.

The Amityville Horror (2005) | ★★★☆☆ I feel like I may have seen this before? Not really worth the rewatch lol Like this movie is fine I guess, it just felt a bit empty and was overall unsatisfying to me.

The Crazies (2010) | ★★★★★ I was a little iffy going into this bc I thought it might be zombie-esque, and it was, but I really enjoyed it! I liked what they did with the government satellite especially.

Midsommar (2019) | ★★★★★ I was expecting this to be good since I’d heard good things about it, and it so was! The sense of strangeness and building tension was excellent. And it was just such a beautiful movie tbh.

[pollenallergie]

eeeek oh my gosh i love this questionnnn

okay okay so…

Billy loves Studio Ghibli films because of their art style and the amazing storytelling.

He loves stop-motion/claymation movies for much the same reason (all the hard work that goes into them, the artistry, their art styles, the storytelling, etc.).

Billy loves horror movies and thrillers, but only the ones that are visually stunning/aesthetically pleasing, have plots with a deeper meaning to them, and that use a lot of symbolism, such as Get Out, Midsommar, Videodrome, X, Pearl, The Crow, Donnie Darko, Nosferatu, A Simple Favor, Hereditary, A Quiet Place, Shutter Island, etc.

Billy likes Wes Anderson films because of the ✨aesthetic✨ (and also because many of them are just genuinely good??)

Billy loves period pieces like Russian Ark, Anna Karenina, The Color Purple, The Theory of Everything, Portrait of a Lady on Fire, 1917, Emma (2020), etc.

He also likes the classics, but only certain ones and he’s not pretentious about the fact that he enjoys old movies. Many of the classics he likes are musicals, but not all of them. Some of his favorites in this category include: Singing in the Rain, A Clockwork Orange, The Sound of Music, Mary Poppins, The Wizard of Oz, The Rocky Picture Horror Show, The Graduate, Help!, 2001: A Space Odyssey, the early Star Wars films, etc.

Billy loves most, if not all, of the films that come out of A24 (Room, X, Pearl, Midsommar, Moonlight, Waves, Everything Everywhere All At Once, The Green Knight, Hereditary, etc.)

He likes many of Sofia Coppola’s films.

Billy generally enjoys films with really really beautiful/really artsy/just really fucking good cinematography, like Her, Life of Pi, Hunt for the Wilderpeople, Pan’s Labyrinth, Black Swan, Once Upon a Time in Hollywood (one of the only, if not the only, Quentin Tarantino movies he likes), Romeo & Juliet (1996), etc.

He loves films with amazing scores/soundtracks, such as Fantasia, Guardians of the Galaxy, Forrest Gump, Nick & Nora’s Infinite Playlist, Avatar, Don’t Look Up, Soul, E.T., etc.

Billy love love lovesss Disney movies, mostly because he had a horrible childhood and Disney movies let him feel like a kid again without also having to relive the horrors and suffering of his past, but also just because many of them are just really fucking good!!!

Billy also loves coming-of-age/childhood movies, such as Stand By Me, Mean Creek, My Girl, The Lovely Bones, Moonlight, Super 8, Boyhood, Booksmart, Never Rarely Sometimes Always, Mermaids, Bridge to Terabithia, Juno, Where the Wild Things Are, Dead Poets Society, etc. There’s probably some psychological reason why he flocks to this type of film (much like there is for his enjoyment of Disney films), given that he had a horrible childhood, but… we’re not gonna look into that rn, okay?

Lastly, Billy loveesss fantasy films. Really, he loves fantasy in general; fantasy novels, fantasy films. He grew up loving them for the element of escapism they offered. And now, as an adult, he loves them for their nostalgia and whimsy and, even though he’s very happy with his life the way it is now, Billy certainly still loves that sense of escapism… especially when he gets to enjoy it with you.

I think he loves romance films, but only the ones that are warm and cozy, and he dislikes cheesy ones… except for the ones that are cheesy in a good way and still have really good writing even though their kinda cliché.

I also think Billy likes some comedies, but mostly just ones that double as another genre as well (think dramadies and dark comedies), the ones that are classics (old and modern) because of their good writing and/or cinematography, as well as almost any comedy with Jack Black or Robin Williams in it.

Billy also probably likes some superhero movies, emphasis on some. He loves the funny ones like Thor: Ragnarok, Guardians of the Galaxy (both the first film & Vol. 2), and Deadpool 1 & 2. He also likes the X-Men films because he’s always really liked the X-Men, it was one of the only mainstream superhero comics he read as a kid (of course he liked the more niche superhero graphic novels and stuff like that, but he didn’t ready many of the mainstream superhero comics because 1) they were expensive and 2) he usually found the storytelling in those to be kind of meh). Maybe that’s because he sees himself as a mutant/saw himself as mutant as a kid and/or just generally relates to being an outcast. Or maybe it’s just because Jean Grey and Professor X and Mystique and Storm are all cool as hell. He also really enjoyed Black Panther (and Black Panther: Wakanda Forever) because of the beautiful visuals and the storytelling (like the part with the ancestors?? amazing. the fight b/w T’Challa and M’Baku, but also like the way they later band together, despite their differences, for the good of Wakanda as a whole??? just truly incredible. plus the general theme of like family/community??? he loves that!!!). He also likes the first Captain America movie because he relates to pre-serum!Steve (being an outcast, being deemed “undesirable” by most of his peers, being excluded, etc.) and because the themes of that movie are *chefs kiss* (camaraderie/community, determination in spite of all odds, the underdog trope, etc.).

This certainly does not encompass all the film genres and subgenres he loves and why, but like… this post is already v long, so I’m gonna go ahead and stop myself here. Besides, this is like all I’ve got rn. 😅😂

every friday night, you and billy knight spend the night in. you make homemade pizzas, cuddle on the sofa, and watch movies together.

[the-soulscorch]

Yokai

Deadly Avenger & Si Begg

In Japanese folklore the word Yokai means strange, supernatural creatures. There is no direct Japanese to English translation for Yokai. A bit like the term Fairy or Fay in English folklore, Yokai, once translated, covers a broad, unspecific range. From possessions, strange phenomenon and even Urban Legends to Demons, monsters and Gods with ghosts, spirits, sprites, strange animals and shape-shifters in between. Yokai is an all inclusive term. For Deadly Avenger and Si Begg Yokai means all that and more still. Yokai means horror.

This horror comes from the twisted imagination of Damon Baxter (Deadly Avenger) and Si Begg, who have collectively over 50 years of experience in the music business. Both gentlemen have been DJing, composing, recording, mixing, producing and releasing music, under various monikers, since the 1990’s. Although Si Begg has the label “Noddle Recordings,” which releases a range of musical styles, both artists are, probably best known for their electronic music. Considering the longevity of their careers, it seems rather amazing that Yokai is the first album the pair have collaborated on, and as far as I’m aware, the first time the duo have practiced the dark arts of Necromancy and Demonology through the power of their music.

Yokai is a 14 song album of deliciously dark synthwave and electronic music with a hint of horror folk. It’s released by the ever reliable Burning Witches Records, a natural home for such an unusual listening experience. Each song is titled after a different Japanese folklore Yokai and, I like to think, each song is a compacted version of that story. The album is rooted in the horror score/soundtrack genre both real and imagined. However, because the pair have recorded the music for various film trailers (most notably Parasite, Midsummer and Hereditary) no song passes the three minute mark. So here we find the concept behind Yokai, its not the full blown score that tightly follows and enhances the visuals on the screen but a synopsis of 14 stories. Hinting at mysterious shadows, unexpected twists and half glimpsed secrets. This makes Yokai more like a collection of trailer themed songs than an imagined soundtrack. Yet the 14, beautifully crafted, cinematic nightmares flow together like a best of Sheridan Le Fanu or M.R James tales, as in, their style is so unique it could only come from the same wonderfully macabre minds.

For an electronic music album Yokai has a remarkably organic and individual sound. Apparently, some of the samples are made with bespoke, electro-acoustic instruments. There are sounds found in the folk horror genre, like the frantic, demented string snatches on the opening track “Jubokko” or the female vocals on “Rojinbi” and the haunting pipe call on “Kodama.” Yet the majority of samples and effects are so unfamiliar its difficult to draw comparisons. It’s true, you may of heard similar sounds on a handful of other modern scores from composers like Ben Lovett or Mark Korven, but to go from track to track wondering from which level of Dante’s Inferno that was recorded in, is nothing short of a delight.

On songs like “Mara” with it’s ticking clockwork rhythm and constantly building, bombastic drums, you long to be in a giant multiplex cinema, with its enormous surround sound speaker system. So when the bass whoosh finally drops, it blasts your breath straight out of your chest. The bell toll of “Hososhi” with the blackboard scratching strings and hooded disciples chanting leaves you rushing for headphones and the cinematic scale and ferocity of “Gyuki” leaves your neighbours wishing you had gone rushing for your headphones.

Baxter and Begg have created a genuinely unique sound. The concept of making an album around imaginary horror trailers is a fresh and interesting idea. Drawing on their experience of scoring the mini dramas of trailers, the duo have made the concept work exceptionally well, making Yokai a high bench mark in dark electronica. However it is a very intense, though compelling listen, that’s not for the faint hearted. But, if you fancy listening to some music whose intention it is to summon The Cthulhu and the first thing The Ancient Ones do is light a candle, because it’s a little bit dark in here, then Yokai is definitely for you.

Album can be found on Bandcamp Burning Witches Records page or at

www.burningwitchesrecords.com

[elleroodles]

el’s october movie recs!

so! new thing! i am a raging cinephile and have lots of thoughts on lots of movies so this is going to be an opportunity to dump them! usually this will be a lot more put together but since i wanted to get one out for october (hi big horror movie fan here) i’m shoving one out to get this ball rolling!

(since most of these are horror movies, i threw in a cut just in case! due to the short notice, there’s no visuals, but you can never be too careful! these normally won’t be cut and the formatting will be way different!)

EL’S #1 OCTOBER MOVIE REC!

donnie darko dir. richard kelly 2001

CONTENT WARNINGS (spoilers!): death, cp, manipulation, implied sex, lots of swearing, blood, shooting

WHY IT’S SO GOOD: if you know me, you know that i am wholly, completely in love with donnie darko. it’s my favorite movie of all time, and i doubt it will ever be topped. no movie has made me feel so human. it’s not a comforting feeling, not by any means, but one that makes me feel so much emotion. it’s immensely quoteable, with both hilarious lines and somber ones, and most of the concepts brought up will make your head spin. don’t expect to understand it on your first watch. it also has one of the best movie soundtracks, perhaps ever.

WHAT’S IT ABOUT: troubled teenager donnie darko is a sleepwalker played by baby faced jake gyllenhaal: that much is clear up front. after his life is turned upside down by a freak accident, donnie is told the world will end in 28 days, 6 hours, 42 minutes, and 12 seconds. illegal wacky shenanigans insue!

EL’S OTHER OCTOBER MOVIE RECS!

hereditary dir. ari aster, 2018

CONTENT WARNINGS (spoilers!): dude, it’s ari aster. please please please proceed with caution. it’s hard to put warnings without spoiling the entire second act, but familial death and cults are two big ones

WHY IT’S GOOD: it’s not an exaggeration to say this movie wrecked me. i can genuinely say this is most horrifying movie i’ve ever seen. i don’t regret watching it, the cinematography, acting (toni collette deserves every award for her ‘i am your mother!’ speech), writing, and directing are incredible. i’ve learned so much from this script, this movie has been wonderfully made. and the story is so gut wrenching, so dark, depressing, anxious and lonely, and that energy seeps into the audience. the visuals are horrific in the most shocking of ways (this movie does not stray away from body horror, y’all. proceed with caution) and in the most raw of ways. it’s an unrepeatable experience, and it’s should stay that way.

WHAT’S IT ABOUT: when the matriarch of the graham family dies, her secret unravels with her death, sending her daughter’s family spiraling

train to busan dir. yeon sang-ho, 2016

CONTENT WARNINGS: zombie apocalypse, violence, blood, death, people with daddy issues will cry their eyes out

WHY IT’S GOOD: once you can break the subtitle barrier, you have access to the saddest movie ever made. this movie is phenomenal. impeccably made, written, directed, acted, shot, you name it, train to busan did it right. it holds the title as saddest movie i’ve ever seen, and one of the most hopeless. it hit hard in all the right spots, and i’ve never felt so lost. plus i like zombies.

WHAT’S IT ABOUT: businessman/distant father seok woo and his daughter soo ahn board a train to busan admist an outbreak of the living dead

the cabin in the woods dir. drew goddard, 2011

CONTENT WARNINGS (spoilers!): violence, blood, death, drug use (weed), horniness(?), some scary monsters

WHY IT’S GOOD: it’s so dumb, i love it so much. it’s kind of a scary movie-esque look at the genre, except a little bit more unironically cheesy. the overarching concept is fascinating, as well as it’s extremely meta take on the ‘final girl’ trope. leaning as heavily into stereotypes as it does with the main cast of characters could either end in a disaster or a delight, and i personally loved it. good luck predicting the final celebrity cameo!

WHAT IT’S ABOUT: a breakfast club reminiscent group of college kids go to stay in an isolate cabin in the woods. what could go wrong?

shaun of the dead dir. edgar wright (my favorite director!), 2004

CONTENT WARNINGS: zombies, cartoony violence, some swearing i think?

WHY IT’S SO GOOD: here’s a good october movie for all you romcom lovers out there! christened as ‘a romantic comedy. with zombies.’ on letterboxd, shaun of the dead lives up to that. since it’s an edgar wright movie, you know the soundtrack is stellar, and the use of music is very wright-esque as well. where the other zombie move on this list takes itself very seriously (and for good reason), this movie takes itself as a joke. the portrayal of a zombie apocalypse being a mild inconvenience is hilarious, and shaun’s oblivion to the world around him plays that trope up to the extreme.

WHAT’S IT ABOUT: london is overtaken by zombies! oh no! how unfortunate!

and that’s it for this month! thanks for reading till the end, and i’ll see you in a week or so with some good movies for november!!

[jillianallen14]

Media Recommendations

I'm going to be doing my grad school research on the weird/eerie/surreal in literature (which includes film!), so I'm compiling a list of weird/eerie media as I watch/read them to help with my research. There are all kinds of genres included on this list, but it's mostly sci-fi/horror/magical realism/experimental-hybrid genres. But for those of you who love all things strange and unsettling (like me), enjoy. And also feel free to send me recommendations; I'd really appreciate any recs you have :)

Films:

Suspiria (2018)

Hereditary

The VVitch

Mulholland Drive

Inland Empire

Interstellar

Inception

Memento

The Shining

2001: A Space Odyssey

Eyes Wide Shut

The Birds

Donnie Darko

Invasion of the Body Snatchers (1978)

Picnic at Hanging Rock

Solaris

Stalker

Blade Runner

Blade Runner:2049

Under the Skin

The Wicker Man

Amacord

Don't Look Now

The Man Who Fell to Earth

TV Shows:

NBC Hannibal

Black Mirror

The Twilight Zone

Westworld (kinda/sorta)

Twin Peaks

Books:

-Haruki Murakami:

The Wind-Up Bird Chronicle

After the Quake

Hard-Boiled Wonderland and the End of the World

1Q84

"Sleep" from The Elephant Vanishes

"The Second Bakery Attack" from The Elephant Vanishes

"Barn Burning" from The Elephant Vanishes

"The Little Green Monster" from The Elephant Vanishes

"TV People" from The Elephant Vanishes

-Phillip K Dick:

Time Out of Joint

Do Androids Dream of Electric Sheep?

-The Virgin Suicides by Jeffrey Eugenides

-Margaret Atwood:

Surfacing

Oryx and Crake

-A Pale View of Hills by Kazuo Ishiguro

-All HP Lovecraft, as problematic as he is

-HG Wells

-Simulacron-3 by Daniel Happy he

-The White Hotel by DM Thomas

Theory:

-The Weird and the Eerie by Mark Fisher

- The Four Fundamental Concepts of Psycho-Analysis by Jaques Lacan

-The Uncanny by Freud

-The Interpretation of Dreams by Freud

-Beyond the Pleasure Principle by Freud

-Hidden Valleys: Haunted by the Future by Justin Barton

Poetry:

Ghost of by Diana Khoi Nguyen

Black Lavender Milk by Angel Dominguez

"Hollow Men" by TS Eliot

Soft Science by Franny Choi

-Sylvia Plath:

"Lady Lazarus"

"Mad Girl's Love Song"

"Edge"

"November Graveyard"

"Two Lovers and a Beachcomber by the Real Sea"

"Crossing the Water"

Music:

-The Suburbs by Arcade Fire

-Suspiria Soundtrack by Thom Yorke

-Westworld Season 1 Score by Ramin Djwadi

-David Bowie:

Space Oddity

The Rise and Fall of Ziggy Stardust

-"Venus in Furs" by The Velvet Underground

-"The Killing Moon" by Echo and the Bunnymen

-The Cure:

"Lullaby"

"One Hundred Years"

"A Forest"

-"Tell Mama" by Unloved

-Bauhaus:

"Hollow Hills"

"Bela Lugosi's Dead"

-La Femme by Le Femme

-Joy Division... Just ALL of Joy Division lol

[thesituationroom]

stuff to watch/listen to/do at halloween !!

movies:

- jennifer’s body is comedic horror with megan fox and amanda seyfriend in which megan fox gets possessed and starts eating boys

- zombieland is also comedic horror. it’s gorier than the stuff i’m used to but funny in a kinda trashy way

- creature from the black lagoon is one of the earlier full length horror movies and it’s mostly funny now, but it holds up in a way

- what we do in the shadows is a taika waititi vampire mockumentary that is SO sweet

- if you can get your hands on zombi child or the vast of night pleaseeeee let me know, zombi child is a horror movie half about school girls and half about a slave in the early 1800s who dies and gets turned into a zombie slave. the vast of night is a beautifully shot sci-fi movie set in the 50s in southern america about the young man who runs the local radio station and a 16 year old girl who works at the call center and the ending BLEW my mind i literally lost it. it’s so good

- dead poets society is tragicccc but such a good autumn movie. it’s also a gay classic so like.. watch it

- movies i’ve heard are good but haven’t seen because i’m scared of them: hereditary, it & it 2, get out, us, rosemary’s baby, the exorcist, blair witch project, suspiria, the witch

tv:

- over the garden wall is a cartoon miniseries about a 15~ year old boy and his little brother who get thrown into some kind of alternate reality. it’s really cute and cozy, and has a beautifully bittersweet ending

- the buffy the vampire slayer halloween episodes are all really good, my favourite is s4e4, fear itself

- the brooklyn 99 halloween episodes are also really cute

- buzzfeed unsolved episodes are always rly good, my favourite is either the goatman one or vulture mine

- some murdoch mysteries episodes are really good, i think they have up to season 7 ish on netflix

podcasts & music:

- lore is about myths/stories/creepy true historical tales. my favourite episode is ep 47, it made my jaw DROP at the ending

- welcome to night vale is a surreal fiction podcast in the style of a radio show, you probably know it. it’s equal parts funny and eerie

- i haven’t listened to it makes a sound but i want to and it seems eerie !

- the over the garden wall soundtrack is so lovely and charming to listen to

- in the aeroplane over the sea by neutral milk hotel provides good autumn music for colder days

- i’m wide awake it’s morning by bright eyes is good for a slower chiller time

- both hozier albums are really sweet with some good chill songs and some more upbeat ones

- a lot of alt-j music is good for fall

more stuff:

- peach crisp recipe

- pumpkin pie recipe

- gluten free pumpkin bread

- spicy ginger cookies

- apple cheddar turkey burgers

- apple pie

- pattern for a hooded cape

- basic embroidery stitches

[sebastbu]

My Top 40 Movies of the Decade

***just my opinion***this list is not set in stone either***

1. 12 Years A Slave (2013)

What Steve McQueen has managed to do with this movie in nothing short of the best thing art is capable of. He takes the horror of humanity and turns it into a heart shattering tale of the best of humanity. A film that could have sunk easily among the brutality it contains, instead soars with Solomon’s survival. It is one of the most life-affirming, uplifting works of art I’ve ever seen. It makes you cry, it makes you shout, it makes you cheer, it makes you breathless. In short, all the things movies are best at. Not just a definitive movie, but a definitive work of art.

2. The Act of Killing (2012)

This has my vote for the best documentary film of all time. What begins as a transfixing profile of the mass murders responsible for the 1965 Indonesian genocide quickly transforms into a Brechtian nightmare as director Joshua Oppenheimer somehow convinces these men to stage scenes for a fake movie reenacting their crimes. As the film progresses you can hardly believe what you’re witnessing. Horrifying, yet you can’t look away. Oppenheimer holds your attention for every second. What’s captured for film here is truly unique, ground-breaking, soul shaking. A statement about the banality of evil as profound as Ardent’s essays. 

3. The Tree of Life (2011)

Malick has reached his final form here. An organic art form, pure cinema, visual poetry, whatever you want to call it. Nothing but a movie could be this. The images he crafts here are as close to a religious experience as I’ve ever had watching a movie, and probably ever will. In exploring childhood memories, Malick’s style perfectly matches his subject manner. He use of ellipsis and fluidity mirrors the way memories flash through our heads. It is as if we are witnessing memory directly, unfiltered. This movie will move you in ways you didn’t know a movie could. 

4. The Social Network (2010)

That Facebook movie? Hell yeah that facebook movie. What Fincher and Sorkin have managed to do is take what could be a standard biopic, or dull tech movie, and made it into an epic tale of betrayal, greed, friendship, coming of age, and identity. Ross and Reznor’s score pulses, as does the dialogue. This movie starts the instant you press play and it doesn’t let you catch your breath for one second until the very end. Endlessly quotable, perfected acted. A masterclass.

5. The Grand Budapest Hotel (2014)

What can I say about this movie? Every shot is perfect. Every joke, beat, pan, zoom. Well, I guess I’ll say this. This movie disarms with its charm, its facade. But at its heart is a wrenching tale of loss, nostalgia, and the fleeting nature of everything, especially those we love. A jewel of a film. Anderson makes sure you’re cozy and then pulls the rug out from under you, and suddenly you’re crying. 

6. The Master (2012)

Career best performances from Joaquin Phoenix and Phillip Seymour Hoffman. Lushly shot. Greenwood delivers another ground breaking score. PTA has made an aimless film about aimless characters that nevertheless is riveting. At the end, you may not know exactly how far you’ve progressed, but you’re sure glad you went on the journey. 

7. Drive (2011)

This is not an action movie. It’s a love story. The now famous dream pop soundtrack. Ryan Gosling doing so much with so little. Refn’s breathtaking cinematography. Diluted dreams. Crushed hopes. Silent gazes, filled with more emotion than dialogue could ever render.

8. The Revenant (2015)

An achievement of pure cinematic insanity. I still have no idea how they got some of these shots. A brutal, thrilling story of survival among nature’s cruelty. Inarritu’s camera is like magic in this film, uncovering the previously thought not possible. 

9. La La Land (2016)

A reinvention of a genre that somehow manages to have its cake and eat it too: a nostalgia trip that also subverts expectations. Right up there next to Singin’ in the Rain, in my book at least. How on earth was that only Chazelle’s second ever movie? 

10. The Lighthouse (2019)

TELL ME YE FOND O ME LOBSTER! WHYD YA SPILL YOUR BEANS? IF I HAD A STEAK ID FUCK IT. That about sums it up.

11. Parasite (2019)

Bong Joon Ho has made a beautifully twisted psychological thriller that is also hilarious, touching, and a lasting commentary on class and social mobility. 

12. The Florida Project (2017)

Baker’s approach of setting this story from the viewpoint of children makes it a glorious romp through a world of innocence as well as tragedy, and also makes it all the more emotionally impactful.

13. Inside Llewyn Davis (2013)

It’s all about the cat. Alongside the Coen’s mastery of dialogue and the side character, as well as the beautiful folk music, this film acts as a deeply moving portrayal of depression, and how sometimes we are our own worst enemy. 

14. Moonlight (2016)

Expertly crafted. Expertly acted. Expertly shot. A gorgeously rendered coming of age story. I’m not really the person who should speak of its importance. I’ll just say: it is. Very. A movie that will stun you. 

15. Mad Max: Fury Road (2015)

Practical! Effects! Yeah, that really is Tom Hardy swinging fifty feet off the ground on a pole as explosions go off behind him. A feminist, post-apocalypse, road trip movie brought to you by the director of Happy Feet and Babe 2. What more could you want?

16. Moonrise Kingdom (2012)

A wonderful celebration of childhood and of fantasy. Anderson crafts a world you want to return to again and again. Anyone else get jump scared when they realized Lucas Hedges was in this??? 

17. Arrival (2016)

I love Denis Villeneuve’s films for so many reasons. The most important I think is that he balances entertainment and artistic depth so well. Like all great scifi Arrival is not really about aliens, it’s about us. 

18. Inception (2010)

A film that runs on all cyclinders. Smart, funny, jaw dropping, just plain fun. Nolan manages to build some surprisingly moving moments as well. 

19. Gone Girl (2014)

Ah Fincher and his twists. Rosemund Pike at the top of her game. Ross and Reznor return with another gripping score. Around the narrative, Fincher creates a fascinating portrayal of the media and marriage, one with endless twists and turns. You never quite know where it’s headed.

20. Sicario (2015)

A second thing I love about Dennis Villeneuve: he does point of view characters better than anyone else. 

21. Enemy (2014)

A third thing I love about Dennis Villeneuve: he plays with genre and narrative structure unlike anyone else working right now.

22. Incendies (2010)

A fourth thing I love about Denis Villeneuve: he’s given us some of the best female lead characters this decade.

23. Blade Runner 2049 (2017)

A fifth thing I love about Denis Villeneuve: he somehow managed make a Blade Runner sequel work. Here’s hoping for Dune. 

24. The Look of Silence (2014)

The companion film of The Act of Killing. Oppenheimer does it again, this time focusing more on the victims of the genocide. Groundbreaking cinema.

25. Shame (2011)

Slow clap for Michael Fassbender. Slow clap for Carey Mulligan. Slow clap for Steven Mcqueen.

26. Hereditary (2018)

Using horror to examine mental illness and family trauma. Aster has made a new classic of genre, taking it to new heights.

27. Under The Skin (2014)

How to make a movie about an alien descended onto earth in order to capture men and engulf them in her weird black room of goo? Make a very alienation movie. Chilling. Otherworldly. Haunting. 

28. Son of Saul (2015)

In making any holocaust film there’s always the risk of feeling exploitative. Nemes’s radical camera work, focusing almost entirely on the main character’s face in close up leaves this concern in the dust. The horrors enter only at the corners of the frame, while humanity is firmly centered the whole time. An important film everyone should see. 

29. Whiplash (2014)

As visceral and heart pounding as the solos performed, the film as a whole is a perfectly made portrait of a obsession. 

30. Amour (2012)

Haneke takes his unforgiving approach and lays bare a topic with incredible emotional depth. The result is deeply moving without ever being sentimental. I’m hard pressed to find another film about old age that is this poignant. 

31. Birdman (2014)

A whirlwind of a film. A high wire act. The long takes turn it into something more akin to a play. A pretty damn good one at that. 

32. Once Upon A Time In Anatolia (2011)

What’s Chekhov doing in the 21st Century? He’s in Turkey. He name is Nuri Ceylan. 

33. The Favourite (2018)

Lanthimos turns down his style and turns up his humor. The result is the best of both worlds: a dark, twisted tale of power and a hilarious parody of monarchy and British costume drama. 

34. Phantom Thread (2018)

PTA delivers again. What could easily have been another tired tale of the obsessive artist and the woman behind him is instead a fairy tale-ish ensnaring of two people’s ineffable pull towards each other. 

35. A Hidden Life (2019)

Still fresh in my mind. Malick’s late style is given the backbone it needed in the form of a relevant tale of resistance and struggle. A meditative, prayer-like film about the power of belief. 

36. Prisoners (2013)

A sixth thing I love about Denis Villeneuve: his movies have layers, but only if you look. Otherwise, the ride is pretty great as well. 

37. Manchester By The Sea (2016)

A masterclass in doing less with more. 

38. Foxcatcher (2014)

Bennett Miller does biopics unlike anyone else. That is to say, maybe better than anyone else working today. 

39. The Witch (2015)

Eggers’s first foray into historical New England horror. A chilling commentary on the evils of puritanism.

40. The Kid With A Bike (2011)

The Dardenne brothers managed to make a gut-wrenching tale of childhood, masculinity, abandonment, the power of empathy, belonging, and redemption in 84 minutes. Here’s a suggestion. Watch this movie. Then watch it again. A better use of the same amount of time it takes to sit through The Irishman. Oh wait, no you still have 30 minutes left over. 

[cleopatrick94]

Tagged by @dedraconesilet who somehow knew I was super bored at work.

FAVORITE MOVIES!!!

Movie that makes you remember your childhood: Pee-Wee's Big Adventure, The Muppet Movie, Muppet Treasure Island, basically anything with The Muppets.

Favorite Tom Hanks movie: fuuuuuuuuck ok. There are a lot of good ones. Um. Castaway. But I also really dig The Burbs

Movie that makes you cry: I cry so easily at movies. But the one that always gets to me is Magnolia.

Favorite 80s movie: Blue Velvet

Favorite Comedy: Step Brothers

Favorite Courtroom Movie: 12 Angry Men

Favorite War Movie: either Apocalypse Now or The Thin Red Line

Favorite Animated Movie: The Iron Giant. Or ParaNorman.

Favorite Horror Movie: too many to count. The Shining is the scariest movie ever made, but I also love Texas Chainsaw Massacre, Suspiria (1977) and some of the weirder stuff from the 80s like Videodrome, Re-Animator, and Society. Also there have been some great horror movies recently like Hereditary, Midsommar, Green Room, Mandy, The Witch, The Lighthouse, and Suspiria (2018)

Most Overrated Movie: The Exorcist. It's.....fine? But oh my god it takes about an hour to get going. I like slow burn horror, but nothing happens for about half of the movie.

Favorite Gangster Movie: Goodfellas. No contest.

Movie that you can watch over and over: I've mentioned most of those already, sooooo..... Speed Racer.

Movie with the best soundtrack: Inside Llewyn Davis. Also Trainspotting.

Most Embarrasing movie you love: I have a ton of fun with the first Transformers movie. I also tolerate 2, 3, and 4.

Favorite Christmas Movie: Muppet Christmas Carol. Also Krampus.

Favorite sequel: Fuck you, it's The Last Jedi. 2nd best Star Wars movie, don't @ me.

Favorite sci fi movie: god there are so many great ones. Blade Runner, 2001, Alien, Robocop, Eternal Sunshine, Districy 9, etc.

Favorite Period Piece. Any period piece by Paul Thomas Anderson. There Will Be Blood, The Master, Inherent Vice, and Phantom Thread are all great. But more recently, Once Upon a Time in Hollywood blew me away.

Favorite Movie Musical: it's a tie between Singin' in the Rain, and Hedwig and the Angry Inch

Imma tag @mr-edward-nigma @classic-literature-snob who I know hasn't seen any movies lol and @captainsomething8

[aarontalksmusic-blog]

A Top 30 Horror Movies

This is Halloween! This is Halloween! There are a lot of awesome horror movies, but I picked just 30 that qualify as my favorites. 

#30 - The Conjuring

So this movie isn’t perfect. The last 20-30 minutes kinda turn into a mess as the demon gets more confrontational. But, the first 90 minutes are a near perfect slow build of tension and smart visual storytelling. All the actors do a good job, even the kids. This movie has insured I never play Hide and Clap.

#29 - Paranormal Activity 2

In my opinion superior to the (still pretty good) original, PA2 moves faster than its predecessor and uses the audience’s curiosity against them in interesting ways. You’re always looking to the edges of the screen for something or someone out of place, and as the movie progresses, that curiosity rattles the nerves more and more.

#28 - The Hills Have Eyes (2006)

One of the only modern horror remakes that improves and expands on the original. The Hills Have Eyes hit when I was a junior in high school. It is gleefully gorey and deranged. People die in awful ways, and the protagonist (seen above) spends most of the last half hour drenched in blood. It’s a lot of fun if you’re into that sort of thing.

#27 - Event Horizon

Space Horror is a hard genre to get right. Event Horizon knocks it out of the park by getting the slow build right. There are gruesome and bloody images from time to time, but the majority of the movie is built on tension and dread. Having Sam Neill and Laurence Fishburne leading the cast adds some dramatic weight to the proceedings.

#26 - The VVitch

The GOAT 17th Century rural horror movie. This movie gets real weird and leaves a lot up to the audience’s imagination. The less said about it the better if you haven’t seen it. But, even for the 2010s renaissance of horror, this one stands out.

#25 - Hereditary

This is a list of my favorite horror movies, not the scariest. If it were “scariest” this would be top 10, maybe top 5. The second half of this movie is some of the most uncomfortable and relentlessly horrifying storytelling I’ve ever seen. Across just two feature films, Director Ari Aster has proved himself a master of the horror genre. We’re all worse off for it.

#24 - Return of the Living Dead

The first movie on this list that is more funny than scary, Return of the Living Dead is laugh out loud hilarious at times. Somehow, it still manages to be a more effective zombie movie than most serious ones. Great punk rock soundtrack and highly quotable, this is great for people who scare a little too easily.

#23 - Friday the 13th Part 2

Basically improving on the original in every way, Friday the 13th Part 2 is iconic even without Jason’s hockey mask making an appearance. The killer instead keeps a lumpy bag over his head the whole time. The movie lets you know early on that its going to be ridiculous, when the Part 2 logo literally smashes through the Friday the 13th title card. Great representation of the slasher genre.

#22 - Suspiria (2018)

I’m a sucker for lore in movies, and Suspiria is full to the brim with details that expand on the world. Led by great performances from Tilda Swinton and Dakota Johnson, the movie is highly intelligent and occasionally brutally violent. The fact that the director’s prior movie was “Call Me By Your Name” shows that he’s a talented filmmaker no matter the genre.

#21 - Halloween (1978)

Michael Myers is iconic. The music is iconic. Jamie Lee Curtis is an all-time great horror leading lady. Halloween is a must watch for horror genre fans. 

#20 - Get Out

This movie is so well written it won an Oscar. Get Out is both hilarious and brutally tense. The acting is awesome across the board. Who knew Jordan Peele would use his comedy talent to make a career in scary movies? 

#19 - Shaun of the Dead

A classic comedy filled with so many jokes that it takes about 3 watches to catch them all. Not scary in the least, but uniquely playful in the genre. Also made Simon Pegg a star. Nothing but greatness here.

#18 - The Descent

I’ll always remember my first watch of this movie. It slaps you in the face with trauma in the first 5 minutes. Then spends three quarters of an hour building tension and claustrophobia before suddenly becoming a solid monster feature. Though it fizzles a little at the end with some wtf moments, the first 3/4ths are very effecting.

#17 - Nightmare on Elm Street

Nightmare on Elm Street is just a cool as hell idea for a horror movie. It takes the occasional predictability of Halloween or Friday the 13th and flips it. The kills are inventive and visually interesting, the effects are very cool, and you get to see Johnny Depp get brutally murdered. win-win-win.

#16 - Saw

Saw came out at a perfect age for me. Seeing this movie at 16 was a great experience. Even as the sequels got worse and worse, the whodunnit nature of the original held up. People were literally drowning in gore by Saw 3, but this is a solid movie that knows when to tone things down. Great watch.

#15 - Evil Dead 2

By turns hilarious and unsettling, watching Evil Dead 2 allows the viewer to marvel at the special effects done on a shoestring budget. Bruce Campbell is an absurd and talented physical actor, and singlehandedly carries this movie into the hall of fame.

#14 - IT Chapter 1

Chopping the 1,000 page Stephen King book in half allowed the first half of the IT saga to thrive. Bill Skarsgard is a fantastic Pennywise, and the child actors all do well. A slightly repetitive series of scares keeps this one from perfection (and would be the downfall of Part 2), but its still an amazing peak of the genre.

#13 - Dawn of the Dead (2004)

Fast zombies. Zack Snyder directing before his head got too big. Hilarious musical cues. Apocalyptic imagery. This movie is one of the best of the zombie genre.

#12 - Fright Night (1985)

One of the most simply fun movies on this list, Fright Night is straight out of the mid 80s. It never takes itself too seriously, but it still has some good scares sprinkled in. An essential vampire movie, and the remake with Colin Farrell wasn’t half bad either.

#11 - The Omen (1976)

One of my early favorites, The Omen is another lore filled film that gradually ramps up the twists until the dramatic finale. Probably one of the least scary films on my list, its built on Gregory Peck being a great actor and a few pretty messed up deaths.

#10 - An American Werewolf in London

Another favorite from childhood, this is the best the werewolf genre has to offer. Made by John Landis who also did Animal House and Blues Brothers, American Werewolf balances 80s level of gore with award winning special effects and clever music (every song featured has moon in the title).

#9 - It Follows

One of the newest (and most original) movies on the list, It Follows is one of a kind. It’s terrifying, has great cinematography and halfway through the movie you have absolutely no clue how it will end. Must see.

#8 - Midsommar

This is absolute newest film on the list, and one I’m anxious to rewatch. Midsommar sets itself apart by being 95% in broad daylight and providing a wealth of backstory to the “bad guys”. Also Florence Pugh shows that she is an amazingly skilled actress, particularly in the final 10 minutes.

#7 - The Exorcist

^That guy is scary. He’s also only in the movie for like 3 seconds. Obviously this is a classic. If you haven’t seen it and like horror at all, it will still amaze you, almost 50 years later. I would’ve loved to be a fly on the wall when it was in theaters watching people lose their minds. Still a masterpiece of the genre.

#6 - The Blair Witch Project

I watched The Blair Witch Project for the first time alone in my room at age...I believe 14. That was a mistake. While the mistakes of the hikers become a bit hilarious on multiple rewatches, the night scenes are still tense af. The last 15 minutes are uniquely terror-inducing. Everybody’s seen this one, but if you haven’t, maybe watch it with the lights on?

#5 - The Evil Dead (2013)

This movie is one of the most intense and relentless horror movies ever. Nail guns, rusty knives, a turkey carver, a chainsaw, a machete: people get literally ripped apart in this movie. But, here’s the thing, its really really fun to watch. You’ll be out of breath when its over, but still.

#4 - Cabin in the Woods

Cabin in the Woods isn’t THAT scary. It flirts with scary. It has some shocking and frightening moments But mostly its a shitload of fun that plays on every trope of the horror genre. It also has one of my favorite final moments of any film on this list.

#3 - The Thing

Underappreciated upon its release, The Thing has become the standard by which body horror is measured. Its delightfully paranoid and lets the audience sit and think as gruesome deaths pile up. 

#2 - Alien

One of the first movies to terrify me, Alien is one of the greatest horror movies ever made. The monster design is iconic. The kills and set pieces are one of a kind. It has a kick ass female heroine played by Sigourney Weaver. What more do you want?

and finally

#1 - The Shining

YEAHHHHHHH Here’s a brief list of iconic Shining scenes: - An elevator full of blood - The old woman in room 237 - All work and no play make Jack a dull boy - The snowy hedge maze - Here’s Johnny - Danny’s vision of the twins - The house of horrors finale featuring the man in bear costume featured above and of course - REDRUM This movie is a masterpiece, made by one of the greatest directors of all time, starring one of the greatest actors of all time and based on one of the scariest books by the defining horror author of our time. Its damn near perfect.

[jmsa1287]

Best Films of 2018

This list may seem a few months late but I consider the movie season to stretch from January through February of the following year — or until after the Academy Awards ceremony is held. This usually overlaps with the slate of new films debuting at Sundance and other early festivals but that's just the way Hollywood works; awards season is truly never over.

Though movie studios are still focusing on superhero blockbusters and films based on existing intellectual property, 2018 offered a number of original gems among some bona fide hits. Films like the atmospheric sci-fi thriller "Annihilation" and Maggie Gyllenhaal's tour de force of a performance in "The Kindergarten Teacher" just missed my top 10 of 2018. While most of the movies in my list didn't make much of a splash at the box office, they each have a distinct point of view, tone and push the boundaries of what moviemaking can be. From a film shot entirely on an iPhone to a touching story about queer friendship, 2018 was a diverse and solid year for film.

Below are my top 20 favorite movies of 2018.

20. “Burning,” Lee Chang-dong

19. “Happy as Lazzaro,” Alice Rohrwacher

18. “The House that Jack Built,” Lars von Trier

17. “Juliet, Naked,” Jesse Peretz

16. “BlacKkKlansman,” Spike Lee

15. “Shoplifters,” Hirokazu Kore-eda

14. “If Beale Street Could Talk,” Barry Jenkins 

13. “First Man,” Damien Chazelle 

12. “The Kindergarten Teacher,” Sara Colangelo

11. “Annihilation,” Alex Garland

10. “Unsane,” Steven Soderbergh

"Unsane" is Steven Soderbergh's first iPhone movie. He followed this psychological thriller with "High Flying Bird" on Netflix earlier this month, a snappy basketball movie about the behind the scenes action starring Andre Holland ("Moonlight, "The Knick"). For "Unsane," Soderbergh sets his iPhone 7 Plus on "The Crown" star Claire Foy, who plays Sawyer, a troubled woman who is involuntarily institutionalized. Soderbergh makes the best use of the iPhone, making "Unsane" feel claustrophobic and disorienting to match Sawyer's state of mind. Foy gives a great performance of a woman on the edge, making this little-seen flick so much better than it ought to be.

09. “Vox Lux," Brady Corbet

"Vox Lux" is not a good movie. It's a fascinatingly bizarre one, though. It's the kind of strange concoction that has stuck with me since seeing it a few months ago. It's a twisted version of "A Star is Born" when a young singer Celest (played by Raffey Casssidy as a teen and Natalie Portman as an adult) survives a school shooting and is transformed into a mega pop star a la Lady Gaga. Every choice here is so strange — from a Willem Deafoe narration to having Cassidy play Celest's daughter. And then there's Portman's mind-boggling performance (The New York Times' film critic Manohla Dargis put it best, writing that Portman has an "accent that sounds like it's been lifted from a New York cabby in an old Hollywood comedy." The last musical number is terrible and the pop songs that we're to believe propelled Celest into stardom are quite bad (they were written by Sia but sound like tracks she never planned to release). Director Brady Corbet (an actor best known for his role in "Mysterious Skin" and his directorial debut "The Childhood of a Leader") makes a huge swing with "Vox Lux" and attempts to say something grand about our culture, pop music and tragedy but it's ultimately a can't-look-away-misfire. The kind of disaster I'll happily re-watch again and again.

08. "Suspiria," by Luca Guadagnino

Like "Vox Lux," Luca Guadagnino's take on the cult classic "Suspiria" aims high. But unlike Bradly Corbet's film, Guadagnino's remix of Dario Argento iconic 1977 giallo horror film is successful. With a running time of 153 minutes, the 2018 "Suspiria" is only spiritually connected to the original, expanding on Argento's "Three Mothers" trilogy. Guadagnino smartly ignores the original's Technicolor gore and its iconic soundtrack from Goblin, making his version of the movie dull grey and enlists Radiohead front man Thom Yorke for its spooky music. "Suspiria" also also features Dakota Johnson's best performance ever and another stellar turn from Tilda Swinton. Guadagnino channels Rainer Werner Fassbinder, adding texture to why "Suspiria" is set in 70s Germany and making great use of the political climate at the time and a coven of witches.

07. "Lean on Pete," Andrew Haigh

Out filmmaker Andrew Haigh's follow up to "45 Years" is a quiet road trip movie about a boy and his horse. Charlie Plummer gives one of the best performances of the year as Charley — a dirt poor teen who finds solace in taking care of an aging racehorse named Lean on Pete. The film shifts major gears after Charley is hit with tragedy in the first third of the film, sparking him to run away with his new animal friend in search of his aunt across the country. "Lean on Pete" isn't as sentimental as one may assume; it's a dark film that rests on Plummer's shoulders, proving he's one of the strongest young actors of his generation.

06. "Eighth Grade," Bo Burnham

Comedian and YouTube star Bo Burnham's directorial debut "Eighth Grade" is a horror movie. Starring the sensational Elsie Fisher as middle school student Kayla, "Eighth Grade" puts the experience of a young teen under a magnifying class, amplifying every awkward moment and pump those tense scenes with the kind of intense energy one would feel while watching slasher flick. But "Eighth Grade" is ultimately beautiful movie that tracks 13-year-old Kayla as she navigates her last year before entering high school. Burnham captures the essence of being a middle schooler and not for once plays Kayla's experience for cheap laughs. The things she's interested in — especially vlogging — are treated with respect and dignity, making "Eighth Grade" a lovely and felt experience.

05. "A Star is Born," Bradley Cooper

Bradley Cooper's remake of a "A Star is Born" was one of the most exciting cultural moments of 2018. From the memes to the actual film — when the moment hits that Cooper is actually pulling it off — this tragic Hollywood story, starring a marvelous Lady Gaga, was one of the best movies to think and talk about. It also happens to be very good.

04. "Roma," Alfonso Cuarón

For how technically impressive "Roma" is (that cinematography! The sound!) Alfonso Cuarón's memory piece packs an emotional punch. Cuarón focuses on Cleo (breakout star Yalitza Aparicio), a nanny for a family in 70s Mexico City. Based on Cuarón's real life nanny from that time, the filmmaker puts Cleo's experience and story on a huge scale. Her small story is treated like a war epic. "Roma" is why movies exist, an achievement in storytelling and cinematic scope.

03. "The Favourite," Yorgos Lanthimos

Yorgos Lanthimos pulls of a feat with "The Favourite" a wickedly funny movie about power, women and sex. Its three stars Olivia Colman, Emma Stone and Rachel Weisz give incredible performances each on a different wavelength. Lanthimos's touch makes "The Favourite" slightly off kilter, thanks to fisheye lenses, modern music and dance. There hasn't been such a twisted period piece since Sofia Coppola's 2006 masterpiece "Marie Antoinette."

02. "Can You Ever Forgive Me?" Marielle Heller

"Can You Ever Forgive Me?" probably has one of the worst trailers of 2018. It suggests is a run-of-the-mill Oscar bait movie with comedic genius Melissa McCarthy making a blatant attempt to Get Serious. But Marielle Heller's film is anything but that, considering it earned just three Academy Award nominations (McCarthy for Best Actress, Richard E. Grant for Best Supporting Actor and Nicole Holofcener and Jeff Whitty for Best Adapted Screenplay) and isn't expected to take home any. Nevertheless, the story about biographer-turned-scammer Lee Israel turns out to be a touching story about queer friendship. It's a specific New York City 90s story that's heartfelt and beautiful. Indeed, McCarthy as Israel is wonderful as is Grant, who plays gay British smooth talker Jack Hock. "Can You Ever Forgive Me?" is the kind of movie that is currently overlooked but will go on to become a cult favorite.

01. "Hereditary," Ari Aster

"Hereditary" is hands down the scariest movie of 2018. It's hardly a horror movie, although it's classified as such since supernatural moments occur. But it's the most stressful, intense and twisted family drama in some time. At the center of this film is Toni Collette's masterful performance as Annie Graham, a mother dealing with the loss of her own mother and how that sets off a chain of events that uproots her reality. The rabbit hole she goes down is — well there's really no other way to put this — extremely fucked up. She's put through the ringer and Collette is fully committed here as "Heredity" explores what it's like to be a mother, deals with loss, grief, tragedy and familial bounds that we've been taught to be unbreakable. "Heredity" asks what if those bonds somehow did snap? The answer is that all hell breaks loose.

[themosleyreview]

The Mosley Review: Best Film of 2018

Another year has passed and man was it a good year with some great films. Now I know I missed a good number of them, but I saw the ones that interested me. This list comprises of the best films that either wowed or moved me. Now I try to keep these lists at 10 films, but this year I'm adding one extra slot. If you want the full review of each film then click each title. Now without further ado, here's my list of the best film 2018! First up......

Blockers: It has truly been a while since we've had a fresh idea come to the teen sex comedy genre and this one was what the genre needed. It was genuinely funny in so many ways and unexpectedly heartfelt and sweet. The sight gags were truly fantastic and hilarious especially the "kiss the car moment". I loved the chemistry each parent had with their teenagers and the over all message of growing up and acceptance. American Pie was of my generation and this film was for this generation and I still loved it.

A Quiet Place: If there was a list of the best trailers of 2018, then this film’s trailer would win. Originality is key to the horror/sci fi thriller and the fact that director John Krasinski tapped into that with a genius idea was truly surprising. Known for comedy, it was a great switch to see his more dramatic side. I loved the family story that surrounded the constant threat in the world and it made for some of the most thrilling moments on screen once certain family members were alone. I truly was on the edge of my seat the entire film and I had one of the rare theater experiences where I was in a full theater and nobody made a sound. No crinkling of rappers, whispering or cell phone usage. Everyone was engaged completely. Man I loved this film.

Hereditary: I love the resurgence of slow burn horror films. Not all have mastered it yet, but the ones that do are truly special. This film was creepy and heartbreaking in so many ways. If it was just a family drama then it would be great, but with the addition of the horror element it becomes a masterpiece. The whole cast delivers great performances, but Toni Collette was unbelievably fantastic and I hope she gets nominated for Best Actress. She was so real and gut wrenching when tragedy hits her. This was truly the best horror film of the year and it should not be missed by anyone.

Incredibles 2: Why did it take 14 years until we finally got a sequel to one of the best original animated superhero films?! Well the wait was worth it because Pixar delivered once again. Not only does the family get more challenging drama sprinkled into their lives, but things get kinda scary. I loved every sequence with Elastic Girl, but Jack Jack stole the entire film with his fight with the raccoon. Every year Pixar delivers with their original stories and it was about time that my favorite Pixar film got the sequel it deserved. PLEASE don't make us wait another 14 years for Incredibles 3!  

Blackkklansman: I love Spike Lee. He is and will always be one of the most powerful voices in the black community and in cinema. To see his take on one of the most dangerous and awesome true stories was truly exciting. I did have a hesitation about seeing the film because at times racism related films can be a too aggravating, but I gave it a chance and loved it. It was a story that needed to be told on the big screen and with all the powerful messages. The performances were great all around and I loved John David Washington and his chemistry with Adam Driver. The pair were excellent apart and together. The ending of the film was a strong political and social message that was heard loud and clear and I loved the film all the more for it.

Mission: Impossible - Fallout: Again and again this franchise gets even more intense with its fantastic storytelling and astounding action sequences that are breathtaking. The reason why these films are still loved is because the action is real and gritty. Tom Cruise keeps this franchise fresh and as Ethan Hunt he hasn't stopped being great. From start to finish the connections to past films and the twists were truly amazing and I loved the rivalry between Tom and Henry Cavil's character August Walker. This was an espionage epic and another definition of how to keep your franchise fresh.

Bohemian Rhapsody: It is very rare to do a film about an influential band right and I think that's the reason why we don't see films like this anymore. The ultimate challenge was presented to do a film on possibly the greatest band England and the world has ever seen and will ever know. I was so happy with the results of this magnificent film. So much care and heart went into the making of this film and immortalized Queen and Freddie Mercury while showing respect to his memory. Everybody wants the deep, dirty and dark side of a person's life, but that wasn't the important part of the film. It is rightfully addressed, but it doesn't consume the film. This was a love letter to Queen and to all the generations of fans that were there from the beginning, who grew up with Queen and for the new ones just discovering them now.

Avengers: Infinity War: 10 years of a serialized film universe has finally come together in what is to be known as one of greatest technical achievements in storytelling and filmmaking. All this time the powers behind the Marvel Cinematic Universe have taken risk after risk and it has paid off each time. Now this film brings almost all of the characters we know and love and puts them together in a cohesive story that spans across the globe and stars and it keeps the grounded feel that has been consistent throughout each film. The action was fantastic it was truly breathtaking to see a film of this scale to be the first film shot entirely in IMAX. The moment we started losing characters was truly heartbreaking and a communal tear was shed for one in particular. I loved this film and I can't wait for Endgame.

A Star is Born: It is the one story that has been told countless times and a film that has been remade 3 times prior and I have to say that this is the best version. The music in the film was fantastic and the way that the live performances were shot was expertly done. I felt as if I was onstage with Bradley Cooper and Lady Gaga. The two of them delivered outstanding performances and Lady Gaga has shown her acting chops before, but this was on another level of excellence. Their bond throughout the film was the heart that kept beating steadily and when it breaks, it breaks your soul. I loved this film so much and I haven't stopped listening to the soundtrack to this day.

Spider-Man: Into the Spider-Verse: If there's one character that has had more reboots than anybody else, its Spider-Man. The entire franchise has been rebooted and plagued with 3 bad films and luckily the character was saved by the MCU handlers. Now comes the story of a new Spider-Man and my god was it astounding. The visuals alone were groundbreaking and pushed what can be done in animation to the next level. The story was a perfect introduction to a fan favorite Miles Morales and a worthy origin story for him. This film exceed all my expectations and blew the doors off how origin stories are made. This was a crowning achievement in filmmaking and storytelling and will be one of the most influential story for children of all ages and race. Such a masterpiece.

And now the moment is here. The best film of 2018 is......

Black Panther: I have waited with baited breath for the moment that the first black superhero in comic book history would finally get his own film and it finally happened. Not only did the film fully bring to life the hero, but also his world and the heritage with the African nation. The colors and art style exploded off the screen in every frame. Wakanda was finally brought to life with such skill, love and respect. The film had many themes of family, ancestoral history, but at its core was a social commentary on growing up in 2 different worlds. One in America and one in Africa. The many similarities between T'Challa and Killmonger were great and although both world views were different, both were righteous in their beliefs. Killmonger had a point in the fact that Wakanda is far more advanced than any nation and the technological advances should be shared and used for domination. He was kinda right, but wrong in his execution. He made for one of the best villains/idealists and it was one Michael B. Jordan's best performances. Chadwick Boseman has always been a class act and he becomes T'Challa in this film and I loved his journey. Winston Duke stole the film as M'Baku and he is one of the best characters the MCU has. Black Panther is the film that encapsulates everything that is good in the MCU and its story is the most influential and gives the black community a hero we can all learn from and root for. This film is a cinematic staple that will not be forgotten and deserves every accolade it receives.

And that's it people! That is my list of the best films of 2018! What a great year for film and I can't wait to see what 2019 has to offer. With the upcoming slate, I think my list will be harder to make come next January.

[hyenabutter]

Low began their career near the end of the last century as perhaps the ultimate slowcore band, but about a dozen years ago, after the high-water mark of 2002's Trust, they released The Great Destroyer, their first truly loud album, their first to speed along at more than a dripping faucet's pace, their first to use all the cliched signifiers of Rock. It was thrilling. 

The break Low made between Trust and The Great Destroyer may have seemed jarring, but that's only because of how deliberate it was: they had been building at their own incremental pace toward The Great Destroyer's bombast at least since 1999's Secret Name. It was a surprise the same way that the groaning of an ice-coated limb goes unnoticed until the snap and roar of all that has been accumulated gives way to gravity. 

Having made that--apparently--sudden leap forward, the band made the next jump, to the chilly electronics and beats of Drums and Guns. It was a move that also seemed jarring, in purely sonic terms, but less so in the act itself. Reinvention seemed to be their new calling card.

Which is why their next two albums, C'Mon and The Invisible Way, at least in my mind, were  genuinely surprising in that there wasn't much in the way of mold-breaking. C���Mon and The Invisible Way were to my ears pleasant but they failed to capture my attention in any serious way. The songs were fine, but they just seemed to be kind of generic, standard indie rock songs. I let Low drift away from me. We were done, I thought. 

I gave the glitchy follow-up, 2015's Ones And Sixes little more than a cursory listen, and though I thought it seemed a better album than their previous two, I still declined to take a deep dive into it. It feels now in retrospect a dry run for Double Negative, their  newest album, and in that light I think I should perhaps give it a second, more considered listen. 

Double Negative feels like a sudden leap forward the way The Great Destroyer did more than a decade ago, this time taking their sound and breaking it completely: the songs here are crumbled and crushed, awash in static, the voices of Alan Sparhawk and Mimi Parker clipped and digitally manipulated. At times it seems to me like Low's version of Lambchop's FLOTUS album from 2016: an established act taking on the production tricks of the new generation, seeing where their songs go in a new environment. But where FLOTUS was more often than not concerned with love and beauty, Double Negative is its scabrous, photo-negative twin, blown-out, horror movie stuff, loops of distortion and heavy, thundering beats, the songs scorched and scabbed-over, rife with paranoia and unease.

I wasn't very impressed with my first exposure to the album: the first few bits  I heard were playing through someone's television, which is no way to listen to anything, really, but it explains my trepidation: this is in every way a headphone album, one that demands you be utterly submerged in its waters. The songs are so broken and distorted that for a moment during "Quorum", the opening track, I wondered if I'd fully plugged the jack in: layers of noise swell in and out of the mix, as do Alan Sparhawk's vocals, until it gives way to the looped pounding of "Dancing And Blood"; on "Tempest" Sparkhawk's voice is run through some sort of digital proccessing that sounds like the decayed transmission from some distant star, the vocals utterly obliterated and unintelligible; "Always Trying To Work It Out" throbs like a Portishead record bathed in battery acid, Mimi Parker's crystal clear vocals harmonizing with Sparhawk, whose voice is shifted down low in a way that reminds me of younger bands like Perfume Genius, bands that probably owe more than a little to Low themselves; the percolating static and near-wordless vocals of of "The Son, The Sun" are as menacing as anything on Colin Stetson's Hereditary soundtrack; "Rome (Always In The Dark)" is blistered near-R&B, The Weeknd for existential despair instead of the ennui of sex and drugs. 

A great deal of this new sonic landscape is no doubt due to producer BJ Burton, who contributed similarly to the electronic fragmenting of Bon Iver's 22, A Million, a record that I can't help but feel was some kind of inspiration for Double Negative, and while a small part of me wants to call out Low for opportunism and bandwagon-jumping, they actually worked with Burton previous to the release of 22, A Million, on Ones And Sixes, and besides, the band have never been trend-chasers before. The fact of the matter remains, though, that this is for better or worse the most heavily-produced album Low have ever made, and at times it feels like one of those remix albums bands would release in the 90s in an attempt to cash in on the "electronica" craze, as if there are a batch of fairly conservative demos somewhere that were mailed to Burton, who chopped and mangled them as he saw fit: based on what I've read of the album's genesis, that doesn't seem to be the case, but the thought nags. 

In the end, it feels like with Double Negative Low have created a kind of critic-proof album: the songs are strange and easy to write about, and so obfuscated both lyrically and vocally it's easy to pour any kind of interpretation you'd like into them, and the music itself is often so challenging to someone expecting "normal" music that its thorniness  becomes its own defense: if you don't like it, it's because you just don't get it. It's an admirable album that I'm not sure I actually like. 

If nothing else, Double Negative is the most interested I've been in a Low album in more than a decade, and it feels like the band themselves were more actively engaged in its creation than in their previous albums. C'Mon and The Invisible Way were timid, treading-water sort of albums: enough to stay afloat, but barely. A quarter-century on, and for the first time in a long while Low feel like they're swimming again.