#no hans no tape face no jon

[qveenpoppy]

well those results kinda sucked. i like kseniya but that's it of those who went through.

[rottenappleheart]

My current bookshelves, more or less in the actual order they appear! Deets below the cut. ( I really want to know what people believe about me based on what’s on these shelves...)

Top Left:

Richard Adams: Watership Down

Katherine Addison: The Goblin Emperor x2 (1 copy is signed)

Elizabeth Alder: The King’s Shadow

Svetlana Alexievich: The Unwomanly Face Of War

Hans Christian Andersen: Fairy Tales

Laurie Halse Anderson: Speak

K.A. Applegate: Animorphs: The Hork-Bajir Chronicles, Animorphs: The Andalite Chronicles

Kang Chol-hwan: The Aquariums Of Pyongyang

Margaret Atwood: Cat’s Eye

Lundy Bancroft: Why Does He Do That? Inside The Minds Of Angry And Controlling Men

Brooke Barker: Sad Animal Facts

J.M. Barrie: Peter Pan (illustrated by Trina Schart Hyman)

Peter S. Beagle: Giant Bones, The Last Unicorn x2 (1 copy illustrated by Peter B. Gillis)

Robert Jackson Bennet: City Of Stairs, City Of Blades, City Of Miracles

Allan Bérubé : Coming Out Under Fire: The History Of Gay Men And Women In World War II

Carol Birch: Jamrach’s Menagerie

Isabella Bird: A Lady’s Life In The Rocky Mountains

Pierre Boulle: The Bridge Over The River Kwai

Ray Bradbury: The Martian Chronicles

Paul Brickhill: The Great Escape

Bonus: my grandpa’s mug from the FBI, a picture book of sloth wisdom

Second Left:

Gillian Bradshaw: The Beacon At Alexandria, The Wolf Hunt

Assorted Brontës: The Tenant Of Wildfell Hall, Agnes Grey, Villette, Jane Eyre, Wuthering Heights, Shirley, The Professor

Lily Brooks-Dalton: Good Morning, Midnight

Allie Brosch: Hyperbole And A Half

Carol Rifka Brunt: Tell The Wolves I’m Home

Bill Buford: Heat

Lois McMaster Bujold: The Curse Of Chalion, Cordelia’s Honor

Joseph Campbell: The Hero With A Thousand Faces

Novella Carpenter: Farm City

Susanna Clarke: Jonathan Strange And Mr. Norrell

Susann Cokal: Breath And Bones

C.J. Cherryh: Rider At The Gate, Cloud’s Rider, Rusalka, Chernovog

Bonus: two Willow Tree figures and my ABRA-CA-FUCK-YOU cross-stitch 

Third Left:

C.J. Cherryh: Alternate Realities, Foreigner, Invader, Inheritor, Precursor, Defender, Explorer

Henry Chancellor: Colditz: The Definitive Story

Evan Dahm: Rice Boy

Ellen Datlow & Terri Windling: The Year’s Best Fantasy And Horror (#16)

Tiffany DeBartolo: How To Kill A Rock Star

Gavin DeBecker: The Gift Of Fear

Tom DeHaven: Sunburn Lake

Charles DeLint: Dreams Underfoot

Seth Dickinson: The Traitor Baru Cormorant

Carole Nelson Douglas: Exiles Of The Rynth

Arthur Conan Doyle: The Lost World

Brendan Duffy: House Of Echoes

William Faulkner: The Sound And The Fury, Flags In The Dust, Selected Short Stories

Elizabeth Warnock Fernea: Guests Of The Sheik

M.K. Fisher: How To Cook A Wolf

Fannie Flagg: Fried Green Tomatoes At  The Whistle Stop Cafe

Fourth Left:

James Gurney: Dinotopia

Gillian Flynn: Sharp Objects

Anker Frankoni: Mexican Eskimo

Charles Frazier: Cold Mountain

Nancy Garden: Annie On My Mind

Maeve Gilmore: A World Away

William Goldman: The Princess Bride

Nicola Griffith: Ammonite

Marie Haskell: The Princess Curse

Frank Herbert: Dune

Victor Hugo: Les Miserables

Shirley Jackson: We Have Always Lived In The Castle

Mira Jacob: The Sleepwalker’s Guide To Dancing

Paulette Jiles: Enemy Woman

Susan Kay: Phantom

Brian Jacques: Martin The Warrior, Mossflower, The Outcast Of Redwall, Mariel Of Redwall, Pearls Of Lutra, Salamandastron

Stephen King: Duma Key, Rose Madder, Hearts In Atlantis

Bottom Left:

Stephen King: The Girl Who Loved Tom Gordon, The Gunslinger x2, The Drawing Of  The Three, The Waste Lands, Wizard And Glass, Wolves Of The Calla, Song Of Susannah, The Dark Tower, Lisey’s Story

Andrew Lang: The Green-, Olive-, Yellow-, Orange-, Red-, Pink-, and Grey Fairy Books

Rudyard Kipling: The Jungle Books

Jon Krakauer: Into Thin Air

Ursula K. LeGuin: The Left Hand Of Darkness

Madeline L’Engle: A Wind In The Door, A Swiftly Tilting Planet

Gail Carson Levine: Ella Enchanted

C.S. Lewis: Til We Have Faces, Out Of The Silent Planet

Lois Lowry: The Giver

James W. Loewen: Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong

George MacDonald: The Light Princess & Other Stories, The Princess And The Goblin, At The Back Of The North Wind

Helen MacDonald: H Is For Hawk

Top Right:

Marie Manilla: The Patron Saint Of Ugly

Yann Martel: Life Of Pi

Gavin Maxwell: Ring Of Bright Water

Bernadette McCaughrean: Peter Pan In Scarlet

Patricia McKillip: The Forgotten Beasts Of Eld

Robin McKinley: The Hero And The Crown, The Blue Sword, Spindle’s End, Rose Daughter

Water M. Miller Jr.: A Canticle For Leibowitz

Herman Melville: Moby Dick x2 (1 copy is abridged and illustrated for children)

China Miéville: The Scar

Rand Miller: Myst: The Book Of Ti’Ana, Myst: The Book Of Atrus, Myst: The Book Of D’Ni

Hayao Miyazaki: Nausicaa Of The Valley Of The Wind, The Art Of Nausicaa, The Art Of Castle In The Sky

Elizabeth Moon: Remnant Population

Lady Murasaki: The Tale Of Genji

Audrey Nieffenegger: The Time-Traveler’s Wife

Bonus: “but you are not weak” embroidery, hand-painted page from H Is For Hawk

Second Right:

Sena Jeter Naslund: Ahab’s Wife: Or, The Star-Gazer

Patrick Ness: The Knife Of Never Letting Go, The Ask And The Answer, Monsters Of Men

Garth Nix: Sabriel

Naomi Novik: Temeraire, Throne Of Jade, Black Powder War, Empire Of Ivory

Ann Patchett: Bel Canto

Mervyn Peake: Gormenghast

Julie Ann Peters: Far From Xanadu

Patrick O’Brian: Master And Commander, Post Captain, HMS Surprise, The Mauritius Command, Desolation Island, The Fortune Of War, The Far Side Of The World

Bonus: pottery my dead friend made, pottery I made, slab of picture jasper, my “Fun Things To Believe In” cross-stitch

Third Right:

Edgar Allen Poe: Stories

Phillip Pullman: The Golden Compass

Lawrence Raab: The Collector Of Cold Weather

Erich Marie Remarque: All Quiet On The Western Front

Mary Renault: The Charioteer x2 (1 first edition)

Alistair Reynolds: Revelation Space, Redemption Ark, Diamond Dogs, Turquoise Days

David L. Robbins: War Of The Rats, The End Of War, Last Citadel

Mary Doria Russell: The Sparrow, Doc

Karen Russell: Swamplandia!

Alexander Afanasyev: Russian Fairy Tales

Louis Sachar: Holes

J.D. Salinger: The Catcher In The Rye

Sarah N.B.: It Begins In A Garden

William Shakespeare: Hamlet, Othello, King Lear, Macbeth

Mary Shelley: Frankenstein

Gene Stratton Porter: A Girl Of The Limberlost

Alexander Solzhenitsyn: One Day In The Life Of Ivan Denisovich

Caitlin Starling: The Luminous Dead

Noelle Stevenson: Nimona

Fourth Right:

Bram Stoker: Dracula x2 (1 illustrated by Becky Cloonan)

Elizabeth Kostova: The Historian

J.R.R. Tolkien: The Hobbit, The Fellowship Of The Ring, The Two Towers (x2), The Return Of The King, The Silmarillion, Unfinished Tales

Elizabeth Whalen Turner: The Thief, The Queen Of Attolia

Catherynne M. Valente: Deathless, The  Orphan’s Tales: In the Night Garden, The Orphan’s Tales: In The Cities Of Coin And Spice

Sheldon Vanauken: A Severe Mercy

Brian K. Vaughn: Saga (#1)

Tillie Walden: On A Sunbeam

Jen Wang: The Prince And The Dressmaker

Helene Wecker: The Golem And The Jinni

Elizabeth Wein: Code Name Verity

T.H. White: The Once And Future King

Simon Winchester: The Professor And The Madman

Bottom Right:

Gary Trudeau: The Doonesbury Chronicles

Adam Edgerton: Rediscovering Adak

Walt Whitman: Leaves Of Grass

Jane Yolen: Twelve Impossible Things Before Breakfast

Daniel Woodrell: Winter’s Bone

Patricia C. Wrede: Dealing With Dragons, Calling On Dragons, Searching For Dragons

Malcolm York: Mervyn Peake: My Eyes Mint Gold

Bonus: assorted DVDs and 1 lonely VHS tape, any manga I didn’t purge, plus some children’s books and self-published comics by high school friends

[mashitandsmashit]

America’s Got Talent: The Champions - Auditions 3 (Review)

Alright, comparing these acts is gonna be tough, because I have pretty mixed feelings for all of them...

10: Tom Cotter. Yeah, I remember really liking this guy way back in Season 7, because up until that point, there hadn't been any comedians like him on AGT...And by that I mean Grandma Lee was the pinnacle of stand-up comedy we've gotten up to that point (yeah, I'll admit, I liked her too...Though my standards have gone up significantly since then...) But watching him now and comparing him with some of the other comedians from later seasons, he does come off as very old-fashioned and basic...I do have to give him credit though: He must have served as a big inspiration for AGT comedians that have followed (Comroe in particular), and there were a few mild chuckles in his set...I'd still say I like him more than Taylor Williamson, Vicki Barbolak and DEFINITELY Gary Vider! Not the worst comedian I've seen on the show, but like Grandma Lee, my standards for comedians have gone up quite a bit since his respective season...

9: DJ Arch JNR. I'm legitimately impressed by how talented this kid is for his age (and even more impressed by how old he was when he won SAGT...But I guess that's what happens when you start developing your talents while you're still in diapers...) That said, the performance was very short, and once I get past the age, this isn't exactly a show I'd pay to see...Honestly, this is one talent where I probably would prefer a singer...But I'm still impressed, and he's got the cute factor going for him...

8: Prince Poppycock. This was the one act I was REALLY looking forward to in this week's line-up...But I think I'm gonna have to agree with Simon, because the song choice was very safe (especially since I remember him being compared to Lady Gaga in the past) and it didn't lend itself the best to his vocals...The highlight for me would be the beginning part where he's just sitting like the White B***h of Narnia...I guess he's still the guy who puts performers like Hans and Puddles in their place, but compared to what I've seen from him in the past, this was pretty disappointing...

7: Darcy Oake. The trick was cool, though I think I do agree that his showmanship is a little lacking...

6: Samuel J. Comroe. Not my favorite set from him...But to be fair, he set a pretty high bar last season...

5: Angelica Hale. This actually was one of the less flawed performances of the night, and she has gotten better over the last two years...But I can only give her this rank, because singing “Fight Song” can only get you so far in my countdown lists...Though I guess I won't argue with Howie's GB pick...

4: Paul Potts. I've grown pretty desensitized to opera singers by now, but I'm willing to accept this guy advancing...That said, if only the other opera guy picked a better song, it might have been him instead...Though I guess we already have a flashy pop-opera diva in the Finals...In fact, we're getting quite a few older European classical performers in the Finals...You know, even among the singers who are advancing, there's not a whole lot of variety...I don't want to have to root against Jackie Evancho in two weeks!

3: Jon Dorenbos. There is kind of a formula to these kinds of tricks by now, but it was still just seamless enough, and this guy's still such a cool personality that he sells it!

2: Billy & Emily England. I was actually kind of reluctant to put them this high on the list, because this was essentially just them doing every trick they already did in Season 12...Hell, even the song choice wasn't original...Sure, it's a DIFFERENT Imagine Dragons song, but it sounds so much like the other one...Regardless, I guess it's been a long enough time since we've seen them last, and it's still great to watch all these tricks! That said, if they were on last week, they'd be near the bottom of the list (which just goes to show how big a step down this show was from last week...)

1: Ryan Stock and AmberLynn. Out of all the “Champions” acts, this one has got to be in the Top 5 that I was not expecting to give #1 on ANY of these lists! And again, if this was a better week, they would rank lower...But out of everyone in this show, this is the act that REALLY stepped it up! Granted, I don't remember all the tricks they did before, so perhaps there was repetition here as well...But they sure as hell succeeded with the arrow trick this time, shooting that steel wool through a funnel down his throat! Like I said, this is far from my favorite AGT performance, but in a show as mediocre as this one, I feel that they deserve the most credit out of everyone...Not surprised at all that they didn't make it, but that's okay...They can at least say they went out on a high note!

Like I said, very mixed bag of a night! No wonder two singers went through...

So, going back to the spoilers I've read...Well...I only read them for the first three weeks...After finding out that Darci Lynne, Prince Poppycock and Light Balance get edged out by foreign singers and Deadly Games of all people, I just couldn't bring myself to spoil the later weeks...So I will be going into Week 4 completely blind...(DON'T SPOIL IT TO ME!!!)

And let me tell you, this is the week that has me especially nervous! The line-up includes four acts that are among my absolute favorites! Granted, Week 2 had five of those, but there's just something REALLY special about this set! Just keep in mind as you read my ranking of all the acts based on how much I'm rooting for them, the Top 4 is REALLY, REALLY close!

But it also includes three singing acts that are among the biggest spoiler acts in the history of AGT! And I guarantee you that Simon will be pressing his Golden Buzzer for one of them...In fact, the preview for the show might have inadvertently given away who it is, in which case, I won't complain TOO much (and I kinda predicted it ahead of time). But hopefully I'm not disappointed by who makes the Top 3, let alone who advances...

Anyway, let's rank 'em!

10: The Texas Tenors

9: Kechi

8: Brian Justin Crum

7: Issy Simpson

6: Moonlight Brothers

5: Drew Lynch

4: The Professional Regurgitator

3: Tape Face

2: Paul Zerdin

1: Kenichi Ebina

[otto-von-stirlitz]

WicDiv Figure Skating!AU - part 2

Because I didn’t cover nowhere near enough characters in part 1 and I am emotionally wrecked after today’s men’s Free Skate at Grand Prix Final. I decided that now I’d honor all the disciplines left, after previous post about ladies. So men’s singles, ice dance, pair skating*.

Baal and Laura are current champions in the Ice Dance field and have been working together for years since the Junior division. Well-rounded and consistent dancers with no particularly weak points, known for beautiful twizzles and lifts. Also for their active off-ice social media presence, especially on the Laura’s side. Baal is a part-time model and designs the costumes for the team.

Baphomet and Morrigan are one of the top teams in pair skating. They’re known mostly for their risky technical content such as difficult throw jumps and lifts, but they’re the best at death spirals. They have, however, made mistakes in side-by-side jumps sometimes (think Sui/Han at this years GPF with Han falling at SBS 3T - Baph sure did it at least once).

Alternatively (if Morrigan is in the singles), Baph as the singles skater: you always wanna see what he’s up to, king of weird choreo and music choices, including but not limited to: classical music remixes (think d10s R&J/Nutcracker yall better listen to it), Evanescence and other idiosyncratic picks. He has skated to an anime sountrack at least once and we all know it.

Inanna - if you have looked at the last season, yall already know where I’m going. I can’t not base Inanna at least partially on Yuzuru Hanyu who skated to Prince last season. So anyways, Inanna is the reigning champion and prodigial face of modern figure skating. He always has bold music and costume (cmon, Yuzuru had a lot of good costumes that would also smash the gender roles) choices, and besides great jump technique, he is aso gifted with amazing flexibility, treating fans with beautiful Biellman and layback spins. Bonus: I just remembered this fanart by @thewickedandthehufflepuff. EDIT: check out this ask where I kind of remodel my Innana!

Dio - another top contender in Men’s field. He was known for having endured a lot of injuries in the Junior division already, and according to fandom he is held together by duct tape and their prayers. Also because he is never afraid to push himself more, trying and adding more quad jumps to his programs. When he is clean, his programs can be very fun and engaging the audience, nevertheless.

Woden - Russian coach/choreographer, working with Ananke. His programs are characterised by a lot of pantomime and pompousness. Also, some of the music choices for female skaters are borderline creepy.

*(since most of the WicDiv fandom is not into skating), pairs and ice dance are totally different things. Pairs are the ones with scary and spectacular throw jumps, lifts, death spirals etc, while ice dance is based on ballroom dancing and to be fair i know less of it and i have no idea how its scoring works.

Spoiler bonus under the cut:

Jon Blake - debuting in the Senior division, son of Woden and a legendary Ladies skater. Despite the great potential, he still struggles with consistency, unfitting programs chosen by his father and Ananke, and their pressure on landing quads.

[redcarpetview]

90TH OSCARS® NOMINATIONS ANNOUNCED

LOS ANGELES, CA – Actress-comedian Tiffany Haddish and actor-director Andy Serkis, joined by Academy President John Bailey, announced the 90th Academy Awards® nominations today (January 23) live from the Academy’s Samuel Goldwyn Theater via a global live stream on Oscar.com, Oscars.org, the Academy’s digital platforms, a satellite feed and broadcast media.

         Haddish and Serkis announced the nominees in 11 categories at 5:22 a.m. PT, with pre-taped category introductions by Academy members Priyanka Chopra, Rosario Dawson, Gal Gadot, Salma Hayek, Michelle Rodriguez, Zoe Saldana, Molly Shannon, Rebel Wilson and Michelle Yeoh. Haddish and Serkis announced the remaining 13 categories at 5:38 a.m. PT.

        For a complete list of nominees, visit the official Oscars website, www.oscar.com.

         Academy members from each of the 17 branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominees are selected by a vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees.

        Active members of the Academy are eligible to vote for the winners in all 24 categories beginning Tuesday, February 20 through Tuesday, February 27.

       The 90th Oscars®, hosted by Jimmy Kimmel, will be held on Sunday, March 4, 2018, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 6:30 p.m. ET/3:30 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.

              A Complete List of 2018 Academy Award Nominations

      Best Picture

Darkest Hour

Dunkirk

Phantom Thread

Get Out

The Post

Three Billboards Outside Ebbing, Missouri

The Shape of Water

Lady Bird

Call Me by Your Name

         Director

Paul Thomas Anderson, Phantom Thread

Guillermo del Toro, The Shape of Water

Christopher Nolan, Dunkirk

Greta Gerwig, Lady Bird

Jordan Peele, Get Out

         Actor in a Leading Role

Daniel Kaluuya, Get Out

Timothee Chalamet, Call Me by Your Name

Gary Oldman, Darkest Hour

Daniel Day-Lewis, Phantom Thread

Denzel Washington, Roman J. Israel, Esq.

           Actor in a Supporting Role

Christopher Plummer, All the Money in the World

Woody Harrelson, Three Billboards Outside Ebbing, Missouri

Sam Rockwell, Three Billboards Outside Ebbing, Missouri

Willem Dafoe, The Florida Project

Richard Jenkins, The Shape of Water

                  Actress in a Leading Role

Meryl Streep, The Post

Sally Hawkins, The Shape of Water

Margot Robbie, I, Tonya

Frances McDormand, Three Billboards Outside Ebbing, Missouri

Saoirse Ronan, Lady Bird

               Actress in a Supporting Role

Lesley Manville, Phantom Thread

Laurie Metcalf, Lady Bird

Allison Janney, I, Tonya

Mary J. Blige, Mudbound

Octavia Spencer, The Shape of Water

          Animated Feature Film

Ferdinand

The Boss Baby

CoCo

The Breadwinner

Loving Vincent

       Cinematography

Bruno Delbonnel, Darkest Hour

Hoyte van Hoytema, Dunkirk

Rachel Morrison, Mudbound

Dan Laustsen, The Shape of Water

Roger Deakins, Blade Runner 2049

    Costume Design

Luis Sequeira, The Shape of Water

Jacqueline Durran, Beauty and the Beast

Jacqueline Durran, Darkest Hour

Mark Bridges, Phantom Thread

Consolata Boyle, Victoria & Abdul

                 Documentary (Feature)

Icarus

Abacus: Small Enough to Jail

Last Men in Aleppo

Strong Island

Faces Places

       Documentary (Short Subject)

Knife Skills

Heaven is a Traffic Jam on the 405

Edith+Eddie

Heroin(e)

Traffic Stop

        Film Editing

Lee Smith, Dunkirk

Tatiana S. Riegel, I, Tonya

Jonathan Amos and Paul Machliss, Baby Driver

Sidney Wolinsky, The Shape of Water

Jon Gregory, Three Billboards Outside Ebbing, Missouri

         Foreign Language Film

The Square

On Body And Soul

The Insult

A Fantastic Woman

Loveless

              Makeup And Hairstyling

Daniel Phillips and Lou Sheppard, Victoria & Abdul

David Malinowski, Kazuhiro Tsuji and Lucy Sibbick, Darkest Hour

Arjen Tuiten, Wonder

    Music (Original Score)

Jonny Greenwood, Phantom Thread

John Williams, Star Wars: The Last Jedi

Carter Burwell, Three Billboards Outside Ebbing, Missouri

Alexandre Desplat, The Shape of Water

Hans Zimmer, Dunkirk

       Music (Original Song)

“Mystery of Love,” Call Me by Your Name

“This is Me,” The Greatest Showman

“Stand Up for Something,” Marshall

“Remember Me,” Coco

“Mighty River,” Mudbound

       Production Design

Paul D. Austerberry, The Shape of Water

Dennis Gassner, Blade Runner 2049

Nathan Crowley, Dunkirk

Sarah Greenwood, Beauty and the Beast

Sarah Greenwood, Darkest Hour

               Short Film (Animated)

Lou

Dear Basketball

Garden Party

Negative Space

Revolting Rhymes

      Short Film (Live Action)

DeKalb Elementary

The Silent Child

Watu Wote / All of Us

My Nephew Emmett

The Eleven O’Clock

           Sound Editing

The Shape of Water

Baby Driver

Dunkirk

Star Wars: The Last Jedi

Blade Runner 2049

        Sound Mixing

Dunkirk

Blade Runner 2049

The Shape of Water

Star Wars: The Last Jedi

Baby Driver

       Visual Effects

Kong: Skull Island

Guardians of the Galaxy Vol. 2

War For the Planet of the Apes

Blade Runner 2049

Star Wars: The Last Jedi

     Mudbound

              Writing (Adapted Screenplay)

Dee Rees and Virgil Williams, Mudbound

Michael H. Weber and Scott Neustadter, The Disaster Artist

James Ivory, Call Me by Your Name

James Mangold, Michael Green and Scott Frank, Logan

Aaron Sorkin, Molly’s Game

       Writing (Original Screenplay)

Guillermo del Toro and Vanessa Taylor, The Shape of Water

Martin McDonagh, Three Billboards Outside Ebbing, Missouri

Emily V. Gordon and Kumail Nanjiani, The Big Sick

Jordan Peele, Get Out

Greta Gerwig, Lady Bird

                                                                                                                             # # # 

[b-sidemusic]

GIG LISTINGS: 19TH OCTOBER-2ND NOVEMBER 2017

Every Thursday we bring you two weeks' worth of live music excitement, with which to pleasure your eyes and face.  To submit your own news and listings, click here!

OCTOBER Thursday 19th Bury St Edmunds, Apex The Selecter & The Beat ft. Ranking Roger £27.50 - 8pm - Tickets Cambridge, Junction CC Smugglers £13.75 - 7pm - Tickets Cambridge, Portland Arms Kepler, The Scruff & The Lost Volts £5.50 - 7pm - Tickets Norwich, Arts Centre Jess Morgan & Dan Whitehouse £8.80 - 8pm - Tickets Friday 20th Cambridge, Blue Moon Warning Shadows, Psychic Lemon & Thee Telepaths £5 - 7.30pm - Event page Colchester, Bull Cushti Free entry - 9pm - Event page Ipswich, Smokehouse Atorc, Scars of Sense & Habu £3 - 7pm - Event page Norwich, Waterfront Studio Dodgy & I Said Goodbye £16.50 - 6.30pm - Tickets Saturday 21st Bury St Edmunds, Constitutional Club DubRise £5 - 8pm - Event page Bury St Edmunds, Hunter Club Dingus Khan, Sun Scream, Kyanos, Ugly & Nothing.Existed £5 - 6pm - Event page Cambridge, Blue Moon The Baby Seals, Beverley Kills & Violet Flares £5 - 8pm - Event page Cambridge, Corn Exchange Marc Almond £32.25-£62.75 - 7.30pm - Tickets Cambridge, Junction J1 From The Jam & The Face £25 - 7pm - Tickets Cambridge, Portland Arms Steve Adams and The French Drops £11 - 7pm - Tickets Colchester, Bull Phil Hilborne Band Free entry - 9pm - Tickets Colchester, Soundhouse Sickfist Free entry - 9pm - Event page Ipswich, Smokehouse Wild Ponies & John Craigie £11 - 8pm - Event page Mildenhall, Jollyplex Jesus Made a Prison in My Trousers & Erectangles £3 - 7pm - Event page Norwich, Waterfront British Sea Power £17.60 - 6.30pm - Tickets Stowmarket, John Peel Centre Strike the Sun, Code of Conduct & KAVES £5 - 7.30pm - Tickets Sunday 22nd Burston, Crown SJ + The Flying Pigs Free entry - 5.30pm - Event page Bury St Edmunds, Athenaeum Chris Ingham Trio ft. Sue Richardson £12-£23 - 11.30am - Tickets Bury St Edmunds, Apex Lulu £45-£70 - 7.30pm - Tickets Cambridge, Junction J1 Gabrielle Aplin £18.50 - 7pm - Tickets Colchester, Arts Centre Charlie Wood Band £15 - 7pm - Tickets Norwich, Waterfront Studio Bury Tomorrow SOLD OUT Monday 23rd Cambridge, Emmanuel United Reform Church Steven Page £22-£27.50 - 5pm - Tickets Cambridge, Junction J2 Heg and The Wolf Chorus £10 - 8pm - Tickets Cambridge, Portland Arms Diet Cig & Spook School £8.25 - 7pm - Tickets Colchester, Arts Centre Martin Simpson £13 - 7.45pm - Tickets Norwich, Arts Centre Jane Weaver £12.10 - 8pm - Tickets Norwich, Waterfront Studio Steve Rodgers £11 - 7.30pm - Tickets Stowmarket, John Peel Centre Robert Castellani, Jon Hart & Maneli Janal £5-£10 - 7.30pm - Tickets Tuesday 24th Bury St Edmunds, Apex Rich Hall SOLD OUT Cambridge, Blue Moon Dead Frequency, For The Hornets & The Visitors Free Entry - 8pm - Event page Cambridge, Junction J2 Y&T £19 - 7pm - Tickets Cambridge, Portland Arms iTCH & Louise Distras £11 - 7pm - Tickets Norwich, Epic Studios Michael Malarkey £13.75 - 11pm - Tickets Norwich, Open Charlotte Carpenter £6.60 - 8pm - Tickets Norwich, Waterfront Studio Wire £15.95 - 7.30pm - Tickets Wednesday 25th Cambridge, Portland Arms (Sandy) Alex G £11 - 7pm - Tickets Colchester, Arts Centre Reverend Billy and the Church of Stop Shopping Choir PWYC - 8pm - Tickets Ipswich, Smokehouse InAir, Pessimist & Strike the Sun £5 - 7.30pm - Tickets Norwich, Waterfront Pigeon Detectives £19.80 - 7.30pm - Tickets Norwich, Waterfront Studios Pale Waves & King Nun £6.60 - 7.30pm - Tickets Thursday 26th Burston, Crown HooDoo Operators Free entry - 8.30pm - Event page Cambridge, Blue Moon Bloody Knees, Newts & Gaffa Tape Sandy £6.60 - 7pm - Tickets Cambridge, Junction J1 The Horrors & Baba Naga £19.50 - 7pm - Tickets Cambridge, Portland Arms Dog Shite, Phil P.A.I.N. & more £5 - 7.30pm - Tickets Colchester, Arts Centre AKDK, Artificially Yours & Nothing.Existed £7 - 7.30pm - Tickets Norwich, Epic Studios Peggy Seeger £19.80 - 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[themastercylinder]

  SUMMARY

In the film’s prologue, two geological researchers for the American multinational corporation NTI encounter an ancient alien laboratory on Titan, the largest moon of Saturn. In the lab is an egg-like container which is keeping an alien creature alive. The creature emerges and kills the researchers. Two months later, the geologists’ spaceship crashes into the space station Concorde in orbit around Earth’s moon, its pilot having died in his seat.

CREATURE, 1985

NTI dispatches a new ship, the Shenandoah, to Titan. Its crew, consisting of Captain Mike Davison (Stan Ivar), Susan Delambre (Marie Laurin), Jon Fennel (Robert Jaffe), Dr. Wendy H. Oliver (Annette McCarthy), David Perkins (Lyman Ward) and Beth Sladen (Wendy Schaal), is accompanied by the taciturn security officer Melanie Bryce (Diane Salinger). While in orbit, the crew locate a signal coming from the moon—the distress call of a ship from the rival German multinational Richter Dynamics. Their own landing turns disastrous when the ground collapses beneath their landing site, dropping the ship into a cavern and wrecking it. When radio communication fails, a search party is sent out to contact the Germans.

In the German ship, they find one of the containers from the prologue breached, as well as the dead bodies of the crew. The creature appears and kills Delambre when she lags behind the escaping group. Fennel enters a state of shock at the sight and Bryce sedates him. When they return to their own ship, the Americans find that one of the Germans, Hans Rudy Hofner (Klaus Kinski), has snuck aboard. He tells them how his crew was slain by the creature, which was buried with other organisms as part of a galactic menagerie. He proposes returning to his ship to get explosives, but the crew are unwilling to risk it.

It becomes apparent that the creature’s undead victims are controlled by the creature through parasites. Unsupervised in the medbay, Fennel sees the undead Delambre through a porthole and follows her outside. She strips naked, and he stands transfixed while she removes his helmet. He asphyxiates, and then she attaches an alien parasite to his head. Now under alien control, Fennel sends a transmission to his crew mates, inviting them over to the German ship. Hofner and Bryce are sent to get some air tanks for the Shenandoah and stand guard over it, while the rest of the crew go over to the Richter ship.

Hofner and Bryce stop over at the menagerie on their way, and are attacked by Delambre, who has had a parasite attached earlier. The rest of the crew go over to the Richter ship, and find Fennel with a bandage on his head to conceal his parasite. Davison insists that medical officer Oliver examine his head, so Fennel has her accompany him to the engineering quarters to feed her to the creature. Davison and Perkins notice Fennel doesn’t sweat and go check on them. They are too late to rescue Oliver, who is decapitated by the creature, but Perkins blows up Fennel’s head with his pistol.

Soon afterwards, Sladen runs into an infected Hofner. She escapes the ship, and in her haste, only puts on her helmet after exiting. Perkins spots her outside and opens the airlock. Now unconscious, Sladen is carried in by Hofner to lure the others. They fight, and Davison manages to defeat Hofner by ripping off his parasite. The three survivors formulate a plan to electrocute the creature with the ship’s fusion modules, which can only be accessed by going through the engineering quarters.

Alarms suddenly sound as a creature makes its way through the ship, committing sabotage. Sladen and Davison go through engineering to construct an electrocution trap, while Perkins goes to the computer room to monitor the creature. Sladen finishes rigging the trap just in time for the creature’s arrival, and they apparently electrocute it to death. However, when Davison leaves, it captures Sladen.

CREATURE, Robert Jaffe, Klaus Kinski, 1985

Davison and Perkins follow her screaming and find her locked inside engineering. Studying the ship’s blueprints, they find another entrance to engineering and sends Perkins to lure away the creature while Davison retrieves Sladen. On the way, Perkins locates one of the bombs Hofner had mentioned, just before the creature jumps him. Dying, Perkins manages to attach the bomb to the creature and set off the countdown so Davison can jettison it through the airlock.

It climbs back aboard, however, so Davison tackles it, throwing himself out the airlock in the process. When the bomb fails to explode, Bryce appears and shoots it, which sets it off and kills the creature. She recovers Davison and dresses his wounds, then they reunite with Sladen and finally launch the ship.

  Director William Malone

BEHIND THE SCENES/ PRODUCTION

Even though in space, nobody can hear you scream Bill Malone still wants you to try. The 37 year old director of SCARED TO DEATH is getting ready to try and scare audiences again with his second feature, THE TITAN FIND. The $4.2 million production is set to open this spring, and Malone is cautiously optimistic about its chances.

The film is set in the near future, when the commercialization of space is well under way. On the surface of Titan, a research ship has discovered the remains of an ancient alien laboratory and its collection of specimens. One specimen, however, turns out to be much livelier than originally thought, and kills all but one of the crew. The survivor lives long enough to make it back to Earth, setting off a race between two competing multinational firms for whatever is there, both unaware of just how deadly the alien is.

Despite its small budget, the film boasts good production values, with set design by Robert Skotak and effects by the L.A. Effects Group, and stars international weirdo Klaus Kinski as a German space commander.

Malone, a baby-faced man who resembles DREAMSCAPE’s villain David Patrick Kelley, explained the roundabout way THE TITAN FIND got off the ground. “After I did SCARED TO DEATH, I was trying to get another project going.” said Malone. “One of the people my producer Bill Dunn and I went to see said they’d really like to make a picture like SCARED TO DEATH. They signed us up to do one of our projects, MURDER IN THE 21ST CENTURY, a detective story. After we did the screenplay, they didn’t think it had enough exploitation value. ‘What else do you have,’ they asked, and can you have it to us by tomorrow morning?’ This was in January, 1984.

“On that short a notice, all I could do was go through my files and see what I had kicking around. I found a two page story synopsis of THE TITAN FIND which I had written six or seven years earlier, and I took that in to them. It was basically just the beginning of the picture as it is now. I read it to them with some background tapes of classical music and they loved it. I said to myself, ‘Great…, now how do I make a film out of this?”

Not only was how a problem, but where as well. With a tight budget and little lead time given the company, it would have been nearly impossible to get studio space to shoot the film. The production’s answer was to create its own studio, setting up shop in an abandoned industrial plant in Burbank. The small warehouse became a tight maze of different bits of spaceship interiors and planet exteriors, with Malone’s crew shooting on one set, while another was torn down behind them and another built just ahead of them. Filming began June 25th.

Construction of the bridge of the NTI spaceship ‘Shenandoah

“We’ve been on it now for 8′ weeks, and I’m tired,” said Malone. “This has been a particularly tough picture because everything’s got smoke and dust and lava rock, which not only creates a lot of noise when you step on it, but makes this gritty dust and gets into everything. We’re forever wearing filter masks. Initially it sounded like a good idea doing everything in one location where you wouldn’t have to be moving people around, but after a while, all you want to do is go outside and see some sun.”

Malone is taking a lot of liberties with the Titan setting. “Well, I figure it will be a long time before anybody gets there to find out what it is actually like,” he said. “Everything’s got this sort of Dante’s Inferno look to it. There are these tremendous lightning storms going on all the time. The picture almost winds up looking like gothic horror. In fact, when we designed the miniatures, that was the instruction, make them look like Dracula’s castle. From the dailies, someone said they thought it looked like a Mario Bava picture, which I take as a compliment.”

To get the most out of the sets and special effects, Malone decided to shoot in widescreen Panavision. “A space picture practically demands that kind of format,” said Malone. “I had to do some fast talking because most of the people involved didn’t want to go anamorphic. Initially it’s a pain in the ass to deal with the Panavision company. If you’re not a major company, they tend to want all their money up front, and that’s very hard to deal with, but once we had set the deal with them, they were easier to get along with. Using Panavision really paid off in the long run, because it gives the picture a bigger look. With Panavision, you gain about 40 percent in image area, and it tremendously improves the image and clarity. This is only my first Panavision picture, but after working with it, you get kind of spoiled.”

Robert Skotak on the set of the Richter Dynamics spaceship from ‘Titan Find

One group that found it a little harder to work up enthusiasm for the widescreen format were the people involved in physically producing the special effects for the film, the year old L.A. Effects Group headed by Larry Benson. The company includes Alan Markowitz, director of animation and optical effects, and Corman effects graduates Robert and Dennis Skotak. Robert serves as director of visual effects while brother Dennis is director of photography.

“The single biggest problem we had was the anamorphic format,” said Dennis Skotak. “Bill Malone likes widescreen, and I like widescreen, but for a limited budget, it’s a problem. It’s real hard to force depth of-field because you have to have a great deal of light to close the camera aperture down.

“Because the budget was so low on this picture, we had a limit on how much time could be spent building the models. The ships are not large enough for a lot of the things that are necessary. One of the producers wanted a shot of the Shenandoah much closer than what we had planned it to be. I had to pull out the bag of tricks to get it done. We had to have the ship so close to the camera that it was grazing the film magazine.”

“I storyboarded the film, designed all of the miniatures (except for the American ship, The Shenandoah, which Bill Malone designed himself), and worked closely with Bill on the planning and staging of each shot,” Skotak explains. “He pretty much left me with a free hand to design the look and layout of each scene. His input was heavily along the lines of what the mood and coloration of something should be, the things that were important to convey a building feeling of suspense. For example, when the ships are approaching Titan, they’re not zooming by. They’re moving very slowly, almost serenely. Then as they enter Titan’s atmosphere, there is all of this lightning going on around them and huge dust storms everywhere. “In the same way, we wanted the interior of the Richter Dynamics ship, where a lot of the action takes place, to look very German Gray, functional, much like a battleship. We wanted it to look like a weird place without getting ludicrous. I made it a little expressionistic, gave it buttresses and bulkheads to shoot from behind. There is also a geographic quality to the bridge; the area is broken up into planes by several different shapes.”

An Early Concept

Robert Skotak’s Creature Design

Skotak also designed the look of the alien, which Malone finally approved after choosing elements from dozens of different sketches that Bob drew. Mike McCracken and Don Pennington were among several people who contributed molds and mechanics to the snakish suit, but it was Doug Beswick, who was called upon, under a heavy deadline, to pull the whole suit together.

“I was real skeptical about it being finished on time,” Beswick recalls. “Bill could only push the shooting schedule back 13 days. The neck and jaw had to be rebuilt to give the creature a larger bite radius, the fingers had to be extended and given long claws, legs and arms had to be built, we had to get a truly vicious look into the face.

This is the small scale maquette, which estabilished the look for the Monster — which would have only minor modifications. It was built by Michael McCracken’s team.

“We would have liked to have done more, but it was a very limited schedule. Considering that, I’m very happy with the way the thing turned out. I haven’t seen many dailies, but what I’ve seen looks good. They are shooting it right, taking their time to light it correctly. I hesitated at first to take on this job, because of the time limit, but I was able to do it and I’ve learned quite a lot, so now I’m glad that I took it on.”

Beswick also built a mock up version and a one-third scale gelatin replica of the rubber suit, both of which will be used in surprise special effect scenes. But monsters from other planets aren’t all you’ll be cringing at. Besides your basic assortment of gouged necks, chewed limbs and decapitated skulls, Titan Find will grace screens with the spectacle of ripped faces, exploding heads and flying cow bellies.

Special effects makeup was originally designed by Bruce Zahlava, who left the production due to creative differences halfway through the shooting. Jill Rockow, a makeup veteran of The Howling, Frightmare, Deadly Eyes, Conan the Destroyer and Friday the 13th-The Final Chapter, among numerous others, is responsible for the daily applications. One of her primary tasks was to destroy parasite victims Robert Jaffe and Klaus Kinski from the inside out.

“Robert Jaffe has the most makeup of anybody.” Rockow explains. “He attacks people and spits blood at them. His face deteriorates and pulls off. In fact, it’s my hand that rips his face off! The actress he’s fighting with in the scene had to go home, and the actual ripping was done with a fake head. I just reached into the frame and pulled off a section of it to expose the underneath, which was a duplicate of the makeup Robert had on.

Jill Rockow Applies Prosthetics

“His face peels off more later on, to reveal this whole bloody and slimy underface. Eventually, his head explodes completely. That was done with another fake head and pyrotechnics. The head was filled with cow bellies, cow brains; it was a real party there. It was made out of gelatin and we planted pieces of primacord inside it. Primacord’s an explosive that is so powerful that a piece of it wrapped around your neck will shoot your head right off. It cuts things off clean. People who do blasts for oil wells use it.

“Robert Jaffe really gets destroyed in this. He’s a producer as well as actor; he produced Motel Hell and Demon Seed. He was wonderful to work with, very cooperative. We went through five hours of makeup application every day and two hours of taking it off. He never moaned once.”

Three overlapping appliances are used to create Klaus Kinski’s makeup. The chin goes on first, then the nose, and the forehead and cheek pieces last. As his character starts to deteriorate, plugs on his cheeks and chin are pulled out to uncover the monstrous mutation going on underneath. Rockow and her crew, which included Jerry Quist and Paul Rinehard, have their work cut out for them with these designs; because of the limited budget (estimated at $4 million), Kinski does not appear in all of his scenes, and two doubles, neither of whom resemble the Polish actor, or each other for that matter, have to stand in for him in a number of action scenes. Luckily, Rockow’s foam rubber appliances cover the entire face, so the differences in actors is impossible to detect.

“The alien itself and all the parasites were covered in K-Y,” Rockow explains, “and everyone’s face was K-Y’d too. We tinted it a yellowish-brown for all of the decomposing human stuff. The neat thing about K-Y is that it dries about an hour or so after you apply it, to a point where it’s not slippery. A lot of makeup people use Methocel for creating slime, but that dries hard and you’ve got to peel it off before you can put a new batch on. This stuff just keeps dripping until it dries.

“About the gore, I tend to sort of pull back in that area,” says Malone. “There are some dramatic scenes that have some gore in them, but I think that if you do it all the way through, then it loses its punch. My basic approach is that I really like suspense more than gore, but the problem is that you have to remember that we also have to try and sell the movie overseas. There are countries that won’t buy your picture without a certain amount of gore in it. Look at the Italian zombie movies, and Japanese kid shows, they have people getting hacked to pieces and arrows that go through eyes … that sort of stuff, so you have to have some pretty heavyweight material in your picture for them to be interested in it.”

Regarding Klaus Kinski

Surprises and difficulties were in store for the live action crew as well. No sooner had Malone worked out the story line for the film and started work on the script when his backers threw him a curve. To help give the film a stronger selling point, his investors had gotten a “name” actor, Klaus Kinski. The problem was that they only had Kinski for a week, and there wasn’t a part in the film that would suit him.

“Previously, we had clues in the original story as to what happened in the German ship, and the audience was supposed to draw its own conclusions,” Malone said. “But once we had Klaus, it seemed the best thing to do was make him the commander of the German ship and work from there. I think he enjoyed working on the film, but it was very hard to tell. He’s got an unusual personality. He worked with me on his part in the script, and actually, I think he would make a very good story editor. He was very helpful with suggestions and with working with the other actors.

I think it helped everyone else too because they really seemed to be working harder because they were working with him.

“Klaus was crazier off camera than the part I wrote for him, and I wrote him as a total looney. The first day of shooting he shows up, and the first thing out of his mouth was, ‘I raped my 12-year-old daughter, you know.’ I thought, oh great, this is going to be fun. “Halfway through the first day of shooting, the crew came up to me en masse and said, ‘Billy, we want you to know we’re all going to take Klaus out back and beat the shit out of him.’ I said, ‘Look guys, you have to wait until the end of the week, and then you can do everything you want.’ He was a madman, really, but I will say this, when he’s on screen, he just lights up the screen. He’s definitely one of the best things in the picture. He really added a lot to it. When we write a script, a lot of times the actors don’t give you what you heard in your head. Klaus was one of the few people who gave me exactly what I was writing, the intonation and delivery that I heard for this stuff.”

A running gag on the set occurred after Kinski tried to make a pass at the female makeup artist who was applying his makeup by sticking his knee between her legs and telling her, “That is not my knee, that is my cock.” From then on, whenever anyone on the set bumped into someone else, it became de rigueur to say, “That is not my knee, that is my cock,” regardless of the circumstances.

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ALIEN rip off?

 “You have to understand that this movie has turned out to be a lot bigger picture than we set out to make. We started out small, but after the second week of shooting, the investors looked at the footage and said they loved it and wanted us to make it bigger and better, so they kept throwing money at us, which is really a filmmaker’s dream. We’re using a Dolby stereo soundtrack, which isn’t something we were originally designed for. When we put together a rough cut of the movie, we decided it would add a lot to the film, even though it was going to cost another $80,000.”

Aside from the technical aspects of the film, Malone knows he’s going to run into objections about the film: is it an ALIEN rip off?

“I don’t know what to say about the ALIEN question,” Malone continued. “I guess it depends on whether you consider ALIEN an original story. I don’t look at that many films as real originals. I know ALIEN had elements of several films in it that I could name, but beyond that, most genre films are pretty derivative. I think that THE TITAN FIND has got some unusual and interesting things in it. Certainly the film is going to be compared to other films, but I don’t think you can help that. I actually think there’s a lot more of 1950’s science fiction in it than anything else, and that it resembles ALIEN because Dan O’Bannon and myself were probably inspired by the same pictures. I like Spielberg’s JAWS also. I think it’s probably one of the best monster movies ever made; when I was writing Klaus Kinski’s part, I wanted to try and capture more of the feel of Robert Shaw’s part in that, than ALIEN.”

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Cast

Stan Ivar as Captain Mike Davison

Wendy Schaal as Beth Sladen

Lyman Ward as David Perkins

Robert Jaffe as Jon Fennel

Diane Salinger as Melanie Bryce

Annette McCarthy as Dr. Wendy H. Oliver

Marie Laurin as Susan Delambre

Klaus Kinski as Hans Rudy Hofner

  Directed by   William Malone

Produced by William G. Dunn

Screenplay by William Malone Alan Reed

  Produced by

Moshe Diamant       …       executive producer

William G. Dunn      …       producer (as William G. Dunn Jr.)

Ronnie Hadar          …       executive producer

William Malone        …       producer

Don Stern     …       associate producer

    Art Direction by Michael Novotny

  Stephen Glassman  …       scenic artist

  Special Effects by

Wayne Beauchamp …       pyrotechnician

Doug Beswick         …       creature coordinator / miniature construction

John Eggett  …       pyrotechnician

Michael McCracken …       creator: “Titan Find” creature

Gerald Quist …       special effects makeup assistant

Paul Rinehard         …       special effects makeup assistant

Jill Rockow    …       special effects makeup assistant

Robert Short …       weapons creator

Bruce Zahlava         …       special effects makeup supervisor

  Visual Effects by

Larry Benson          …       visual effects executive producer: The L.A. Effects Group Inc.

Suzanne M. Benson          …       visual effects production associate: The L.A. Effects Group Inc.

Bob Burns     …       effects technician: The L.A. Effects Group Inc.

Steve Caldwell        …       effects technician: The L.A. Effects Group Inc.

George D. Dodge    …       effects cinematographer: The L.A. Effects Group Inc. (as George Dodge)

Judith Evans …       effects technician: The L.A. Effects Group Inc.

Alec Gillis      …       special thanks: The L.A. Effects Group Inc.

Sanford Kennedy    …       model maker: The L.A. Effects Group Inc.

John Lambert          …       optical consultant: The L.A. Effects Group Inc.

Alan G. Markowitz   …       animation supervisor: The L.A. Effects Group Inc. (as Alan Markowitz) / director optical effects: The L.A. Effects Group Inc. (as Alan Markowitz)

Pat McClung …       special thanks: The L.A. Effects Group Inc.

Jake Monroy …       mechanical engineer: The L.A. Effects Group Inc.

Jay Roth       …       model maker: The L.A. Effects Group Inc.

Dennis Skotak         …       director of photography: The L.A. Effects Group Inc. / stage supervisor: The L.A. Effects Group Inc.

Robert Skotak         …       special designer: The L.A. Effects Group Inc. / visual effects director: The L.A. Effects Group Inc.

Kathleen Spurney    …       effects technician: The L.A. Effects Group Inc.

George Turner        …       effects animator: The L.A. Effects Group Inc.

Steve Benson         …       visual effects supervisor (uncredited)

    REFERENCES and SOURCES

Cinefantastique v 15 n02

Fangoria 041

      Creature (1985) Retrospective SUMMARY In the film's prologue, two geological researchers for the American multinational corporation NTI encounter an ancient alien laboratory on Titan, the largest moon of Saturn.

[stormyrecords-blog]

new arrivals sept 8th 2017

stormy records13306 michigan avedearborn, mi 48126313-581-9322 always paying cash for used records - always putting great new titles onto the shelves - stop by and see what we have for you! also - new stereo eqpt on the shelvesmarantz receiver model 25 from the 1970s $250technics receiver / amplifier model sa-919 from the 1980s $40ten band sound shaper stereo equalizer ss-115 $100fisher studio standard turn table mt-6360 $100pair of never used jensen cd310 speakers $150 (like new) new arrivals for Sept 8th, 2017items will be in by the early afternoon on friday CULTIVATION First Edition double lp $24.99Featuring tracks by Arthur Colvin, Blair French, Mazri/Imzra, and Windy & Carl. "Cultivation is the brainchild of Jay Rowe and Ross Westerbur. The idea was to have a day in the outdoors to enjoy fresh air, friends, music, meditation, and good food. The day-long event would happen on or around the autumn equinox and feature live music and special musical artifacts released on that day. Past events have included performances and cassette releases by Warren Defever, and Dave Shettler, along with special mixes for Dub Lab Radio. This is the first in a series of vinyl releases that will combine like-minded artists working in the fields of ambient, electronica, and new age musics. All four groups are from the Detroit area and have long histories within the music scene, both locally and globally. Each side represents one artist and a single piece of musical output clocking in at approximately 20 minutes per side. Music for relaxing/healing created by modern sound sculptors. Beautiful gatefold sleeve with a double LP on black vinyl. Comes with download code. One time pressing of 500 copies." AFGHAN WHIGS - Up In It LP (Loser Edition * Color Vinyl w/ Download)   $22.99      * 180 Gram cut from the original master tapes. AFGHAN WHIGS - Uptown Avondale 'MINI-LP' (Loser Edition * Color Vinyl w/ Download)   $22.99       * 1st time on vinyl in the US.  45 rpm 180 gram pressing. AFGHAN WHIGS - Congregation DOUBLE LP (Loser Edition * Color Vinyl w/ Download)   $29.99      * 180 gram 45 rpm pressing cut from the original masters ALICE COLTRANE - World Spirituality Classics 1: The Ecstatic Music of Turiya Al        * DOUBLE LP $31.99  / CD $16.99  / CASSETTE $15.99 BEACHES - Second Of Spring DOUBLE LP  $20.99       * Epic New Double Album from Australian Psych-Rock Icons.   Download included. DEERHOOF - Movntain Moves LP  $19.99       * BLUE SWIRL Color Vinyl.   Download included EMA - Exile In The Outer Ring  LP   $21.99       * RED VINYL Indie Exclusive *   RAFAEL ANTON IRISARRI - Hope And Past Desires 12" EP   $11.99reissue on red vinyl Kirchin, BasilBasil Kirchin Is My Friend LP $29.99An awe-inspiring sampler of the late, great musical polymath's music. From pop punk pop to field recordings, jazz, horror film music, ambient sounds, experimental ideas and all points in between. Many tracks have not been released before. Basil Kirchin was a unique talent. A man brought up as a drummer in the post-war big band era, he soon shunned the sounds of London ballrooms for world travel, marijuana, and spiritual enlightenment. On his return to London in the mid-1960s, he started work on experimental "sound picture music", a direction that led him into horror film music, library music, and eventually, to field recordings. He then developed the idea of slowing down the sounds of bird, insects, animals, autistic children -- anything he recorded in fact -- to reveal the hidden particles of sound that made them up. Mixing this with free jazz improvisation in 1969, he developed a new, peculiar sound that is now known as "ambient". Here, in this unique Trunk Record's sampler, the label offers a fascinating musical glimpse into his world, bringing together work from three decades, plus parts of a long conversation between Jonny Trunk and Basil Kirchin, recorded a few months before Kirchin died. There is unreleased film music, field recordings including autistic children from Schurmatt, music for advertising, the opening of Quantum (JBH 003CD), brilliant mixes of jazz and birds ("Charcoal Sketches"), the newly discovered digital post punk classic "Silicon Chip", plus brilliant and moving homages to his life with Esther, his wife. Together it makes extraordinary listening. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle. LARAAJI - Sun Gong LP * CLEAR VINYL Indie Exclusive  $24.99 LARAAJI - Essence/Universe LP  $24.99 LARAAJI - Celestial Music 1978 - 2011 LP  $29.99 MOGWAI - Every Country's Sun  CD    $12.99        Brand New EXCELLENT Mogwai full length!      * LP version delayed until September 22nd PATRICK AND THE BARITONE SAXOPHONE RETINUE, PATSound Advice (2017 Repress) LP  $24.992017 repress of Art Yard's 2015 reissue. Originally released in 1977 by Sun Ra's El Saturn label. Includes printed inner sleeve. As composer, bandleader, and full-time member of the Sun Ra Arkestra, Pat Patrick was a visionary musician whose singular contribution to the jazz tradition has not yet been fully recognized. As well as holding down the baritone spot in the Arkestra for 35 years, Patrick played flute and alto, composed in both jazz and popular idioms, and was a widely respected musician, playing with Duke Ellington, Eric Dolphy, Thelonious Monk, and John Coltrane, with whom he appeared on Africa/Brass (1961). But he is best known for his crucial contributions to key Sun Ra recordings including Angels and Demons at Play (1967), Jazz in Silhouette (1959), and The Nubians of Plutonia (1967), among dozens of others. But as a bandleader, Patrick only released one LP -- the almost mythical Sound Advice, recorded with his Baritone Saxophone Retinue, a unique gathering of baritone saxophone masters including Charles Davis and René McLean. Sound Advice is a deep-hued exploration of this special instrument, a lost masterpiece of Arkestrally-minded Ellingtonia on which higher adepts of the lower cosmic tones are heard in rare conference. Unissued since original release, this unique jazz masterpiece now returns to the limelight. Released in collaboration with the Pat Patrick estate. Remastered and restored sound. Liner notes by scholar and musician Bill Banfield. PHARMAKON - Bestial Burden  $18.99      * Sacred Bones 10 Year Anniversary BRUISE COLORED Vinyl Pressing  Edition of 500. Benoit PioulardLignin Poise LP $23.99After the sold-out cassette release of Stanza / Stanza II on Beacon Sound in 2015 (a co-release with Baro) and 2016's The Benoit Pioulard Listening Matter on Kranky, Seattle's Thomas Meluch returns with a brand new Benoit Pioulard album of ambient bliss. Floating on a plume of pure shoegaze, Lignin Poise conjures nature, specifically the waters and forests of the Cascadia bioregion, as ecstatic reverie. It is a work of deliberate renewal in a time of global tumult. A golden oasis of deep memory open to all seekers; hallucinogenic, like stumbling into one of the verdant. highly-oxygenated upper canyons of the Columbia River Gorge on a late spring morning, soaking in the warm humidity and cool mist. In Tom's own words: "I recorded this album during the fall and winter of last year, and it's thematically meant to trace a path through decay, death, and regeneration over the course of the tracks. My flat/studio is surrounded by deciduous trees (a huge deal for me especially since I live in the heart of the city) so those patterns were right in my face every day while I was recording. Lignin forms the support systems of vascular plants, so the title is intended to convey the posture and temporariness of life in full bloom." PROTOMARTYR - Under Color Of Official Light LP  $16.99       * Restock of their fantastic Hardly Art Debut.  Download Included.    New Album (COLOR VINYL) forthcoming at the end of September PROTOMARTYR - The Agent Intelect LP  $16.99      * Restock of their awesome 2nd album on Hardly Art.   Download Included.   TY SEGAL - Fried Shallots 12" EP   $17.99      * a litle late getting his new EP, but here it is. SHABAZZ PALACES - Quazarz: Born On A Ganster Star LP  $19.99       * SUB POP "LOSER EDITION" Color Vinyl!   Download Included. cd also available $13.99 SHABAZZ PALACES - Quazarz Vs. The Jealous Machines LP  $19.99      * SUB POP "LOSER EDITION" Color Vinyl!   Download Included. cd also available $13.99 Sky Music A Tribute V2 LP+CD $27.99A vinyl-only release of two epic outtakes that didn't make the main album, Sky Music: A Tribute To Terje Rypdal (RCD 2194CD/RLP 3194LP), due to lack of space. Guitarist and composer Terje Rypdal (1947) is probably as close as one gets to a living legend in Norwegian music. Sky Music is a heartfelt celebration of an inspirational artist and truly unique guitarist who hasn't fully received the due credit and recognition he deserves for over 50 years of music making. Initiated by the experimental US guitarist and lifelong Rypdal fan Henry Kaiser, Rune Grammofon put together an all-star band including keyboardist and long-time Rypdal side-kick Ståle Storløkken (Elephant9, Supersilent), bassist Ingebrigt Håker Flaten (Scorch Trio, The Thing), drummer Gard Nilssen (Bushman's Revenge), guitarists Even H. Hermansen (Bushman´s Revenge) and Hedvig Mollestad, Finnish guitarist Raoul Björkenheim (Scorch Trio), and Swedish guitarist Reine Fiske (Dungen). Kaiser also played and produced. The Sky Music project also includes additional contributions from Hans Magnus Ryan (Motorpsycho), Jim O'Rourke, Bill Frisell, Nels Cline, David Torn, and Erik Friedlander. Includes CD. SKY MUSICSky Music: A Tribute To Terje Rypdal 2LP  $33.99Double LP version. Guitarist and composer Terje Rypdal (1947) is probably as close as one gets to a living legend in Norwegian music. He has received a number of awards, including three Norwegian Grammies (Spellemannpris), the last being the honorary award in 2005. Sky Music is a heartfelt celebration of an inspirational artist and truly unique guitarist who hasn't fully received the due credit and recognition he deserves for over 50 years of music making. Initiated by the experimental US guitarist and lifelong Rypdal fan Henry Kaiser, Rune Grammofon put together an all-star band including keyboardist and long-time Rypdal side-kick Ståle Storløkken (Elephant9, Supersilent), bassist Ingebrigt Håker Flaten (Scorch Trio, The Thing), drummer Gard Nilssen (Bushman's Revenge), guitarists Even H. Hermansen (Bushman´s Revenge) and Hedvig Mollestad, Finnish guitarist Raoul Björkenheim (Scorch Trio), and Swedish guitarist Reine Fiske (Dungen). Kaiser also played and produced while Hans Magnus Ryan (Motorpsycho) added bits and pieces and Jim O'Rourke beamed in his exquisite contributions to "Sunrise" from Tokyo. Bill Frisell, Nels Cline, and David Torn delivered their solo interpretations, Cline with the aid of cellist Erik Friedlander. SLOWDIVE - Slowdive LP  $18.99        * Re-stock of their excellent 2017 full length release.   Download included. CHAD VANGAALEN - Light Information LP (Loser Edition * Color Vinyl w/ Download)   $19.99      * POSTER and STICKER included. CHAD VANGAALEN - Infiniheart DOUBLE LP (Color Vinyl w/ Download)   $23.99       * 1st time re-issue of his 2005 release. JOSEF VAN WISSEM & JIM JARMUSCH - The Mystery Of Heaven LP  $18.99        * Sacred Bones 10 Year Anniversary GOLD VINYL Pressing.  Edition of 350. VARIOUS ARTISTS - Secao Ritmica: Instrumental Funk from '70s Brazil CD  $18.99 ZOLA JESUS - Okovi LP  $19.99        * Limited Edition RUST-COLORED Vinyl Pressing.   Download included.   ZOLA JESUS - Stridulum LP  $19.99       * collects the early Zola Jesus EP's 'Stridulum' and 'Valusia' for the first time.   Limited Edition of 500 on ICE VINYL ZOLA JESUS - The Spois LP  $18.99      * Sacred Bones 10 Year Anniversary SMOKE VINYL Pressing.   Limited Edition of 500. cool local detroit happenings!! DETROITSOUND4: Detroit Sound DesignSaturday, September 9th, 8am-6pmA single day conference including panels, presentations, workshops, and an exclusive performance on the Blue Bird Stage. cost is $15 per person    tickets can be purchased through a link on the detroit sound conservancy websitedetroitsound.orgevent taking place at the  CCS Taubman Center, 460 W. Baltimore, Detroit, MI 48202 Upcoming events at Trinosophes Thursday, Sept.7: Friends & Neighbors  (Norway)Friends & Neighbors represents a new generation of bands from the Norwegian jazz-scene. The music can be described as energetic and melodic free jazz inspired by musicians like Ornette Coleman, Archie Shepp, Pharoah Sanders and John Carter. On their debut album ”No Beat Policy” (2011), Friends & Neighbors created an authentic and acoustic atmosphere that refers back to the political roots of free jazz. Through original and strong compositions, this has resulted in a band sound with strong identity, crystal clear presence and personality. The quintets members can also be heard in bands like Paal Nilssen-Love Large Unit, Frode Gjerstad trio, Albatrosh and Cortex. Their second release «Hymn for a Hungry Nation» was received with  4 1/2 out of 5 stars in DownBeat Magazine.   "The spirit behind the phrase suits the quintet beautifully, and in terms of both historical stylistic precedent and a certain, strong and palpable ensemble identity… Call it a neo-"New Thing" sensation" -(Joseph Woodard/DownBeat Magazine) André Roligheten - reeds,  Thomas Johansson - trumpet,  Jon Rune Strøm - double bass,  Tollef Østvang - drums Doors at 8pm; $10 min. Coming Soon9/9: Keir Nueringer9/16: Swell, Gjerstadt, Strom, Nilssen-Love9/19: Hans-Joachim ROEDELIUS! with Hydro Park and Dave Shettler9/22: New Music Detroit's Strange and Beautiful Music opening night with m usic by  Khemia Ensemble,  Juxtatonal: Jocelyn Zelasko and Bryan Hayslett,  YAK,  Joel Peterson (with Lisa Raschiatore clarinet, James Greer viola, Abby Alwin cello),  New Music Detroit (featuring  cellist Una O’Riordan) and  Rebecca Goldberg 10/10: Circuits Des Yeux 10/14: Grails Related 9/23: Trinosophes present Ryan Jewell Duo at night two of Strange and Beautiful Music at The Max M Fisher Music Center . 10/26: Joel Peterson original score to silent classic   Der Golem  at Toledo Museum of Art   EL CLUB UPCOMING SHOWS  (most shows all ages - ticket will say all ages or not)remember - tickets are cash only. this saves us all the service charges!! the spits, screaming females  sat sept 30th $15cold cave sun oct 1st $18joyner lucas mon oct 2nd $12touche amore fri oct 6th $25tokimonsta sat oct 7th $15the bronx tues oct 10th $17algiers fri oct 20th $13giraffage sun nov 5th $17kelela tues nov 7th $20parquet courts thurs nov 16th $17daniel ceasar sun nov 19th $15 MARBLE BAR (all shows 18 and over) tops fri sept 22nd $10nude party tues oct 10th $5pickwick thurs oct 12th $12grails sat oct 14th $13cults sat oct 21st $19hoop sun oct 22nd $5bully wed nov 8th $15shy girls thur nov 9th $13cold specks wed nov 29th $10 ASSEMBLE SOUND (18 and over) the blow, ema fri nov 17th $13

[music-research-strategies]

Characteristics of Bone: A Memorie

https://amerarcana.wordpress.com/

...bone represents the very source of life, both human and animal. To reduce oneself to the skeleton condition is equivalent to re-entering the womb of this primordial life, that is, to a complete renewal, a mystical rebirth. 

-Mircea Eliade, Shamanism: Archaic Techniques of Ecstasy 

The characteristics of bone describes the music of Glenn Spearman (tenor saxophone) and Marco Eneidi (alto saxophone). They have moved beyond bone now, yet bone is eternal. Civilization can never defeat bone. For the sake of the memory of Glenn and Marco, I will skip the rigmarole of making an acrostic of their names, and whatnot. You need only to find recordings and listen: listen to their material. You need to run it down from before the beginning for yourself, and after. Many others are more qualified than I to give detailed accounts of the lives of Glenn Spearman and Marco Eneidi. It was only dumb luck and poverty that led me across their paths in the first place. 

I was homeless San Francisco in 1993 just a few months after coming from San Diego. I came up Highway 5 to attend the state university. I had even sold my drum kit to barely afford the essentials. This is when I discovered the infamous San Francisco burrito and the salsa verde, which my buddies still refer to as “the drug.” El Castillito made them huge, by San Diego standards, and the wasn’t far from my place on 26th and Alabama. My job at the recycling center at school didn’t pay but once a month. I had to starve in between checks. Not dire by any account. I loved it. I was a Creative Writing student after all. I’d starve and smoke and nibble and drink wine. Within a month of living in in the city, sunrise to sunrise. I was pushed out of a ratty apartment in no time. I discovered Food Not Bombs and Homes Not Jails through the Epicenter Zone, a Punk community center. They had a switchboard hot-line service for those in need. No one really had cell phones or the internet. I made my way to a Homes Not Jails meeting. They had left over free soup from Food Not Bombs. A dude I met there let me crash in his attic. Jeremy Graham. We talked about what I thought was music and I what I thought was literature. He is a lawyer now and still comes to my shows 23 years later. Jeremy gave me a tape of John Coltrane’s last album “Expressions”, Frank Wright’s “One for John” album (with Bobby Few and Noah Howard), and Glenn Spearman’s Double Trio.

“...(Cecil) Taylor drafted (Glenn) Spearman for a big band…(t)hat led to a few gigs with Cecil’s other bands, a seven-piece group which played for dancers, and a six-piece Cecil Taylor Unit including (Raphe) Malik, Jimmy Lyons, William Parker and Rashid Bakr ‘That’s where I got my advanced degree in music,’ says Glenn.”  

Bassist Lisle Ellis has been a great conduit for me, and the other young pups I ran around with. Lisle was a later addition the Glenn Spearman’s Double Trio. He was the only one as far as I knew. I saw them perform as much as possible. Great musicians, bunch of dudes: William Winant (percussion), Donald Robinson (drum kit), Chris Brown (piano), Larry Ochs (saxophones), Lisle on bass and Glenn. I still don’t really know the other guys well. Lisle linked me to pedagogies and practices of the Creative Music Studio in New York around the mid-70’s, Don Cherry, Cecil Taylor and beyond. Plus, he remains super accessible. He ran a workshop out of his apartment in the Upper Haight in San Francisco. Had us doing all kinds of exercises. He introduced to me violinist India Cooke which led to trio project, ESP, with bassist Kimara Dixon (a dude, now in Atlanta). She was teaching me to listen demonstrating loads of patience. Lisle joined us once on stage at Beanbender’s in Berkeley. India, Glenn, Chris and, maybe, Willie, back then, were on the faculty at Mills College. Larry was/is a part of ROVA Saxophone Quartet as the “O.” He performed the “Bedouin Hornbook,” back in the day. Donald fixed cars and drove the smallest car. It only fit a driver and drums. It was a Le Car or old school Honda Civic or something. Simply legendary. 

India and Glenn were my Black Arts Movement - West. I uncovered Ishmael Reed and Marvin X a bit later, after music. Many Black artists, intellectuals and Creative Musicians passed through the San Francisco Bays’ industry of thought, but I wasn’t really hip to it at the time. I was a struggling student and political activist. I staunchly rejected MTV and Hollywood because Chuck D, KRS ONE and Bad Brains told me to, thankfully. I switched majors from Writing to History to Philosophy & Religion and kept yo-yoing in and out of school. I kept up political education and service-based activism. Francis Wong, Jon Jang, Fred Wei-Han Ho and the Asian Improv Arts crew were quite explicitly positioned the music in an international, multi-ethnic nexus of resistance strategies and cultural progress. Rest in power, Fred. His book Sounding Off!: Music as Resistance / Rebellion / Revolution. There remains a lack of radical analysis and language amongst my community of Creative Musicians. Jason McGill and I interviewed back when Royal Hartigan gave him a residency at San Jose State. We heard Free Jazz as get-free-or-die-motherfucker! Years later Fred warned me about my academic language and intellectual tendencies. Fred was an action man. I mean, you just gotta talk to people and build. I find myself now digging through the past relationships and realities I simply missed in the ol’ Bay Area Creative Music scene. 

Unlike most cities, homeless persons, street persons, are quite visible up and down certain streets at all hours in San Francisco. I saw my fair share working with organizations affiliated with the Coalition On Homelessness. People have many reasons for escape, I can’t judge. What got me was that I recognized myself in the blatherings and bangings of some ecstatic urchin, high as fuck, banging away on buckets and pans for change, or for no reason at all. I stopped and stared not knowing if I was seeing my future self. A child of an alcoholic, though never an excessive user of any such thing, I only sought something behind the music I craved and worked through. Chasing Creative Music made me feel how that tripped out dude looked. People on the day to day are truly Improvisers: improvising a meal, a living, a laugh, so-called sanity. Navigating these streets and institutions will sure put you on a different plane. Just like how solitary confinement creates insanity. The complexity of the Double Trio saved my life. People say that kind of thing sometimes, and when it’s true it’s true. ROVA also turned me out. Composer, all around musician and bassist for Earth, Don McGreevy recently reminded me of all legacies of complexity, wonder and mastery that we inherited from this continuum of Creative Music. The bar is quite high. 

I was hungry for that essential transmission from improvisors with teeth. Experiencing the Double Trio was a kind of an initiation. My crew of musical and personal allies were transitioning into Creative Music enthusiasts at the same time. We imbibed all that we could. Performances spaces took on a sacred and profane quality. I only spoke to Glenn once or twice. I interviewed him on the phone after he quit doing chemo. He said he only wanted to self-medicate and finish his work peacefully. I trust that he did. 

Last I saw Marco, it was in February 2015. We ran across each other in Vienna, Austria on a Tuesday night. I was hunting for him. Black Spirituals, my band from Oakland, CA, performed while on tour with the iconic drone Metal unit Earth, from Seattle. We found ourselves in the fortunate circumstances of having our meals, booze, venue and sleeping accommodations all under same roof, or rooves in this case. European venues do it good that way. Drink up and load out in the morning, like a human being. I befriended a Viennese chap, an artist or philosopher unlucky in love, who joined me in a cab at midnight. We cut through the immaculate city in search of Marco. We found him, gray-faced and dogged, preparing to go home. He had been running the New Neu York/Vienna Institute of Improvised Music. Dude looked exhausted as he greeted his former apprentice, sort of looking past me. He was looking for his bed, no doubt. The poor bastard exchanged a few words and promptly left after informing us how avoid the entry fee at the venue door. He disappeared into the night, into history, and, all too soon, into the awaiting arms of the ancestors. I guess I thought he’d be a buoyant Henry Miller with a tart over one shoulder, tobacco smoke pouring out over too many words, a fifth in his breast pocket, and rubber soles under his heals. I think I just wanted to see his horn-playing stance one last time. That night, though, I performed improvisations with no-non-sense, badass musicians and threw back a few with Hans Farb from Festival Konfrontationen in Nicklesdorf. He knows all my Free Jazz family intimately. He is like an uncle I never knew was out there. 

Several years before, during one of Marco’s orbits from Vienna to the San Francisco Bay Area, I was able to host him. I booked a gig at Omiiroo Gallery in Downtown Oakland. It was my duty to spotlight him, feed him, give him a $100 bucks, and the stage. My man Githinji set it up. He taught me how to make Kenyan black-eyed peas for the occasion. “Gotta use coconut milk, brottar.” I arranged for additional catering from the Afghan spot down the street. And since the gallery didn’t have a proper bathroom, I made further arrangements with the Afghans to keep everybody comfortable. My band at the time was called Mutual Aid Project, a free jazz collective. We had undergone and performed the very first iterations of Decolonizing the Imagination together. Nick Obando (alto saxophone), Tracy Hui (guitar) & I performed composed analyses and democratic spaces to confront the tenets of colonization that brought our peoples to this land and still persist in our everyday lives. Rarely work with such deep cats. However, they were rightfully annoyed with me because I opted to perform solely with Marco. The next night, I must say, we opened for him at the Hemlock Tavern in San Francisco with Jamaaladeen Tacuma (electric bass), Lisa Mezzacappa (acoustic bass) and Vijay Anderson (drums). That gig with Marco was mine. My brother was shooting video, sort of. Some hot, young thing was sitting in the front row. My pops and his lovely wife brought their friends up from Oxnard and down from Napa-tasting. See, it was my dad’s birthday. I felt like an apprentice when I first pulled Marco’s coat and now I was a journeyman. We did two sets. I never released it. It’s just a thing I had to do. 

In early 2000’s, I worked with Marco as his sometime drummer. He was the kind of guy who lived in a van in NYC, so I heard, and schlepped his axe everywhere. Someone actually stopped me from doing that myself when I lived in DC. Back 

[stormyrecords-blog]

new arrivals 3-1-17

stormy records13306 michigan avedearborn, mi 48126 313-581-9322 hello friends of stormy!!great used jazz lps in this week - django, herbie, miles, and a bunch of meat and potatoes rock and roll, with added dashes of experimental and sound effects lps. moog, kodak - it's bee a good week for interesting used lps!! in TODAY Goblin - Profondo Rosso (LP)  $32.99Goblin - Suspiria (LP)  $32.99Goblin - Tenebre (LP) $32.99goblin soundtracks for horror films back in stock!! always a spine tingling listen!! Coil - Astral Disaster (LP)  $26.99In 1998, Coil were invited to record at Sun Dial’s studios beneath the London Bridge Hop Exchange—a studio originally know as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times was an old debtors prison which had three underground levels, and still had the original chains, manacles and wrought iron doors from the old prison. This caught the attention of John Balance, who was very keen to record there. Coil spent a number of days recording at the studio during Halloween 1998. With Gary Ramon’s help, they developed a number of tracks, some of which resulted in this LP. Ramon produced and mixed the Astral Disaster recordings, as well as playing guitar and sitar on these sessions. A version of the album was later remixed by the band and released on their own label—but the Prescription mixes as released in 1999 are unique. This rare album was part of the legendary subscription-only Prescription label album series in the late 1990’s, issued in an edition of 99 signed and numbered copies, long since sold out. (If you are wondering, originals fetch £700+). This is the first time the album is being released officially since 1999. Taken from the original masters, this reissue comes with original sleeve artwork, insert, and the facsimile signatures of John Balance and Peter Christopherson that came with the first issue. Yellow vinyl limited edition of possibly the rarest of all Coil recordingsRecorded in 1998 at Sun Dial studios, in the bowels of a Victorian era debtor’s prison Twin Peaks: Fire Walk With Me (2xLP)  $44.99Fire Walk With Me is an altogether more brooding affair than the Twin Peaks series soundtrack. Badalamenti won a grammy for the title track of this LP and it’s not hard to see why- it’s dangerous, and bursting with smokey jazz thanks to Jimmy Scott. We went back to the master tapes in the Warner Archives and had this recut to fit across two LPs as the score clocks in at 51 minutes. It sounds incredible and punchy, but super nuanced too.Director approved artworkComposer approved audioSleeve notes by film critic Mark Kermode (approved by David Lynch and Angelo Badalamenti)Vinyl re-master by Tal Miller at Warner ArchivesLaquers cut by David Cheppa at Plush Vinyl2 × 180G Cherry Pie vinyl425gsm Gatefold sleeve housed inside a bespoke black die cut outer jacket with black spot varnish finish, complete with obi strip Angelo Badalamenti - Twin Peaks (Original Soundtrack) (LP) - 2nd Pressing  $32.99“I’m glad that after 25 years, Death Waltz Recording Company has re-released the original soundtrack for Twin Peaks for a new audience to enjoy. This is my defining work as a composer and I’m happy it will get a fresh listen” – Angelo Badalamenti 2016 Hayes McMullan - Every Day Seem Like Murder Here (LP)  $31.99Bluesman. Sharecropper. Church deacon. Civil Rights activist. Hayes McMullan should be a name on every Blues aficionados’ short-list and thanks to the preservation fieldwork carried out by one of the genre’s greatest researchers some 50 years ago – it might soon be. Born in 1902, Hayes McMullan was discovered by the renowned American roots scholar, collector and documentarian Gayle Dean Wardlow. Wardlow, author of the seminal blues anthology Chasin’ That Devil Music – Searching for the Blues, may be most famous for uncovering Robert Johnson’s death certificate in 1968, finally revealing clues to the bluesman’s mysterious and much disputed demise. Moreover, in his tireless and committed mission to preserve the Blues for future generations, he captured McMullan’s raw talent on tape and on paper. Wardlow recorded these sessions, transcribed the songs and now, writes the sleeve-notes for this landmark release. Wardlow and McMullan met by chance on one of the former’s record-hunting trips, in Tallahatchie County, Mississippi, in 1967. Having introduced himself to McMullan on a hunch, it turned out this unassuming elderly man had not only heard of Wardlow’s idol, Charley Patton, but had played alongside him in the 1920s, as part of a brief musical journey that took him from the plantation to the open roads and juke joints of the Depression-era South. Striking up a friendship that was deemed unorthodox in 1960’s Mississippi, Wardlow traveled to McMullan’s sharecropper’s shack and convinced him to play guitar for the first time since he quit the Blues for the Church in the 30’s. “Hayes was playing like no one I had ever heard,” Wardlow writes with amazement. Wardlow visited McMullan on a handful of occasions, always taking his recorder, a guitar and some whiskey with him. It was during these visits that Wardlow captured – with surprising clarity – the songs that make up Everyday Seem Like Murder Here. Hayes McMullan passed away at the age of 84 in 1986, his talent and legacy largely unknown. “Reflecting now on our brief time together, I marvel at the small glimpse of something much larger I was lucky to have captured,” writes Wardlow. “The few old snapshots I took, the handful of tunes we recorded, and his brilliant performance of “Hurry Sundown” captured on film are all that’s left of the musical legacy of Hayes McMullan, sharecropper, deacon, and—unbeknownst to so many for so long—reluctant bluesman.” Konami Kukeiha Club - Castlevania 2: Simon's Quest OST (LP)  $27.99Mondo is proud to celebrate the 30th anniversary of the Castlevania franchise with the premiere vinyl release of the original soundtrack to the 1987 Famicom / Nintendo Entertainment System sequel: Simon’s Quest. Featuring both the NES and FAMICOM versions of all 9 BMG tracks from the game. Musically, Simon’s Quest is the origin of one of the most popular of Castlevania BMG, “Bloody Tears.” A staple of the sonic landscape for the series, here it is as the soundtrack to your daylight encounters across the dangerous Transylvanian landscape. It is one of the catchiest 8-Bit tunes to ever come out of this era of Konami games and an example of the best of what Video Game Music has to offer. IN ON THURSDAY RUSSELL, ARTHURInstrumentals 2LP  $34.99"Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. All material previously released on the Audika CD compilation First Thought Best Thought (2006). Before disco, and before the transcendent echoes, Arthur wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, 'I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.' Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded Instrumentals Vol. 1 as a masterpiece and one of Arthur's 'greatest achievements'. Americana touching on Copeland, Ives, and maybe even Brian Wilson. Instrumentals Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur's most elusive compositions, 'Reach One', and 'Sketch For Face Of Helen'. Recorded live in 1975 at Phill Niblock's Experimental Intermedia Foundation, 'Reach One' is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. 'Sketch For Face Of Helen' was inspired by Arthur's work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur's musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur's coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time." BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFFElements LP   $34.99Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0030). 180-gram vinyl. One-time pressing of 500. First standalone reissue. "What reveals itself in the über energetics on display here is the ability of one quartet to take so much for granted and yet express so much in the process. Van Hove, for instance, shuns all conventions in his approach to the piano: he quotes Liszt and Schubert as well as Ellington and Peterson then wipes all of them out with his elbows as if erasing a chalkboard. His 'Florence Nightingale' is a perfect example. Texturally, he creates diversions from the fury while never disengaging from it. Brötzmann and Mangelsdorff are out and out challenging each other to see who can destroy their instruments first, and Han Bennick is the most proactive percussionist in jazz history. His use of anything and everything while simultaneously playing a trap kit that creates time is astonishing. Elsewhere, on Brötzmann's 'Elements,' African percussion and slow, long opened tonal drones by Mangelsdorff create a backdrop for the other two to explore without rushing in. Brötzmann enters almost tenderly, looking for a room to exit out of, but engaging himself in the microtonalities created by the rhythm section. Van Hove's long augmented chords create a mode for not opening but splintering that exit and Brötzmann ushers the band through in a hurry heading for the outer reaches of the possible. . . . one of the best documents of the period on any continent." --Thom Jurek, AllMusic, 1991 BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFFCouscouss de la Mauresque  $34.99Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0040). 180-gram vinyl. One-time pressing of 500. First standalone reissue. "Brötzmann's regular trio was joined by the trombonist Albert Mangelsdorff, one of the most respected German jazz musicians, who has managed to keep abreast of musical developments for more than a decade. Those who remember him only for those fine early-sixties albums (like Tension, on German CBS) will be in for a shock, because he's updated his playing all the way. On 'Couscouss De La Mauresque', for instance, his tonal distortions rival those of Paul Rutherford, as he backs Brötzmann's wailing with a rip-snorting obligato. He has the advantage of being a virtuous technician, so that some of his wilder flights are truly breathtaking. . . . Mangelsdorff's technique doesn't hinder his fire, either, and he's well able to stand up to the rest of this very hairy band. Van Hove and Bennink obviously know each other inside out by now, and you'll hear few more exciting passages of music than their interlude during the trombonist's solo on 'Couscouss'. Bennink is getting further into textures every day, and on this album makes great play with his steel-drum and many unidentifiable implements, thus giving the music a great deal of variety. If you wanted to buy just one of these records, it would be very hard to choose because the level is so high throughout." --Richard Williams, Melody Maker, February 5, 1972 BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFFThe End  $34.99Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0050). 180-gram vinyl. One-time pressing of 500. First standalone reissue. "The great thing about this trilogy/set is how naturally everything flows. . . . each subdividing of the group, each solo excursion, feels smooth and logical, as though the player(s) in question had nodded to the others as if to say 'Gimme a minute here, I've got an idea,' and received assent in response. There's all the ferocity any free jazz diehard could ask for, but it never goes on so long that it becomes schtick, and it's always countered by passages that are genuinely beautiful in the most conventional, you-could-play-this-for-your-mom sense. Even without Mangelsdorff, Brötzmann, Van Hove and Bennink were a remarkably empathetic and attuned team, and when he joined them (and these records document their second and third times playing together, ever), everyone's game was raised." --Phil Freeman, Burning Ambulance, 2013 Dominatrix: Dominatrix Sleeps Tonight LP $19.992017 edition. "The Dominatrix Sleeps Tonight has a long and storied history among connoisseurs of '80s New York dance music. Combining catchy, deadpan synth-pop and classic '80s electro hallmarks with the provocative edge of leather-and-lace sex culture, it remains a worldwide dancefloor staple to this day. Despite its popularity, little has been known about the song's background. The brainchild of producer Stuart Argabright (nee Arbright, a member of the groups Ike Yard and Death Comet Crew); alongside DJ and remixer Ivan Ivan; Kenneth Lockie (from Cowboys International, and early Death Comet Crew); and vocalist Claudia Summers; the song's dominating female subject was based on a person whom Arbright had dated. The song -- and a banned-by-MTV video that today could be mistaken for a Victoria's Secret commercial -- became a club smash at famed Danceteria and other urban meccas. But, despite some leather-clad live dates in 1984, the group itself was short-lived. This special Get On Down vinyl edition is sure to be coveted by fans and collectors. Beyond four original mixes of the song (12", Chants, Dominant and Beat Me) that fans know and love -- this full-length LP includes the newly unearthed song 'Play It Safe' and the rarely heard, hypnotic 'City That Never Sleeps,' in addition to the rare 1984 'Scratch Mix' of the original title song, with cuts by the legendary DJ Red Alert. The deluxe vinyl package is accompanied by a 16-page glossy booklet with text by writer Dave Tompkins and input from Argabright and Ivan Ivan. Additionally, fans will be thrilled into submission by visuals and press clips relating to the original release on Arthur Baker's Street Wise Records; the song's provocative video; as well as the dominatrix culture in New York City at the time which inspired this unlikely smash hit." Moondog: Viking Of Sixth 2LP $26.992017 repress, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. "The first overview of Moondog's amazing artistic life -- including recordings spanning from 1949 till 1995, with numerous 78s and various other vanished records revived for the first time (not to mention a couple of Weegee photographs!)." JULIE'S HAIRCUTInvocation And Ritual Dance Of My Demon Twin   $18.99Julie's Haircut - Italy's premiere psychedelic explorers - create a deep-end approach to sonic innovation on Invocation And Ritual Dance Of My Demon Twin, their debut release for Rocket Recordings. Seven albums into their mission, the band find themselves at a new plateau of small-hours elucidation and revelation that may summon the specters of the wayward squall of early Mercury Rev, the shamanic allure of Dead Skeletons, the freedom of Miles Davis, the repetition of Can, or the wild soundscapes of Amon Düül II to some, yet essentially sound like no one but themselves. The result is a record built on trance-like repetitions that grows to a mantric intensity, summoning atmospheres redolent of the psychic and surreal transgressions of its title - a double-helix tribute to both Frank Zappa and Kenneth Anger. Coruscating guitar overload and jazz-tinged blow-out collide amidst hypnotic soundscapes like the shamanically inclined "The Fire Sermon" and the eleven-minute motorik magnificence of the curtain-raiser, "Zukunft". Atmospheric restraint, glacial texture, and immersive groove play as large a part in this blinding and beatific sound world as droning darkness or overheated amp tubes. Lucier, A: Music On Long Thin Wire CD $14.991992 release. First released on Lovely Music in 1980. A 50-foot length of taut wire passes through the poles of a large magnet and is driven by an oscillator; the vibrations of the wire are miked at either end, amplified, and broadcast in stereo. The thin wire is set vibrating four times at four different frequencies; what results is not the low drone one might expect from a long, vibrating wire, but a complexity of evocative, ethereal chords. Music On A Long Thin Wire is a classic example of Alvin Lucier's investigations into the physics of sound and the sonic properties of natural processes. CHRISTIANSEN, HENNING  $29.99Opus 67 Strategygetarts A Symphony, Hommage A Richard Demarco LPOpus 67 Strategygetarts A Symphony, Hommage Á Richard Demarco is a previously unissued recording by Henning Christiansen from 1971. In 1970, the Richard Demarco Gallery in collaboration with the Kunsthalle Düsseldorf organized the exhibition, Strategy: Get Arts. This celebration of art from Düsseldorf was held at the Edinburgh College of Art during the Edinburgh International Festival. The title of the exhibition was a palindrome created by André Thomkins and featured works by Joseph Beuys, Claus Böhmler, George Brecht, Henning Christiansen, Robert Filliou, Dorothy Iannone, Mauricio Kagel, and Dieter Roth amongst others. Opus 67 Strategygetarts A Symphony, Hommage Á Richard Demarco was sent to Richard Demarco as a gift following the exhibition. Having returned to Denmark, Christiansen, along with sound technician Peter Sakse, created Strategygetarts, a sound collage incorporating field recordings from urban spaces, supermarkets, a boxing game, etc. The sole "musical" element is a piano motif which repeatedly punctuates the recordings. The first side moves forwards, the flip back. A reverse groove will set you straight. Opus 67 Strategygetarts A Symphony, Hommage Á Richard Demarco comes in a high-gloss sleeve, featuring two original artworks by Henning Christiansen; Edition of 500.