#savage hills ballroom

[sinceileftyoublog]

Pitchfork Music Festival 2023: 5 Can’t-miss Non-headliner Sets

700 Bliss

BY JORDAN MAINZER

After four long years, yours truly finally returns to Pitchfork Music Festival. While the pandemic cancelled 2020′s iteration, contributor Daniel Palella filled in for 2021, and we entirely missed 2022 (I got married!), four years lacking Chicago’s most laid-back, yet forward thinking festival proved to be too many. While I can’t wait to see The Smile, Big Thief, and Bon Iver, I’d be remiss not to recommend these 5 can’t-miss non-headliner sets.

Trevor Powers of Youth Lagoon; Photo by Tyler T. Williams

FRIDAY

Youth Lagoon, 4:15 PM, Green Stage

Last month, Trevor Powers released Heaven Is a Junkyard (Fat Possum) his first Youth Lagoon music since 2015′s Savage Hills Ballroom. If earlier, beloved Youth Lagoon records were miniature epics that embraced a sort of hazy nostalgia, Heaven Is a Junkyard is more subdued, soulful, and limited in scope. It’s also Powers’ most focused and best record, the deepest he’s dived into a world. In 2021, Powers lost his voice as a result of a horrific reaction to an over-the-counter medication, eventually losing 30 pounds and, temporarily, his ability to speak. As a result of the unfortunate circumstances, he went into a deep depression, but thankfully decided to focus his energy on Idaho, and ultimately, his songwriting and the return of Youth Lagoon. Heaven Is a Junkyard could be difficult to listen to, with images of blood-stained clothes and drug addicts sleeping outside on mattresses. It’s not because of Powers’ embrace of his surroundings. “Heaven is a junkyard / And it’s my home,” he sings on “The Sling”. His clear sense of empathy for the downtrodden shapes his familial perspectives, too, thankful for brotherly love, even if disguised as roughhousing, on “Prizefighter” and “Trapeze Artist”. And Heaven Is a Junkyard is musically adventurous, too, from the looped drums, handclaps, and cello of “Mercury” to the ghostly synth arpeggios of “Helicopter Toy” and disintegrating ambient instrumental interlude “Lux Radio Theatre”, which wouldn’t sound out of place on a Boards of Canada album. Live, expect to hear much of Heaven Is a Junkyard along with cuts from the first two Youth Lagoon albums.

SATURDAY

700 BLISS, 2:30 PM, Green Stage

One of our favorite albums of last year was the sophomore LP from 700 BLISS, the venerable duo of poet/musician Camae Ayewa (aka Moor Mother) and DJ Haram. Nothing To Declare, their first record for Hyperdub, traverses genres (techno, noise, ambient) and moods (serious and political, facetious and sarcastic). Get there early on Saturday for some heady words and beats in the sun!

SUNDAY

JPEGMAFIA, 4:15 PM, Green Stage

In 2019, rapper JPEGMAFIA gave the most energetic set at Pitchfork. This year should be no different: Since then, he released one of our favorite albums of that year mere months later, a very good follow-up two years after that, and this year, a collaborative album with his favorite rapper, Danny Brown. He’s called the new one, SCARING THE HOES (Awal), a “practice album,” made with the SP-404--no Pro Tools--after learning it for a year. It certainly has that loose quality you’d think, alongside the exact amount of chaos you’d expect from the debut full-length join-up from these two. Of course, Peggy finds kinship in the deep cuts and the underground, from the underappreciated Bun B to old soul and funk, Japanese pop, and gospel. The samples and production are inspired. At the same time, Peggy knows he’s your favorite Twitter follow’s favorite rapper, so the title itself, referring to something a Very Online Man would say who thinks his taste is too esoteric for women, is tongue-in-cheek. “How the fuck we supposed to make money of this shit?” Peggy asks on the title track. “You wanna be an MC? What the fuck you think, it’s 1993?” The only thing better than effortless tempo changes, switches on a dime from maximalism to dreamy instrumentation, is self-awareness of his own idiosyncrasies. Bonus points for “God Loves You”, which juxtaposes a guttural, spirited gospel sample with the filthiest lyrics on the album.

Sarah Tudzin of illuminati hotties; Photo by Seannie Bryan

illuminati hotties, 5:15, Blue Stage

It’s been a big past few years for Sarah Tudzin, the frontperson of LA indie rock band illuminati hotties. Their 2021 record Let Me Do One More (Hopeless) was released to acclaim, one of our favorites of that year. She contributed a remix to the deluxe addition of the latest Stars album as well as production to a few songs on boygenius’ the record. Best, she’s apparently finishing up her next record. Perhaps the first taste of it is “Truck”, released yesterday ahead of the band’s Pitchfork performance and tour with boygenius. It’s a slice of gentle, lilting Americana, a song about chasing your dreams versus learning to live with reality. Expect to hear it during the band’s set at Pitchfork, along with some rambunctious, hilarious back catalog jammers.

Kelela, 7:25 PM, Red Stage

The brilliant R&B artist’s second studio album, Raven (Warp), is a culmination of a period of reflection following her debut album six years prior, Take Me Apart. Despite electronic dance music’s Black and queer origins, Kelela’s feeling restrained within the music world as it exists today, within its white, male hegemonic power structure. She’s keeping on anyway, and on Raven, she delivers a brilliantly paced back and forth between club jams and slow burns, beat-heavy tracks and ambient expressions. There are plenty of songs about relationships and the dissolution thereof, but Kelela can control what she can control: her artistic voice. “Through all the labor / A raven is reborn / They tried to break her / There’s nothing here to mourn,” she declares on the pulsating, zooming title track, as the instrumentation gradually and masterfully builds with sprinkles of piano and dramatic strings. And on standout “Contact”, Kelela captures a night out, from the come-up to the club or party itself. It’s a dance song that could have dominated the charts in an alternate 90′s universe. One thing’s for sure: It’ll be a highlight at this year’s festival.

[wispstalk]

ganked a tag game: post your 9 favorite album covers. like, aesthetics, not necessarily favorite albums.

the hawk is howling - mogwai (yeah that's not a hawk. i know. i know.)

the ruiner - made out of babies

the assassination of julius caeser - ulver

magnolia electric company - songs: ohia

rumours - fleetwood mac (this one is so classic as to be obvious but what can i say. it's uh. it's low hanging fruit 🥁)

savage hills ballroom - youth lagoon

master of my make believe - santigold

whipped cream and other delights - herb alpert

tha carter III - lil wayne

tagging: @nuwanders @dirty-bosmer @jiubilant @ervona @thealterscrolls @crynwr-drwg @kagrenacs @thattalviel

[feral-embrocations]

Shoot and Interview in i-D - Italy - 2021

Makeup and styling by me, shoot by Gloria Moreno and Kumpaw

"" Whats you're inspiration? Once upon a time there was a young jester, serving the king of highest kingdoms in all northern lands. The old king had accused the jester of attempted poisoning, so the jester was banished from the kingdom for eternity. The jester ran out into the woods, despite the devastating blizzard that ruled the terrain, and it didn't last long until the young gent was now lost in the forest. - and not just any forest- These were the northern forests where wild wolves, grey foxes and packs lynx reigned with carnivorous manners. The jester ought to use his mutability, intellect and creativity to survive. After several years in the company of the sacred critters of dark woodlands, deep swamps and deserted hills, the jester returned to the castle. It was dirtier than any court lady’s worst nightmare, trotting on all fours directly towards the big gate. It left a trail of mud along the endless hallways and finally reached the ballroom.

The king got an utter shock at the sight of the tattered jester, who to the king's surprise, was only wearing frayed bloomers, and a tattered shirt that once was white and rugged hunting tools dangling from a rope belt. The king couldn't hide his rage and demanded the jester to be immediately executed despite his former fondness with the adolescent. The ferocious jester eyes were bright and deep, as he purred with spite against the throne. He had not returned for the mere sake of enshacklement, but rather to warn the emperor that a painful change was about to submerge within the golden walls. It was as if an irreversible bestial essence had infested the jester. It’s fast paws swiftly jumped to hide behind a statue as the princess walked in. She caught only a glimpse of the savage creature, sensing something familiar about him. Twilight was approaching and the jester’s plan was almost complete.

The king’s army followed by a herd of angry villagers had scattered in search of the felon, “Dead or alive” shouted the king. The princess laid in her room, thinking how the jester could seem so different and odd… . At the break of dawn, it sneaked into the princess’ dorm, lurking behind the velour drapes, glimpsing the beautiful princess as she was sleeping. She awoke from the sounds of fumbling across the room and saw two yellow eyes flickering. She was frightened, though curious. She approached it, and the now gentle jester hunched its back and she caressed the brown and humid fur. She remembered how her dreams of escape had faded when the jester was banished a long time ago, but before her next breath, the jester had a tight grip around her waist and splintering glass flew to all sides as it jumped out the castle window. She clenched its warm body, awaiting to accompany the wild jester on ferocious travels through the forest, hunting down sensuous secrets, notorious nests, hazardous holes, deistic discharge, sizzling skin, and leaky landscapes.

How do you identify?

As for many queer people I have been sexualized and objectified to a point where it is hard for me to differ between my own life path and sexuality, and the one that’s expected from me. I find strength when I find the representation that mainstream media won’t allow me to see, that shows me how literally any gender identity and sexuality is so real and valid (recently through alt-/trans- & black-tik tok) and how you can NEVER assume someone’s gender from how they present themselves. 

Through identifying myself as nonbinary, I came to realize how I am more nuanced than they thought I was, and that I am the only one who can give myself permission to channel any form of masculinity/femininity/alienlike/childlike/bossy/bimbo/submissive/dominant/animalistic/dirty/scattered/spiritually/wholesome vibe I feel like, at any given moment. It is a lifelong journey to break up with the internalized white capitalist patriarchy, which deems me to choose one path that I should rigidly live up to, instead of seeing myself as a fluid, everchanging energy that grows into new per(/fur-)sonas all the time. - Being able to see people as they want to be seen, requires a willingness to listen and understand, on their terms. 

I believe that the binary is a made up construct (also biologically, yes) that EVERYONE suffers from, so in this construct I feel most comfortable identifying as queer, nonbinary, pansexual, polyamourous, switch, bdsm-furry/hunter-lover, who will never limit myself and obey to what society told me is romantic, beautiful, attractive and ambitious. I am a victim of the cistem (as everyone is), therefor I must try my best to unlearn every toxic trait it told me, by loving myself unconditionally and with that comes the shame and guilt of acknowledging that I am capable of being predatory and offensive. Therefore, especially as white queer, it’s mine and our responsibility to find the knowledge we weren’t taught, about consent, boundaries, white supremacy, colonialism, racism, queer history and intersectional feminism. A journey I will encourage everyone to join. I can assure you it’s painful but even more so, freeing, interesting and euphoric.

From Levi <333

(note: I'm wearing an fly whisk in my belt found at the recycle station which I wouldn't wear today, knowing it is used in a number of diferrent cultures that are not mine for ceremonial purposes among other)

[double-croche1]

[INTERVIEW] YOUTH LAGOON

Huit ans après son précédent album ‘Savage Hills Ballroom’ (2015) sous le nom de Youth Lagoon, Trevor Powers réactive le projet avec l’excellent ‘Heaven Is a Junkyard’ à paraître le 9 juin. For the English version, it’s over there.

Avant toute chose, comment vont tes deux chiens Walter et Wilson ? Trevor : C’est si gentil de vous en souvenir. Ils vont bien. Wilson est vieux, souvent fatigué et sent fort mais Walter a une belle allure et se sent au top de sa forme. Ses aboiements sont démoniaques par contre. Je les aime profondément mais notre relation est compliquée. Walter aime se blottir contre moi à 4h du matin. Wilson a peur des hoquets et des bruits de film plastique.

Le projet Youth Lagoon est de retour ! En 2018, tu disais que tu étais « dans un état d’étranglement » avec ce projet. Peux-tu nous en dire plus sur ce nouveau départ avec Youth Lagoon ? Pourrais-tu définir de quelle façon les projets Youth Lagoon and Trevor Powers sont distincts pour toi ? Trevor : Cela a été un étranglement pour moi pendant des années. Principalement parce que je laissais m’énerver ceux qui voulaient que je fasse de la musique qui ressemblait à mon premier album [‘The Year of Hibernation’ sorti en 2011]. Ce n'est pas comme ça que je travaille. Si je n'ai rien de nouveau ou d'intéressant à dire, je me tais. J'ai commencé à me sentir comme un de ces petits singes en jouets avec des cymbales et tout ce que les gens voulaient que je fasse, c'était que je frappe ces cymbales. Alors j'ai “brûlé la maison”. Je ne ferai jamais le même album deux fois ou ne ferai rien en quoi je ne crois pas. Quand j'ai laissé le nom Youth Lagoon derrière moi, c'était la première fois que je sentais que je pouvais vraiment respirer depuis la création de ‘Wondrous Bughouse’ (2013). ‘The Year of Hibernation’ (2011) et ‘Wondrous Bughouse’ (2013) étaient purs. Sur ‘Savage Hills Ballroom’ (2015), c’était moi qui essayais de trouver mon chemin mais qui m’agitais dans tous les sens. J'ai fait des choix auxquels je ne croyais pas. Je ne savais plus qui j'étais. J'ai dû tuer le nom Youth Lagoon parce qu'à cette époque, c'était la seule façon de grandir. Quand j'ai enregistré ‘Mulberry Violence’ en 2018 sous mon propre nom, j'ai eu l'impression de me connaître à nouveau. Cela m'a permis de grandir un peu. Ça a continué avec ‘Capricorn’ en 2020. Je suis tellement fier de ces albums. C’était comme retourner à l'université pour moi. J'ai failli perdre ma maison pour financer ‘Mulberry Violence’ (2018). Je le referais sans hésiter une seconde. Je préfère mourir pauvre en sachant que j'ai fait les choses pour les bonnes raisons plutôt que riche en faisant tout ce en quoi je ne crois pas. La vie au cours des deux dernières années m'a détruit et m'a reconstruit. La douleur a été mon plus grand enseignement. J'ai réalisé que la chose la plus vraie et la plus effrayante que je pouvais faire était de rassembler ces morceaux de moi-même que j'avais jetés et laissés pour morts et d'en faire quelque chose de nouveau. Youth Lagoon était l'une de ces pièces. J'ai commencé à reconstruire cette maison que j'avais brûlée il y a des années, mais cette fois, elle avait l'air différente. Chaque morceau de bois que j'ai cloué avait une nouvelle sorte de beauté.

Le titre du nouveau disque est ‘Heaven Is a Junkyard’. C'est une phrase que tu utilises également dans les paroles à la fin du morceau The Sling. Le communiqué de presse indique que tu as écrit cette phrase dans ton carnet après avoir vu la ferme d’un voisin prendre feu. Peux-tu nous en dire plus sur ce titre ? Trevor : C'est drôle comme cela reflète bien ce que je disais juste avant à propos de ma propre vie. Quand j'ai écrit cette phrase, je n'étais même pas sûr de ce qu'elle signifiait à l'époque. Je savais que cela avait beaucoup de poids, mais je continuais à lutter avec ces mots en essayant de les comprendre. Cette phrase était une énigme que je ne pouvais pas sortir de ma tête. Puis j'ai réalisé que je n'ai pas besoin de donner un sens à cela. Cela m'est venu comme un rêve, il faut donc l'accepter comme tel. Dès que j’ai écrit cette phrase, j'ai su que cela devrait être le titre de l'album. C'était exactement comme la musique que j'écrivais. C'était vrai. Tout mon processus de création se résume à des accidents et des antonymes. Selon moi, c'est de cet espace que vient tout ce qui est juste. Et cette phrase ‘Heaven Is a Junkyard’ [‘le paradis est un dépotoir’], a coché ces deux cases.

Lors de la réalisation du disque, tu as apparemment mis de côté l’équivalent de deux albums et demi de chansons parce qu’ils n’étaient « pas honnêtes ». Quelles ont été les premières idées que tu as eues et gardées pour ce nouveau disque ? Trevor : Deep Red Sea, Mercury et Little Devil from the Country étaient toutes des idées que j'avais eues il y a des années dans leurs premières formes mais je ne les avais pas terminées à l'époque. Elles étaient là entre tant de mauvaises idées que je ne pouvais pas vraiment les voir pour ce qu’elles étaient. Ce n’est qu’après avoir fait quelques percées avec d’autres chansons et avoir vraiment construit une identité pour ce disque que certaines de ces idées plus anciennes ont commencé à prendre une nouvelle vie. Une grande partie de ce que j’écris ne voit jamais la lumière du jour. Cela doit être ainsi.

En octobre 2021, tu as apparemment eu une réaction médicamenteuse si grave que tu perdu plus de 15 kilos et tu as dit que tu « n’étais pas sûr de pouvoir à nouveau parler et encore moins chanter. » Tu sembles évoquer cet événement sur le morceau Trapeze Artist : « My voice is gone and it used to be so strong. » Peux-tu nous le confirmer ? En quoi cela a-t-il influencé le disque ? Trevor : Oui, cette phrase dans Trapeze Artist est une référence directe à ça. Toute la chanson en est une en fait. Aucun médecin ne pouvait m'aider, j'étais donc vraiment seul. C'était un cauchemar absolu mais un cadeau en même temps. Cela m'a appris à m'aimer. Mon corps guérit de plus en plus chaque jour. Dire que cet événement a influencé le disque serait un énorme euphémisme. Ce disque n'existerait pas sans lui. La souffrance m’a montré le chemin.

Crédits photo : Tyler T. Williams

Le disque traite beaucoup plus de ton environnement que dans tes albums précédents. Le communiqué de presse indique qu’il s’agit d’un « portrait de l’Ouest américain hanté par Dieu ». On se souvient que tu as un tatouage Idaho sur ton bras et on a même vu qu’il existe une version exclusive à l’Idaho du vinyle ! Ton cœur appartient-il à l’Idaho ? Trevor : Je ne dirais pas que mon cœur appartient à l’Idaho mais cet Etat me tient définitivement à sa portée. L’Idaho est magnifique et a toujours quelque chose à me dire quand je fais très attention. Pendant des années, toute mon inspiration est venue d'endroits lointains. Je pensais que c'était seulement dans ces endroits que quelque chose pouvait sonner ou paraître important. Je me concentrais sur toutes les mauvaises choses. Rien ne compte dans l'art sauf la vérité. Partout où est la maison, la vérité est aussi.

Les paroles de ce nouvel album ressemblent vraiment à des histoires que tu racontes. Tu cites beaucoup de prénoms dans les différents morceaux, comme Eugene, Billy, Dolly ou encore Bobby. S'agit-il de personnages réels ou fictifs ? Quelle est la part de fiction dans les paroles ? Trevor : Certains personnages sont basés sur des personnes que je connais, d'autres sur des personnes que j'ai rencontrées dans des stations-service ou des supermarchés ou qui errent dans les rues sans but, d'autres sont complètement imaginaires et le reste c'est moi. Cependant, dans tous ces personnages, il y a un peu de moi-même. J'adore jouer avec des personnages. Cela rend les choses d'autant plus efficaces et choquantes quand il y a une citation directement de moi. Comme dans Idaho Alien : “I don’t remember how it happened. Blood filled up the clawfoot bath and I will fear no frontier.” Ces mots m'ont fait pleurer quand je les ai écrits parce que c’était exactement ce que je ressentais. Je ne voulais pas vivre à l’époque. Mon corps ressemblait à une putain de prison. Mais en fusionnant cela avec cet esprit de western, tout cela m’a paru bizarrement guérissant. C’est exactement pour ça que je fais de la musique. Ce n'est pas pour gagner de l'argent, vendre des albums, devenir célèbre ou même jouer des concerts. En fin de compte, c'est juste un mécanisme pour parler avec Dieu et nourrir mon âme.

Il y a un thème récurrent lié la guerre sur l’album. Plusieurs occurrences on apparaissent à travers les morceaux : * Rabbit : « Just a bullet from the war. » * Prizefighter : « Tommy left for war with no goodbye. » et « I got a war that I can’t fight. » * Deep Red Sea : « Ready and waiting for war. » * Trapeze Artist : « Bobby at war. Maybe I’m ready. » Peux-tu nous en dire plus sur ce sujet ? Trevor : Je me suis senti attiré par ce sujet de la guerre parce que c’est quelque chose qui est partout. Je suis convaincu que la raison pour laquelle une personne est en guerre avec quelqu’un d’autre est que cette personne est en guerre avec elle même. C’est de là que tout commence. L’idée de guerre est tissée dans notre ADN et cela pousse constamment la société vers le bord de la destruction. Ce n'est que lorsque nous pouvons dépasser notre subconscient et commencer à définir le traumatisme que nous avons caché au fond de notre psyché que nous pouvons enfin avancer vers un univers d'harmonie. Cette poussée et cette traction que nous avons en nous - chaos et paix / violence et douceur / dépendance et maîtrise de soi - informent tout mon travail.

Le morceau d’ouverture s’intitule Rabbit et mentionne un personnage du nommé Alice. Est-ce une référence à ‘Alice au pays des merveilles’ ? On peut aussi entendre une jeune fille parler au milieu de la chanson. Qui est cette jeune fille et que dit-elle ? Trevor : Cela n’a jamais été fait pour être une référence à ‘Alice au pays des merveilles’ mais le fait que cela est arrivé par accident a été un signe divin. J’ai écrit le nom d’Alice parce que je trouve que c’est le plus beau prénom qui soit. Après avoir écrit les quelques premières lignes, je suis sorti me promener et j’ai vu un lapin blanc caché derrière un buisson. Il m’a regardé avec des yeux qui faisaient comme s’il comprenait quelque chose que je ne comprenais pas. Quand je suis revenu chez moi, le reste de la chanson s’est mis en place naturellement. J’ai eu cette idée d’un lapin guidant l’album, donc j’ai voulu mettre ce morceau en ouverture. Mon processus est très chaotique mais dans tout cela, je ressens une orientation surnaturelle et extérieure. Je n’ai même pas envie de trop disserter sur cela parce que je ne veux pas que cela puisse nuire à l’idée que j’en fais. Pour ce qui est de la jeune fille qui parle sur Rabbit, c’est ma nièce Freya qui a 5 ans. Elle a la voix la plus mignonne au monde. Un jour après être allé la chercher à l’école, elle m’a parlé d’une visite chez les docteur qu’elle avait faite et rien de ce qu’elle me racontait faisait sens. Donc bien sûr je l’ai enregistrée. C’est donc elle essayant de m’expliquer sa visite de routine avec Dr Frisbee. (Rires)

Il y a un morceau instrumental intitulé Lux Radio Theatre. On a fait nos recherches et c’est apparemment une anthologie radio d’émissions qui  faisaient des adaptations de spectacles à Broadway puis de films. Cela a été diffusé pendant plus de vingt ans et cela ensuite continué à la télévision pendant la plus grande partie des années 50. Peux-tu nous en dire plus à propos de cette chanson ? Trevor : J’aime le fait que vous ayez lu à propos de cela. Ma grand-mère avait l’habitude d’écouter Lux Radio Theatre et elle m’en a parlé. J’ai senti un peu de son esprit dans cette chanson donc je l’ai intitulée comme cela en son honneur. Quand j’ai apporté cette démo à Rodaidh McDonald et que l’on s’est mis au piano, tout a changé. Rod a aussi eu l’idée de faire passer toute la chanson dans une pédale de guitare. On a ensuite utilisé ce mix de pédale de guitare pour entrer et sortir de la chanson. Quelque part sur son ordinateur, il y a encore ce mix de pédale de guitare complet qui sonne de façon complètement fou !

Tu as sorti trois vidéos jusqu’à présent : Idaho Alien, Prizefighter et The Sling. Sont-elles connectées entre elles ? Trevor : Il y a effectivement un lien entre ces vidéos. Mon meilleur ami Tyler T. Williams les a toutes réalisées. On a passé le temps le plus drôle de notre vie à les faire. On avait avec nous une équipe complète d’amis et on avait réservé ce grand Airbnb qu’on a fini par mettre sens dessus dessous pour le transformer en plateau de tournage. Cela n’a assurément respecté aucune des règles Airbnb. (Rires) A un moment, on a même eu des lumières de plateau qui se sont tournées vers le quartier et l’allée du fond à 1h du matin mais par miracle personne n’a appelé la police. On a aussi beaucoup filmé dans le hall de la piscine locale et dans quelques-uns de nos endroits préférés dans la ville. Il y avait de la magie dans l’air toute cette semaine. On pouvait le voir sur le visage de tout le monde.

Crédits photo : Tyler T. Williams

Tu as l’air d’être un fan du réalisateur Gus Van Sant. La vidéo de Idaho Alien nous fait penser à son film ‘My Own Private Idaho’ (1991), avec le même État de l’Idaho et River Phoenix marchant sur une route vide comme tu le fais. La chanson Prizefighter a apparemment été écrite alors que tu regardais une VHS de son film ‘Drugstore Cowboy’ (1989) et tu as mentionné aimer son film ‘Gerry’ (2002) dans une interview en 2011 pour Pitchfork. Peux-tu nous en dire plus sur ta relation avec le travail de Gus Van Sant ? Trevor : Je suis un énorme fan de films en général. Je fais des recherches sur les films en permanence. Gus Van Sant, Andreï Tarkovski, Jim Jarmusch, Sofia Coppola, Spike Lee, Wim Wenders, Stanley Kubrick, Federico Fellini, etc. La liste des cinéastes qui m’obsèdent est beaucoup trop longue. La même chose pour les films animés. ‘Akira’ (Katsuhiro Ōtomo, 1988) et ‘Perfect Blue’ (Satoshi Kon, 1997) sont deux des meilleurs films de tous les temps. C’est beaucoup plus facile pour moi de trouver l’inspiration dans les films que dans la musique des autres.

Est-ce que tu pourrais nous recommander des artistes que tu écoutes en ce moment ? Trevor : Récemment j’ai beaucoup aimé Suicide, Sheila Chandra, crushed, Anadol, Crack Cloud, Popol Vuh, Clara Rockmore, Nala Sinephro, Ramsay Midwood, UMAN, Rezzett et Bruce Springsteen. Tu viens d’être annoncé au Pitchfork Festival Chicago en juillet. Est-ce que tu vas faire une tournée ? Joueras-tu avec d’autres personnes sur scène ? Trevor : Je vais assurément faire une tournée. Je prends un avion ce matin pour Austin au Texas pour commencer à construire le live. Je suis à la fois excité et horrifié de la meilleure des façons de voir comment cela va se combiner. Je ne serai pas seul sur scène, on sera trois. Cela devrait bien rendre quand on aura tout mis à plat.

Crédits photo de couverture : Tyler T. Williams Le nouvel album ‘Heaven Is a Junkyard’ de Youth Lagoon est prévu pour le 9 juin. Il est hautement recommandé ! L’artiste se produira le lundi 6 novembre à l’Eglise Saint-Eustache en ouverture du Pitchfork Music Festival Paris. Evénement : https://bit.ly/41xups5 Billetterie : https://bit.ly/4307vLt A&B

[jaewul]

Youth Lagoon - Savage hills ballroom (2015)

[souvlakispac3station]

I’ve been underneath the canopy, lost in a spell I shut up every time you look at me, but you can’t tell In skin, the psyche has a tendency to trust what’s untrue I’ve been underneath the canopy, wasting for you

[locke-writes]

A View of The Unknown

Or rather here is a movie recommendation list made up primarily of underrated, unknown (or oft forgotten), and cult classic films as of: July 28, 2019.

Tagging: @panro-musiclover

1890′s

Boxing Cats (1894)

Boxing Kangaroo (1895)

The Sprinkler Sprinkled (1895)

A Hallucinated Alchemist (1897)

1900 - 1939

Going to Bed Under Difficulties (1900)

Fire! (1901)

The Man With the Rubber Head (1901)

Rip Van Winkle (1903)

The Infernal Cauldron (1903)

Antony & Cleopatra (1908)

Dr Jekyll & Mr Hyde (1908)

The Cowboy Millionaire (1909)

Baseball & Bloomers (1911)

The Inferno (1911)

Robin Hood (1912)

At Midnight (1913)

Atlantis (1913)

The House of Darkness (1913)

The Wishing Rings (1914)

The Crazy Clock Maker (1915)

The Prisoner of Zenda (1915)

The Mystery of the Leaping Fish (1916)

The Outlaw and His Wife (1918)

The Ghost of Slumber Mountain (1918)

The Cinema Murder (1919)

Victory (1919)

Satan (1920)

Dracula's Death (1921)

The Fire Eater (1921)

The Four Horseman of the Apocalypse (1921)

A Debt of Honour (1922)

The Grass Orphan (1922)

Håxan (1922)

When Knighthood Was In Flower (1922)

Ashes of Vengeance (1923)

Raskolnikov (1923)

Ballet Mécanique (1924)

The Dark Angel (1925)

Smoldering Fires (1925)

Zander the Great (1925)

Kid Boots (1926)

The Triumph of the Rat (1926)

The Drop Kick (1927)

London After Midnight (1927)

Midnight Taxi (1928)

Sweeney Todd (1928)

The Terror (1928)

The Viking (1928)

A Knight in London (1929)

Bride of the Regiment (1930)

The Girl Said No (1930)

Manslaughter (1930)

The Temporary Widow (1930)

Bought! (1931)

Night Nurse (1931)

The Beast of the City (1932)

Devil and the Deep (1932)

Freaks (1932)

Blood Money (1933)

Design For Living (1933)

The Ghost Camera (1933)

The Vampire Bat (1933)

Viktor und Viktoria (1933)

You Made Me Love You (1933)

The Black Cat (1934)

Death Takes A Holiday (1934)

Little Man, What Now? (1934)

Black Fury (1935)

Crime and Punishment (1935)

Mad Love (1935)

Werewolves in London (1935)

Mr Deeds Goes To Town (1936)

Pennies From Heaven (1936)

The Awful Truth (1937)

La Grande Illusion (1937)

Madame X (1937)

Maid of Salem (1937)

The Prince and the Pauper (1937)

Young and Innocent (1937)

Woman Against Woman (1938)

Each Dawn I Die (1939)

Four Feathers (1939)

In Name Only (1939)

It's A Wonderful World (1939)

The Spy In Black (1939)

1940 - 1969

Arise My Love (1940)

Crimes At The Dark House (1940)

Dead Man's Shoes (1940)

My Favorite Wife (1940)

The Shop Around the Corner (1940)

Man-Made Monster (1941)

Meet John Doe (1941)

One Night in Transylvania (1941)

American Empire (1942)

The Black Sheep of Whitehall (1942)

There Was A Father (1942)

Angels of Sin (1943)

Cabin in the Sky (1943)

Calling Dr Death (1943)

Edge of Darkness (1943)

Heaven Can Wait (1943)

The Leopard Man (1943)

Yellow Canary (1943)

The Children Are Watching Us (1944)

Crime By Night (1944)

It Happened Tomorrow (1944)

Melody of Murder (1944)

The Body Snatcher (1945)

Detour (1945)

The Lost Letter (1945)

A Royal Scandal (1945)

The Beast With Five Fingers (1946)

The Big Sleep (1945)

The Postman Always Rings Twice (1946)

The Razor's Edge (1946)

Gentlemen's Agreement (1947)

Devil in the Flesh (1947)

Kiss of Death (1947)

The Secret Life of Walter Mitty (1947)

Bicycle Thieves (1948)

Monkey's Paw (1948)

Noose (1948)

The Red Shoes (1948)

Blue Swords (1949)

The Red Pony (1949)

The Secret Garden (1949)

The Black Rose (1950)

Death Is A Caress (1950)

Destination Moon (1950)

Edge of Doom (1950)

The Flame and the Arrow (1950)

Death of a Salesmen (1951)

The Idiot (1951)

The Thing From Another World (1951)

Your Day Will Come (1951)

The Quiet Man (1952)

The Beggar's Open (1953)

The Blue Gardenia (1953)

By The Light of the Silvery Moon (1953)

Escape By Night (1953)

From Here To Eternity (1953)

House of Wax (1953)

Man on a Tightrope (1953)

Shane (1953)

Tokyo Story (1953)

Robinson Crusoe (1954)

The Caine Mutiny (1954)

Sabrina (1954)

Seven Samurai (1954)

Battle Cry (1955)

Blackboard Jungle (1955)

East of Eden (1955)

Marty (1955)

Giant (1956)

Please Murder Me (1956)

Fear Strikes Out (1957)

Night of the Demon (1957)

The Quiet American (1958)

A Time to Love and a Time to Die (1958)

The Death Ship (1959)

House on Haunted Hill (1959)

Journey to the Centre of the Earth (1959)

The Broken Pots (1960)

Circus of Horrors (1960)

The Dark at the Top of the Stairs (1960)

Exodus (1960)

Eyes Without A Face (1960)

Girl of the Night (1960)

The Human Vapor (1960)

The Little Shop of Horrors (1960)

The Ninth Circle (1960)

Please Don't Eat the Daisies (1960)

Portrait in Black (1960)

Purple Noon (1960)

Testament of Orpheus (1960)

The Time Machine (1960)

The Village of the Damned (1960)

Antigone (1961)

A Bomb Was Stolen (1961)

The Children's Hour (1961)

Homicidal (1961)

The Human Condition (1961)

The Long and the Short and the Tall (1961)

Mothra (1961)

Mysterious Island (1961)

Pocketful of Miracles (1961)

Voyage to the Bottom of the Sea (1961)

The Young Savages (1961)

Advise & Consent (1962)

Big and Little Wong Tin Bar (1962)

The Brain That Wouldn't Die (1962)

Carnival of Souls (1962)

Experiment In Terror (1962)

The Exterminating Angel (1962)

Five Miles to Midnight (1962)

Knife in the Water (1962)

Long Days Journey Into Night (1962)

Manchurian Candidate (1962)

Moon Pilot (1962)

The Trial (1962)

A View From The Bridge (1962)

Charade (1963)

Diary of a Madman (1963)

Lilies of the Field (1963)

A Matter of Choice (1963)

Mother of the Bride (1963)

Passenger (1963)

The Raven (1963)

Sunday in New York (1963)

Take Her, She's Mine (1963)

Toys in the Attic (1963)

Walking the Streets of Moscow (1963)

First Men In the Moon (1964)

Of Human Bondage (1964)

The Umbrellas of Cherbourg (1964)

Chronicle of a Boy Alone (1965)

The Collector (1965)

Flight of the Phoenix (1965)

Lord Jim (1965)

Nightmare Castle (1965)

Tattooed Life (1965)

Alfie (1966)

Arabesque (1966)

Chimes at Midnight (1966)

Daisies (1966)

Come Spy With Me (1967)

Far From the Madding Crowd (1967)

The Fastest Guitar Alive (1967)

The Flim-Flam Man (1967)

Oedipus Rex (1967)

Paranoia (1967)

The Trip (1967)

Ulysses (1967)

The Boston Strangler (1968)

Destroy All Monsters (1968)

The Doll (1968)

The Girl on a Motorcycle (1968)

High School (1968)

The Sea Gull (1968)

The Secret Life of an American Wife (1968)

Signs of Life (1968)

What So Bad About Feeling Good? (1968)

The Assassination Bureau (1969)

The Color of Pomegranates (1969)

Don't Drink the Water (1969)

I'm An Elephant, Madame (1969)

If It's Tuesday, This Must Be Belgium (1969)

A Talent For Loving (1969)

What Ever Happened to Aunt Alice? (1969)

1970-1999

Alex In Wonderland (1970)

Catch-22 (1970)

Diary of a Mad Housewife (1970)

Dionysus in '69 (1970)

How Do I Love Thee? (1970)

I Never Sang For My Father (1970)

The Man Who Haunted Himself (1970)

Michael The Brave (1970)

Of Gods and the Undead (1970)

The Phantom Tollbooth (1970)

There's A Girl In My Soup (1970)

The Traveling Executioner (1970)

The Beguiled (1971)

Bless the Beasts and Children (1971)

The Blood on Satan's Claw (1971)

The Devil Has Seven Faces (1971)

Drive, He Said (1971)

Land of Silence and Darkness (1971)

The Panic In Needle Park (1971)

Straw Dogs (1971)

Villain (1971)

Willard (1971)

1776 (1972)

Aguirre, Wrath of God (1972)

The Assassination of Trotsky (1972)

Frogs (1972)

The Scientific Cardplayer (1972)

Solaris (1972)

The Tall Blond Man with One Black Shoe (1972)

They Only Kill Their Masters (1972)

Badlands (1973)

Blue Blood (1973)

Cops and Robbers (1973)

The Day of the Dolphin (1973)

The Long Goodbye (1973)

Love and Pain and the Whole Damn Thing (1973)

Soylent Green (1973)

Westworld (1973)

Alice Doesn't Live Here Anymore (1974)

At Home Among Strangers (1974)

The Clockmaker (1974)

Gone in 60 Seconds (1974)

Murder on the Orient Express (1974)

Rhinoceros (1974)

Phantom of the Paradise (1974)

Brother, Can You Spare A Dime (1975)

Chronicle of the Years of Fire (1975)

Cornbread, Earl and Me (1975)

Deep Red (1975)

Graveyard of Honor (1975)

The Land That Time Forgot (1975)

Picnic at Hanging Rock (1975)

Queen of the Stardust Ballroom (1975)

Tommy (1975)

The Bricklayers (1976)

The Devil's Playground (1976)

Jonah Who Will Be 25 in the Year 2000 (1976)

The Killer Inside Me (1976)

The Little Girl Who Lives Down the Lane (1976)

Logan's Run (1976)

Backroads (1977)

The Prince and the Pauper (1977)

Death of a President (1977)

The Disappearance (1977)

Eraserhead (1977)

New York, New York (1977)

The Other Side of Midnight (1977)

Pete's Dragon (1977)

The Serpent's Egg (1977)

Wizards (1977)

The Big Fix (1978)

Coming Home (1978)

Days of Heaven (1978)

Germany In Autumn (1978)

Midnight Express (1978)

Remember My Name (1978)

Bloodline (1979)

City on Fire (1979)

A Perfect Couple (1979)

Skatetown, USA (1979)

The Dogs of War (1980)

Heaven's Gate (1980)

Rude Boy (1980)

Stalker (1980)

An American Werewolf In London (1981)

Escape From New York (1981)

Fever (1981)

My Bloody Valentine (1981)

Time Bandits (1981)

Tuck Everlasting (1981)

Alone in the Dark (1982)

Android (1982)

Another Way (1982)

The Beastmaster (1982)

The Border (1982)

Butterfly (1982)

Cannery Row (1982)

Creepshow (1982)

Diner (1982)

Fanny and Alexander (1982)

The Flight of Dragons (1982)

Moonlighting (1982)

The Plague Doctors (1982)

The Pokrovsky Gate (1982)

Tex (1982)

The World According To Garp (1982)

Betrayal (1983)

The Big Chill (1983)

Brainstorm (1983)

Christine (1983)

Daniel (1983)

The Dead Zone (1983)

The Dresser (1983)

The Honorary Consul (1983)

The Illusionist (1983)

The King of Comedy (1983)

Rumble Fish (1983)

The Scarlet and the Pipe (1983)

The Survivors (1983)

Trading Places (1983)

The Ice Pirates (1984)

The Killing Fields (1984)

The Last Starfighter (1984)

Repo Man (1984)

Rhinestone (1984)

A Year of Quiet Sun (1984)

Better Off Dead (1985)

The Black Cauldron (1985)

Fletch (1985)

Fright Night (1985)

Mask (1985)

Re-Animator (1985)

A Room With A View (1985)

9 1/2 Weeks (1986)

The Adventures of Milo and Otis (1986)

An American Tale (1986)

Back to School (1986)

Bue Velvet (1986)

Peggy Sue Got Married (1986)

River's Edge (1986)

Seize the Day (1986)

Sid and Nancy (1986)

Terrorizers (1986)

Voyage to Nowhere (1986)

Youngblood (1986)

Batteries Not Included (1987)

Chronicle of a Death Foretold (1987)

Cross My Heart (1987)

Deadline (1987)

The Hidden (1987)

Ishtar (1987)

Less Than Zero (1987)

The Lonely Passion of Judith Hearne (1987)

The Lost Boys (1987)

Mannequin (1987)

Maurice (1987)

Number One With A Bullet (1987)

The Pick Up Artist (1987)

Roxanne (1987)

Wings of Desire (1987)

Withnail and I (1987)

The Year My Voice Broke (1987)

Biloxi Blues (1988)

Bright Lights, Big City (1988)

Dead Ringers (1988)

Earth Girls Are Easy (1988)

Johnny Be Good (1988)

The Music Teacher (1988)

Painted Faces (1988)

Permanent Record (1988)

The Prince of Pennsylvania (1988)

Stealing Heaven (1988)

The Unbearable Lightness of Being (1988)

We Think The World Of You (1988)

Working Girl (1988)

Wuthering Heights (1988)

Young Guns (1988)

Bill & Ted's Excellent Adventure (1989)

Chances Are (1989)

Dead Calm (1989)

Drugstore Cowboy (1989)

I Love, You Love (1989)

Loverboy (1989)

See No Evil, Hear No Evil (1989)

Signs of Life (1989)

UHF (1989)

Vampire's Kiss (1989)

Weekend At Bernies's (1989)

Darkman (1990)

Flatliners (1990)

The Freshman (1990)

Joe Versus The Volcano (1990)

Problem Child (1990)

Quigley Down Under (1990)

Rosencrantz & Guildenstern Are Dead (1990)

Vincent & Theo (1990)

King Ralph (1991)

My Own Private Idaho (1991)

Raise the Red Lantern (1991)

The Babe (1992)

The Crying Game (1992)

Death Becomes Her (1992)

Encino Man (1992)

Howard's End (1992)

Jámon Jámon (1992)

School Ties (1992)

Toys (1992)

Benny & Joon (1992)

Dave (1992)

Dazed and Confused (1992)

Heart and Souls (1993)

In the Name of the Father (1993)

Malice (1993)

Money For Nothing (1993)

The Night We Never Met (1993)

The Piano (1993)

The Remains of the Day (1993)

Searching For Bobby Fischer (1993)

So I Married An Axe Murderer (1993)

Swing Kids (1993)

The Three Musketeers (1993)

Tombstone (1993)

The Adventures of Priscilla Queen of the Desert (1994)

Airheads (1994)

Corrina, Corrina (1994)

Only You (1994)

The Pagemaster (1994)

Quiz Show (1994)

Stargate (1994)

When A Man Loves A Woman (1994)

The Arsonist (1995)

Babe (1995)

The Basketball Diaries (1995)

Before Sunrise (1995)

Demon Knight (1995)

Dolores Claiborne (1995)

Empire Records (1995)

Forgotten Silver (1995)

Four Rooms (1995)

Funny Bones (1995)

Hackers (1995)

Home For The Holidays (1995)

Kids (1995)

Mallrats (1995)

Powder (1995)

The Quick and the Dead (1995)

Sabrina (1995)

Crime that Changed Serbia (1995)

Tommy Boy (1995)

Before and After (1996)

The Birdcage (1996)

Bottle Rocket (1996)

The Crucible (1996)

The Fan (1996)

Fear (1996)

From Dusk till Dawn (1996)

Glory Daze (1996)

Marvin's Room (1996)

Michael (1996)

Mr Holland's Opus (1996)

Multiplicity (1996)

Primal Fear (1996)

Pusher (1996)

Shall We Dance (1996)

Sling Blade (1996)

Somersault in a Coffin (1996)

Swingers (1996)

That Thing You Do! (1996)

Trainspotting (1996)

Amistad (1997)

Anastasia (1997)

Boogie Nights (1997)

The Boxer (1997)

Chasing Amy (1997)

Dante's Peak (1997)

The Fifth Element (1997)

Fools Rush In (1997)

Funny Games (1997)

Gattaca (1997)

Lawn Dogs (1997)

Life is Beautiful (1997)

My Best Friends Wedding (1997)

The Postman (1997)

The Rainmaker (1997)

Romy and Michelle's High School Renion (1997)

Wag the Dog (1997)

American History X (1998)

Antz (1998)

Can't Hardly Wait (1998)

Godzilla (1998)

Great Expectations (1998)

Home Fries (1998)

The Interview (1998)

Meet Joe Black (1998)

Music From Another Room (1998)

A Night At the Roxbury (1998)

Of Freaks and Men (1998)

Overnight Delivery (1998)

Patch Adams (1998)

Phantoms (1998)

Pleasantville (1998)

Quest for Camelot (1998)

Return To Paradise (1998)

Rounders (1998)

Rushmore (1998)

Sliding Doors (1998)

Velvet Goldmine (1998)

What Dreams May Come (1998)

After Stonewall (1999)

All the Little Animals (1999)

The Astronauts Wife (1999)

Being John Malkovich (1999)

Big Daddy (1999)

The Bone Collector (1999)

But I'm A Cheerleader (1999)

The Cider House Rules (1999)

Dogma (1999)

EDtv (1999)

eXistenZ (1999)

Galaxy Quest (1999)

Girl, Interrupted (1999)

The Iron Giant (1999)

Monkeybone (1999)

Mystery, Alaska (1999)

Mystery Men (1999)

Never Been Kissed (1999)

Notting Hill (1999)

Office Space (1999)

Snow Falling On Cedars (1999)

Summer of Sam (1999)

2000-Now

28 Days (2000)

Almost Famous (2000)

Bedazzled (2000)

Best in Show (2000)

Billy Elliot (2000)

Dracula 2000 (2000)

Gone in 60 Seconds (2000)

High Fidelity (2000)

Keeping the Faith (2000)

Shadow of the Vampire (2000)

Spring Forward (2000)

Unbreakable (2000)

Bubble Boy (2001)

Disco Pigs (2001)

Donnie Darko (2001)

Ghost World (2001)

Josie and the Pussycats (2001)

Kate & Leopold (2001)

The Others (2001)

Rock Star (2001)

Saving Silverman (2001)

Swordfish (2001)

The Musketeer (2001)

City of God (2002)

Equilibrium (2002)

The Pianist (2002)

Possession (2002)

Punch-Drunk Love (2002)

The Quiet American (2002)

All the Real Girls (2003)

Danny Deckchair (2003)

Gothika (2003)

Green Butchers (2003)

A Guy Thing (2003)

The Room (2003)

School of Rock (2003)

Shattered Glass (2003)

The Station Agent (2003)

Timeline (2003)

Win A Date With Tad Hamilton (2004)

Hidalgo (2004)

Eternal Sunshine of the Spotless Mind (2004)

The Girl Next Door (2004)

13 Going on 30 (2004)

Garden State (2004)

The Village (2004)

Layer Cake (2004)

Raise Your Voice (2004)

Closer (2004)

The Wedding Date (2005)

The Island (2005)

Red Eye (2005)

Just Like Heaven (2005)

Shopgirl (2005)

Pride & Prejudice (2005)

Aeon Flux (2005)

Grandma's Boy (2006)

Aquamarine (2006)

Failure to Launch (2006)

She's the Man (2006)

Thank You For Smoking (2006)

V For Vendetta (2006)

Slither (2006)

Just My Luck (2006)

The Omen (2006)

Little Man (2006)

My Super Ex-Girlfriend (2006)

Little Miss Sunshine (2006)

The Illusionist (2006)

Employee of the Month (2006)

The Prestige (2006)

Let's Go To Prison (2006)

The Fall (2006)

Disturbia (2007)

Hannibal Rising (2007)

Waitress (2007)

Bug (2007)

Eagle vs Shark (2007)

No Reservations (2007)

The Brothers Solomon (2007)

Sydney White (2007)

Lars and the Real Girl (2007)

The Martian Child (2007)

Margot at the Wedding (2007)

August Rush (2007)

In Bruges (2008)

Definitely, Maybe (2008)

Be Kind Rewind (2008)

Charlie Bartlett (2008)

Paranoid Park (2008)

Funny Games (2008)

21 (2008)

My Blueberry Nights (2008)

The Foot Fist Way (2008)

The Midnight Meat Train (2008)

The Rocker (2008)

The House Bunny (2008)

Ghost Town (2008)

My Best Friend's Girl (2008)

RocknRolla (2008)

Repo! The Genetic Opera

Fanboys (2009)

Incendiary (2009)

Fired Up! (2009)

Ghost of Girlfriends Past (2009)

The Brothers Bloom (2009)

The Ugly Truth (2009)

Adam (2009)

Big Fan (2009)

Gamer (2009)

Splice (2009)

Bronson (2009)

Law Abiding Citizen (2009)

The Road (2009)

A Single Man (2009)

The Collector (2009)

Fish Tank (2009)

Legion (2010)

Repo Men (2010)

The Losers (2010)

The Trotsky (2010)

Cyrus (2010)

The Kids Are All Right (2010)

Salt (2010)

Never Let Me Go (2010)

Easy A (2010)

I Love You Philip Morris (2010)

Blue Valentine (2010)

Take Shelter (2011)

Sanctum (2011)

Paul (2011)

Limitless (2011)

Jane Eyre (2011)

Source Code (2011)

Dylan Dog: Dead of Night (2011)

Hanna (2011)

We Need to Talk About Kevin (2011)

Priest (2011)

Super 8 (2011)

Fright Night (2011)

The Ides of March (2011)

Anonymous (2011)

Warrior (2011)

Dream House (2011)

In Time (2011)

Young Adult (2011)

Premium Rush (2012)

Would You Rather (2012)

Chronicle (2012)

This Means War (2012)

Wanderlust (2012)

A Royal Affair (2012)

The Five-Year Engagement (2012)

Moonrise Kingdom (2012)

Abraham Lincoln: Vampire Hunter (2012)

Lawless (2012)

For A Good Time, Call (2012)

The Words (2012)

Looper (2012)

Seven Psychopaths (2012)

Side Effects (2013)

Jack the Giant Slayer (2013)

Stoker (2013)

Mud (2013)

Byzantium (2013)

The Kings of Summer (2013)

Bad Words (2013)

The Way, Way Back (2013)

Prisoners (2013)

Frank (2014)

Chef (2014)

Rosewater (2014)

The Equalizer (2014)

The Drop (2014)

This Is Where I Leave You (2014)

A Walk Among the Tombstones (2014)

Dracula Untold (2014)

Me and Earl And the Dying Girl (2015)

Chappie (2015)

Hello, My Name Is Doris (2015)

The Gift (2015)

The End of the Tour (2015)

Burnt (2015)

Mr Right (2016)

Jane Got A Gun (2016)

Midnight Special (2016)

Everybody Want Some! (2016)

Green Room (2016)

Money Monster (2016)

The Fundamentals of Caring (2016)

Anthropoid (2016)

Loving (2016)

Frank & Lola (2016)

Paterson (2016)

Sleight (2017)

Table 19 (2017)

Dean (2017)

Brigsby Bear (2017)

You Were Never Really Here (2018)

First Reformed (2018)

Don't Worry, He Won't Get Far On Foot (2018)

Blindspotting (2018)

Juliet, Naked (2018)

Hunter Killer (2018)

[theend0]

Remember when no one danced the same We all had a voice, we had a name We’re gold that’s as bright as hell’s own flame Forgive me, for I have lost my way

[silverandsound]

Artist: Youth LagoonTrack: Highway Patrol Stun Gun Album: Savage Hills Ballroom

[workjuice]

Some of your Thrilling Adventure Hour pals will be at San Diego Comic-Con this week! Schedule below.

Please stop by the Boom booth (ideally, Thursday between 2-3pm) and pick up both TAH: A Spirited Romance, collecting for the first time the previously published Image Comics “Beyond Belief” series and origin issue #0 by Acker & Blacker and Phil Hester, and TAH #1, featuring an all new “Beyond Belief” series illustrated by MJ Erickson. Above is the SDCC exclusive variant cover for TAH #1 featuring the cross-over you thought you’d never see! (Crossover does not appear in the story).

Both of these books are available in comic shops this Wednesday.

In October, TAH: A Spirited Romance will be published in a fancy collector’s edition with extras, including an annotated script of issue #0.

THURSDAY:

2-3pm: Signing at Boom Studios booth #2229 with Ben Acker, Ben Blacker, and Hal Lublin.

4:45-5:45pm, Ballroom 20: “The Great Debates” with Janet Varney, Aisha Tyler, Felicia Day (Mystery Science Theater 3000), Joe Manganiello (Rampage), Adam Savage (MythBusters), Orlando Jones (American Gods), and John Barrowman (Torchwood).

FRIDAY:

5-6pm, Room 23ABC: “Pop Culture Witches” panel. Ben Blacker discusses his new Vertigo Comics series, HEX WIVES (out 10/31) with Nell Scovell, creator of the Sabrina the Teenage Witch TV show from the 90s; Jessica O'Toole & Amy Rardin, the creators and showrunners of the CW’s Charmed reboot; Ruth Connell who has played the witch “Rowena” on many episodes of Supernatural; Tomi Adeyemi, author of Children of Blood and Bone; and Juliana Crouch, who is an actual practicing witch.

6-7pm, Room 23ABC: DC/Vertigo panel with Hex Wives creator Ben Blacker and artist Mirka Andolfo; video game developer and programmer Zoe Quinn (Goddess Mode); Nine Inch Nails art director Rob Sheridan (High Level); writers Bryan Hill (American Carnage) and Eric Esquivel (Border Town); and more!

7:30pm, Observatory North Park: Adventure Zone Q&A and reading with Hal Lublin, Travis McElroy, and more. Ticketed event (sold out)

SATURDAY

1-2pm, Room 7AB: Stan Against Evil season 3 panel with Janet Varney, Dana Gould, John C. McGinley, Deborah Baker, Jr., and Nate Mooney.

5-6pm, Grand 1&2, Marriott Marquis: Don't Go Broke Collecting panel with Hal Lublin, Joseph Gordon (Into the Wormhole: A Star Trek Podcast), Vince Moore (Total Recall: Life on Mars; former comics retailer), and more.

SUNDAY:

10-11am, Grand 1&2 Marriott Marquis: Nerd for a Living panel with Travis McElroy (The Adventure Zone; My Brother, My Brother and Me), Susan Eisenberg (voice of Wonder Woman in Justice League and Justice League: Unlimited), Tomi Adeyemi (author of Children of Blood and Bone), and more! We’ll talk about how to turn your passion into $$$.

[fromthegallows]

i’m selling some of my records!

as u all know i hoard and collect records and it’s that time of the year where i clear out ones i don’t listen to anymore <3 each record has 5$ shipping (except for heavier ones). i only ship inside the us. i wanna sell all of these so i can make room for some more and have money for things! all of the records have normal wear and tear on the sleeves and i can send pics if you’re interested in what they look like! i also have these listed on my depop: amrkncandy. almost all of them were barely spun, some of them only ever being out of the sleeve to look at.

sleeping with sirens - feel - limited edition gold - includes cd - 45$ + 5$ shipping (price is negotiable)

sleeping with sirens - let’s cheers to this - brown marble - limited to 1000 - has a typo on the track listing - 30$ + 5$ shipping

bayside - shudder - transparent gold - 15$ + 5$ shipping

sleeping with sirens - with ears to see and eyes to hear - white - 30$ + 5$ shipping

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[boneandfur]

Closure [6&7]

Chapter Six [The Princess]

Notes: This is two chapters in one, featuring the POV of both Sophy & Maxwell.

Words: 2164

Tag list: @drakewalkerwhipped  @hhiggs  @youwontlikewherewewillgo @nicestrokepam @theroyalweisme @hopefulmoonobject @laniquelove @penguininapinktuxedo @pbchoicesobsessed @dangerous-capri15 @alicars @mfackenthal @ninamckenzie22 @topsyturvy-dream @viktoriapetit ~ sorry if I missed anyone!

Song: Let Her Go, Passenger

Sophy hates this party. The sugar mice have already been eaten, and her mummy is dancing, dancing, dancing with the king, which has made Papa sad. It's made her Uncle Bertrand happy though -- he's been smiling like his face will fall off since they arrived at the palace, as if he wasn't talking to Mummy in that grumpy voice before they left. 

Don't you remember? We've been practicing for months. You must remember, Lilly. Sophy, you are dismissed. Go play with your dolls. Of course, he was not so grumpy with Sophy, but she saw the way he looked at Mummy, and fiercely wanted her Papa to come home.

I'll be home soon, my sweet little squirrel. Look after your mama and your little sisters. Papa had kissed her on the forehead, and she had wondered, in the morning, why Uncle Bertrand was so grumpy. 

She hadn't had to wonder for long.

She, Gemma and Talia had been playing with their dolls under the long table in the breakfast room (Kenna had defeated the evil Azura, she was marrying Diavolos and Valentina, and her best friend was a dragon). They all tensed when the shouting match began. Talia screwed up her face, like she was about to start bawling, but Gemma grabbed her hand and pointed down the tunnel of chairs that led to the door. After Talia started crawling, clutching her blue dragon plushie, Gemma had looked at Sophy, her brown eyes filled with tears. 

Come on, Gemma mouthed. In Sophy's ear, she whispered, Let's go see the babies and Miss Jess. 

Miss Jess was a lady that Uncle Bertrand had hired as a nursemaid to watch the babies for the social season. She knew the King's big brother, which confused Sophy (shouldn't a big brother be King?), but she was more fun than Mummy, which made Sophy feel bad, so unlike her sisters, she could not warm up to Miss Jess. If she thought she might love Miss Jess more than Mummy, Mummy would feel bad and send her away -- just like her Aunty Vannah had gone away, Mummy screaming bad words and throwing things. Whenever she begged for Percy to come home, Papa tried to pretend he was not about to cry. 

You go. I want to see Papa, Sophy whispered. Tell Miss Jess I'm in the greenhouse.

The lie felt funny in her stomach, like the time she took a bite of Papa's birthday cake that before it was served. Gemma hugged her, hard. Then she followed Talia down the tunnel of chairs, not once looking behind her. The shouting got louder. Sophy saw Uncle Bertrand's feet, pacing up and down. His voice was the loudest. 

Peacocks would be welcome! The Cote d' Or... Bleeding us dry! I've had to borrow money to fund our return to court, quite a bit of it. How could you leave like that... I'm sick to death of it, do you hear me, brother? 

Bertrand, it's not like that, I was winning, if I could have a little money, I can win it all back for us, please... I only need ten thousand euro...

A little money, Max, that is not a little! Some commoners make only twice that in a year. Our pockets are not deep like your Saudi friends, they are full of holes. ...Yes, I borrowed money. Quite a bit. So stay away from the casinos until after I have paid at least half of it back, or god help me, we will be in it up to our necks. 

Papa! Sophy burst out from under the table, throwing herself in his arms. Uncle Bertrand turned his face away. The ugly scowl on his face scared Sophy, and she buried her face in her Papa's chest. 

That child... You are truly your father's daughter. Uncle Bertrand patted her on the head with affection. Max, we'll continue this later. 

But if they had, Sophy had not heard a word of it. Instead, Mummy had told her she was to accompany them to court, because the king was throwing a party for her, for Sophy, because she was such a big girl now, and he had heard that she was the very best of all House Beaumont's daughters.  

"This is boring." Sophy looks at Jack. He is a funny boy, with messy dark hair, green eyes, and freckles. "Aren't there any other kids for us to play with?" 

"No." He sticks out his tongue at Sophy. "Look!" Jack points out the corral. Something is glinting outside in the grass, a piece of gold foil. "That looks like a chocolate crown! Those are my favorites!" 

Jack wriggles our first, and Sophy follows him, game for anything. The  edge of her dress rips, and she knows Mummy will be mad, but she doesn't care. Once they get outside, the candy lies on the ground between them. It's a piece of chocolate, wrapped in gold foil and stamped with a crown. They both fall in it, squabbling. Chocolate with a Cordonian Ruby nougat center is Sophy's favorite. 

"Look!" Jack points. "There's another one!" 

It's like a game. They fill their pockets with the little candies, grinning at each other, each trying to get more than the other. The candies lead to a dark path, down a twisting maze of tall hedges. Sophy pauses at the edge, unsure, but Jack breezes past her, shouting:

"Look, Sophy! A lollipop!" He holds it up in his hands triumphantly, it's a rainbow swirl bigger than his head. "And there's a unicorn horn for you!" 

Pushing back her trepidation, Sophy follows him. It is very dark here, beyond the lights, and the blackness seems alive. "Jack..."

"Well, well, well. Who have we here? Well met, Master Jackson Nevrakis." 

Sophy cannot breathe. Jack turns around in confusion. He has a smear of chocolate around his mouth. He doesn't look scared, so why does Sophy feel so funny? She turns, too. There is a whiff of something sickly and sweet. 

A beautiful lady stands before them in a golden gown, pale hair glittering with diamond combs. "You must be Sophy Beaumont," she says with a soft chuckle that makes all the hairs on Sophy's arms rise on edge. 

Run, Jack! But she never gets the words out. Something sweet smelling is pressed on her nose and mouth, and beside her she hears Jack's body hit the grass with a soft whumpf.

Chapter 7  [The Husband]

"Maxwell!" Olivia snaps her fingers in front of his face. "Are you listening?" Her gaze follows his. The king and Lilly have waltzed out of the ballroom and the open doors to the balcony. Olivia's lips twist into a grimace. "We may as well wait. He likes to take his time, he's quite the generous lover." 

Maxwell feels like he's been stabbed all over, like he is bleeding out. His vision flickers, everything going dark except Olivia's face. He feels for a chair, collapsing into it. 

My Little Bird with throat so red, sings sorrow, sorrow, sorrow. He's singing for his love who's dead, sing sorrow, sorrow, sorrow. (1)

Maxwell jumped when he heard the lullaby. Lilly stood near the cradle, rocking baby Sophy in her arms. He was overcome with emotion, and he pressed his fist in his mouth, not daring to interrupt the moment. For before this, Lilly's interest in the baby had been nil, and Maxwell was the one who rocked Sophy to sleep every night, her sweet, milk-drunk face making him fall more and more in love with her. She had a nursemaid, of course, a sweet girl from the village, but to see Lilly with their daughter in his arms broke his heart. 

The doctor had told him Lilly would come around, that it was a thing called postpartum depression, and soon she would love Sophy just as much as he. Plenty of rest, the doctor ordered. And perhaps, her own mother...? 

But who is Lilly's mother? She would never speak of her life before Cordonia. All she would say, when pressed, was that That was a long time ago. I don't want to talk about it. 

He pressed his forehead against the doorframe and listened, for now she had begun to speak in a soothing voice. It is like the fairytales his own mother would tell him as a child, about brave Kenna, fighting for her kingdom against the evil Luther, and Valentina, the fierce and lovely female mercenary who fought by her side. As Maxwell listened, a chill crept into his veins. Though Sophy was not yet at the age of understanding, he still did not want her to hear this. 

Once upon a time, there was a little girl with hair like crow's feathers and golden eyes like the moon. The old king died when she was still in her cradle, and her mother stole her from the palace in the dark of night, the blood of the regent on her hands. They wandered for many moons, over hill and dale, until they heard a little bird singing in a lonely cove. There, they found a little cottage in the mangroves. And there they stayed, and they were happy. But when the little girl turned fourteen, the queen ate poison and died...

Lilly. He'd opened the door, and stood there. She'd turned to him, a sudden darkness in her eyes. Her arms tightened around Sophy, who let out a shriek of pain. Maxwell grabbed Sophy from her arms, cuddling her to his chest until she quieted. Lilly's eyes in the low light were unfathomable. 

That night, she had wanted him to hurt her in bed. Hold me down, she said savagely. Fuck me like your whore. Don't think I haven't noticed the way she looks at you. Well, she can't have you. Fuck me hard, Max, or I'll go find Bertrand. I've seen the way he looks at me when he drinks. 

To his shame, he hadn't been able to perform. I can't hurt you, Lilly! he'd protested, and she'd thrown her drink at him, screaming that she wanted a real man, someone who would fuck her like she deserved, someone who knew how to make her come. After that, she was gone for three weeks, and when she returned she was satiated and satisfied with herself, like a cat in heat that has been let out to roam. Faded yellow and green love bites had peppered her neck and breasts, and her look had dared him to do violence, to make her his in a sick way, but he was never that sort of man, the kind she needed, the one she wanted. 

Someone shoves a glass into his hand, and he drinks, not caring what it is, until the room swims back into focus. "Lilly..." 

"That's right. Your precious Lilly." Olivia's voice is fierce, yet she is trembling, and there is such a vulnerability in her eyes that Maxwell cannot look at her, it mirrors his own pain too deeply. "Spreading her thighs for the king, taking my place. You know I loved him once," she continues, staring off into the distance. "But I loved Drake more. Everything was taken from me, Maxwell. Love... dignity... But for Jack, I would quit this accursed island." Bitterly, she sets her glass down. Tears run freely from her eyes. "Why didn't you send her away, once you knew what she was?"

But Maxwell is striding away, oblivious to Bertrand's hiss of disapproval, and when he exits the ballroom into the gardens he breaks into a run, his feet taking him down the paths he remembers running through as a child, before Lilly, before Liam was king, tears blinding his eyes. "Lilly!" Maxwell howls. "Lilly, Lilly!" 

The King passes him in the moonlight and sees his tears, but says nothing. Liam is like a man possessed, on his face is every betrayal scarred across Maxwell's heart for all eternity. Something familiar is in his face, so familiar, so dear, that Maxwell has looked at every day for the past seven years and denied -- not wanting to recognize the truth. The pain doubles him over. 

Past him rushes Lilly, calling for the king. She has greenery in her hair, her skirts are rumpled. She does not know Maxwell, she does not care. The darkness opens up and Maxwell grabs her by the waist, throwing her down in the soft grass. Lilly stares up at him in surprise, and then fear. He doesn't know what he wants to do, only that he wants her to know that she is his wife, his Lilly, his and only his, the desire to hurt her like a black serpent twisting under his skin, where it has lain for seven years in bitter solitude. 

That is when he hears it, the panicked shouts that makes his blood run cold, and the fear crystallize in his veins. 

"Sophy! Sophy, where are you?!"

this rhyme is from the fairy tale, Jorinda and Joringel

[newsfact]

Erika Jayne is reportedly dating again

Erika Jayne is back in the saddle. 

The “Real Housewives of Beverly Hills” star, 50, is reportedly dating again amid her divorce from Tom Girardi. 

Jayne re-entered the dating pool a month ago and has “already been on a handful of dates with different men,” TMZ reported Monday. 

Erika Jayne attends Rihanna’s Savage X Fenty Show Vol. 2 presented by Amazon Prime Video at the Los Angeles Convention Center and broadcast in October 2020.  (Jerritt Clark/Getty Images for Savage X Fenty Show Vol. 2 Presented by Amazon Prime Video)

ANDY COHEN NEARLY PUNCHED BY A ‘REAL HOUSEWIVES’ HUBBY: ‘HE HAD A GUN’ 

The Bravolebrity is said to have gone out with a mix of guys, with sources revealing she’s spent time with suitors who work in Hollywood as well as those outside the entertainment industry. 

Jayne has seemingly opted out of using dating apps to find love. She is instead turning to friends to set her up and only dating local men, according to the report. 

Jayne filed for divorce from Girardi, 82, in November 2020 after 21 years of marriage. 

The reality TV star recently claimed that the disgraced attorney had controlled her finances throughout their union. 

“I gave every paycheck to my husband,” she told Andy Cohen during part two of the “Real Housewives of Beverly Hills” Season 11 reunion last week, adding, “I’ve handed every paycheck I’ve ever made over.” 

Erika Jayne attends opening night of the 2019 BravoCon at Hammerstein Ballroom in November 2019 in New York City. The star is reportedly dating again. (Arturo Holmes/WireImage)

Jayne makes close to $600,000 a season, according to the New York Times. 

She is currently being sued for $25 million by the trustee handling the bankruptcy case for Girardi’s former law firm, Girardi Keese. 

In late 2020, the estranged couple were accused of embezzling funds meant for trauma victims represented by the firm, including the families of those killed in 2018’s Lion Air Flight 610 crash. 

 Reality TV personality Erika Jayne visits Hallmark Channel’s “Home & Family” at Universal Studios Hollywood in November 2019 in Universal City, California.  (Paul Archuleta/Getty Images)

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Jayne has repeatedly denied any wrongdoing. Girardi, for his part, is currently living in a senior home while battling Alzheimer’s disease and dementia. 

Jayne’s rep did not immediately respond to our request for comment. 

This article first appeared in the New York Post 

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[theeverlastingshade]

Last week Trevor Powers released Mulberry Violence, the first LP under his actual name after having shed his Youth Lagoon moniker in 2016, and it’s an immensely colorful record that shows that he hasn’t lost an ounce of his imagination in the years following Savage Hills Ballroom. With each subsequent Youth Lagoon record Powers has come off increasingly extroverted, with bolder, more bombastic music supporting the increasing emphasis on his vocals. On Mulberry Violence standout, “Clad In Skin”, there are few obvious traces of the wide-eyed bedroom artist that recorded 2011’s brilliant The Year of Hibernation, save for the distinctly shrill timbre of his voice. Saxophone shrieks and clanging string plucks immediately set the stage on “Clad In Skin”, before glitchy percussion and Power’s delicate croon swiftly make their way into the fold.

While the intensity of Powers' delivery hasn’t necessarily increased since his days recording as Youth Lagoon, his vocals are front and center commanding the arrangements instead of slyly maneuvering around them, occasionally peeking out from beneath his dense soundscapes. The music sounds bigger than it ever has, and as easy as it is to chalk it up to embracing populist sensibilities, he’s simply leaning into those impulses that have always been woven into his music with newfound clarity and confidence. Mulberry Violence is by no means any kind of drastic leap for Powers; he’s just found more concise ways to articulate his kaleidoscopic vision.

[yoouubetchaa]

forgive me, for i have lost my way