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The blog of author Dennis Cooper

Gig #121: Of late 30: Oren Ambarchi, The Body & Full of Hell, Buy Muy Drugs, Call Super, Errorsmith, Charles Hayward & Thurston Moore, Slender, In The Nursery, oxhy, Rainforest Spiritual Enslavement, Impossible Nothing, UUUU, Baths

 

Oren Ambarchi
The Body & Full of Hell
Buy Muy Drugs
Call Super
Errorsmith
Charles Hayward & Thurston Moore
Slender
In The Nursery
oxhy
Rainforest Spiritual Enslavement
Impossible Nothing
UUUU
Baths

 

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Oren Ambarchi Bamasa
‘What happens when revered experimental multi-instrumentalist Oren Ambarchi is backed up by the world’s greatest monster riff legends from his beloved homeland? Find out in the 2nd volume of this infamous series where endless riffing and ecstatic shredding is the order of the day.’ — boomkat

 

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The Body & Full of Hell Farewell, Man
‘The majority of Ascending a Mountain of Heavy Light gives off an atmosphere of disturbing bliss. The music produces feelings of despair and grime that beat, blast, and tear away with otherworldly instrumentation and structure. Some of the music is even fairly catchy, using the electronic elements to give off a hip semi-danceable tone (such as in “Didn’t the Night End”). Once again, The Body and Full of Hell prove that when they come together to create music, they are able to create truly sinister work. Both groups demonstrate their abilities in producing chilling auras through unique instrumentation, balancing the lines of entertaining and atmospheric. Ascending a Mountain of Heavy Light is an odd album for sure, but is also a fun collection of bizarre treats.’ — Metal Injection

 

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Buy Muy Drugs MFKZT
‘The collaborative concept album from rapper Denmark Vessey and producer Azarias mixes Afro-Brazilian rhythms, grime, and bass to imagine a dystopian world in which desperation is the new normal. Sonically, Buy Muy Drugs is noisy and tough to endure, far different from the more traditional rap aesthetic of Cult Classic and 2015’s Martin Lucid Dream (which Earl Sweatshirt liked a lot ). Drugs takes cues from contemporaries like Saul Williams and Busdriver, as something rooted in alternative rap but also influenced by acid-rock and punk. The music is grim, trippy, and dissonant, mixing Afro-Brazilian rhythms, grime, and bass, which adds urgency to Vessey’s unorthodox flow.’ — Marcus J. Moore

 

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Call Super Arpo Low
‘Joe Seaton is at the vanguard of today’s experimental electronic music scene. As Call Super, the Berlin-based creator concocts highly original pieces that intriguingly draw together influences from his background, arranging them in striking ways. 
From a family of visual artists with a keen interest in leftist politics, his father was also a jazz musician. Just as Seaton’s father and grandfather painted abstract canvases, he too likes to daub vivid colors and shapes, transforming them into engaging works.’ — XLR8R

 

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Errorsmith Centroid
‘”With additive synthesis, I can determine the spectrum in an exact, mathematic way by adding up sine waves with a certain frequency and amplitude.” This is how Erik Wiegand, the German artist better known as Errorsmith, explained “additive synthesis,” the production method made possible by Razor, a digital synth he developed for Native Instruments, and which shapes his own music. “I know every atom of this track,” he said of “Retired Low-Level Internal Server,” a cut from his new album. “For me, it’s very satisfying.” Even if that description goes over your head (as it did mine), it will still ring true when you hear Superlative Fatigue, Wiegand’s first LP in 13 years, which came out this month on PAN. The production quality is immaculate and ultra-crisp, full of sounds and textures as tactile as they are abstract, making for an album that’s aurally dazzling all the way through. But perhaps even better than its sound is its style. The rhythms are elastic, blending elements of techno and dancehall, skidding and sputtering to a logic that is entirely Wiegand’s own.’ — Resident Advisor

 

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Charles Hayward & Thurston Moore Improvisations
‘Community sound house shortly, ‘Improvisations’ finds past masters Thurston Moore and Charles Hayward collaborating together. Moore, most famous for heading up the colossus that was Sonic Youth, has in recent years strayed ever deeper into the terrains of noise, drone, minimalism and weird ear, an obsessive fan both as a collector and champion of the out there, left field and often left behind. Hayward, a career stretching back into the early 70’s, is blessed with a formidably envious CV, among those he has belonged – gong, blurt, Camberwell now, massacre and this heat.’ — the sunday experience

 

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Slender Magic
‘Slender’s debut record Walled Garden takes the persuasive capacity of economical recording to an extreme. Through the subtle, static manipulation — and seemingly careless application — of reverb, compression, distortion, feedback, room noise, and instrumental noise, a listener’s attention is drawn to the recording’s surface, uninterrupted by the music’s steady, reliable exchange. An ordinary producer must mix tediously to convince a listener of a single originating event in the studio and its immediate, accurate capture. Walled Garden provokes a much subtler, more convincing document of a non-event in a non-space. Within these few simple songs, a number of unobtrusive, disembodied sounds bubble and rise to the top. Artifacts can’t be placed but created an ambiance that is all too familiar. By leaning toward the mundane, a minor yet affecting transformation takes place. As the best recordings do, Walled Garden goes beyond music. Consider a cloud obstructing the sun from a well-lit loft on a quiet afternoon; it is simply one moment.’ — Tiny Mix Tapes

 

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In The Nursery Solaris
‘For over three decades, the duo of Klive and Nigel Humberstone have not merely doggedly pursued their artistic trade as In The Nursery, but approached a sui generis state – there really isn’t any other act quite like them. Inspired by punk’s aftermath, originally tagged goth or industrial or post-punk or more during their initial run of releases in the 1980s, they never entirely stopped in one place, with lush string-driven explorations of identity, language and the self, commissioned soundtracks to classic silent films, or a fascinating reincorporation of rougher rock textures as well as contributing their own vocals without ever simply going back into their past. That said their newest, 1961, is indeed about going back, but in a conscious and clever sense – 1961 is the year of their birth, and in exploring a variety of historical and cultural touchstones from the time via their own lens, this is the next in their series of careful, thoughtful concept albums that have also been a touchstone of their work.’ — Ned Raggett

 

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oxhy sinew
‘破壊的なノイズパターンがもたらす夜更けの陰鬱な昂揚。この轟音の中にある静けさが気持ちよい。先日〈Quantum Natives〉よりリリースされた、oxhy「respite unoffered」。oxhyはxquisite nihilの一員で、今話題のYyves Tumorともコラボレーションしているよう。ブレアウィッチみたいなビデオも味わい深いです。’ — MASSAGE

 

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Rainforest Spiritual Enslavement Beyond the Yellow-Spotted Bamboo
‘Rainforest Spiritual Enslavement, the tropical-flavored dark ambient project of Prurient and Vatican Shadow mastermind Dominick Fernow, has announced the new album Ambient Black Magic. Out this week on Fernow’s Hospital Productions, the 80-minute record is described by the label as “Fear Dub” and features “sound on sound processing” from Silent Servant on two tracks, which taken together amount to over 50 minutes.’ — Fact Magazine

 

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Impossible Nothing Q
‘Impossible Nothing investigates the intersection of digital technology and modern pop culture. The music is a mix of Hip Hop and Phil Spector’s “wall of sound” and is inspired by anything from songstress folk and Mingus’ inspired jazz to 70’s funk and everything in between. The creation of this new sound blends the thump of the drum and the constant hum of melody to cure what ails you. Plunderphonic and experimental, Impossible Nothing’s sound is as groundbreaking and new as Polyfolk and Emotronic, while being as roots oriented as soul from the lips of Justine “Baby” Washington. Impossible Nothing is the brainchild and creation of musician Darwin Frost. Darwin is a multi-style electronic composer, working in performance art, dance and film as a score writer. In 2008 and 2009 he enjoyed success scoring two of Canada’s biggest short films with Nikamowin (directed by Kevin Burton) and E?Anx (directed by Helen Haig-Brown). In his own words, “2010 will mark the year where I introduce my music into the public forum, and hopefully the splash I make will put some smiles on some faces.”‘ — Calvin Schooledge

 

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UUUU Verlagerung, Verlagerung, Verlagerung
‘It’s the old guard to the rescue on UUUU, the self-titled debut album by a project that one hopes is not a one-off. Before a note crawls out of the speakers, it’s a mouth-watering prospect, a lineup that will have many fans of underground just-about-rock wondering why this combo hadn’t been thought of before. It’s actually rather ridiculous: two members of legendary post-punk giants Wire – founder and bassist Edvard Graham Lewis and ‘new’ guitarist Matt Simms – are joined by none other than former Coil and Spiritualized acolyte turned solo mystic music artist Thighpaulsandra and Italian drummer Valentina Magaletti from London art pop outfit Vanishing Twin. With such disparate backgrounds, the quartet could have produced a record that couldn’t tell its arse from its elbow. Instead, UUUU is a reminder of all of ‘rock’ music’s massive potential.’ — Joseph Burnett

 

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Baths Out
‘It’s poptimism for intelligent dance cynics. After the moribund dejection of 2013’s Obsidian, Baths’s Will Wiesenfeld turns a new leaf in the form of fidgeting virility here on Romaplasm. A record wherein the glitching dynamo transmutes his disillusionment following a ruinous bout with E. coli into eccentric exultations and plaints, Romaplasm sees Wiesenfeld embracing computer-generated ebullience while maintaining an understandably hesitant air about him.’ — Sean Hannah

 

 

*

p.s. Hey. ** David Ehrenstein, Hi. All normal French television was suspended last night and supplanted with Johnny tribute programs. Unprecedented here, I believe. ** Steve Erickson, Hi. As I’ve said, I was raised with no religion, and art based in Biblical references goes right over my head. No, I wasn’t getting at that. I was just interested in creating itchy associations. I did see that Facebook post. Well, it’s a fun idea, obviously. It’s hard to depict the acid experience on film. Most of the time, almost always in fact, the effect is kind of ridiculously exaggerated to make an essentially internal, very complex experience theatrically observable. I’d be interested to see how you enact the big challenge of depicting LSD’s effect. I’ll do that google search and look at that Vimeo film. ** Bill, Hi. The decisions were initially by chance and then juggled a little in a few cases via intuition. Yeah, it’s funny. I’ve just discovered and gotten into Clipson’s work recently, and when I mentioned his work to Zac, he reminded me that when we were in SF for the ‘LCTG’ screening we were given a backstage, behind the scenes tour of SFMoma by a very cool guy who worked there, and that guy was Paul Clipson. ** Dóra Grőber, Hi! Yes *bell rings* that is an Ashbery quote. Good eye. The film script meeting went really well. Zac is very enthusiastic about what I wrote, and had very good alterations and revisions and great ideas of how to move the narrative towards a possible end, which had been flummoxing me, so, yes, it was really great, and now I’m ready and fiery to work further on the script and extend it, and I’m going to start on that today and do what I can in the very narrow window we have before the assignment work starts. Yesterday was mostly occupied by that and looking at some art. Yes, heat inside is good. I love the cold, but not when it sneaks in where it doesn’t belong, ha ha. I’m good. Tonight is the Paris premiere of the new Gisele (and my) piece ‘Crowd’, so I’ll be heading off to the theater to get ready for that soonish. Fantastic that you managed to work on SCAB! I’m very excited for the new issue! Did today allow you more SCAB time, or … what happened? ** _Black_Acrylic, Last day! Wowzer! Are you or your fellow employees marking the occasion in any kind of formal and/or festive way? Awesome and best of luck on Friday’s meeting. Go big! The Deller mug is nice. He has a cool, always cleverly laid out intelligence. ** Chaim Hender, Hi. Me too. It’s by the Chinese artist Cai Guo-Qiang who makes art primarily with fireworks and smoke. Recognising when one has a quiet milestone is one of life’s true beauties. Cool about the screenplay. Obviously I encourage you in its direction. If you figure out what constitutes ‘festival bait’, let me know, ha ha. Mm, it could just be that I have an ideal collaborator in Zac, and that I have the experience of making two films to help me, but I find figuring out what will work or not on screen is really easy. If it works excitingly on paper, you figure out a way to make it work visually. If it’s not exciting on the page, it gets dumped. Or something. Oh, wow, ha ha, that poem video. Um, well, for me making it was just standing around for hours watching the filming with a relatively short period where I was filmed driving the car and reading my poem in dark part of that bar the video centers around. As you probably know, the video was part of a PBS TV series, ‘United States of Poetry’. It was fun to do, but, for me, the whole video is too literal and illustrative. I was very happy that my friend James Duvall, best known as the star of most of Gregg Araki’s films and for his role in ‘Donnie Darko’, agreed to play the hustler. And, ha ha, I don’t like the last line of that poem in general. I tried to talk the director into filming some other poem of mine, but he insisted. ** Misanthrope, I will avoid ‘This Is Us’ as though it were the veritable plague, thank you. You too, eh, on the easy wisdom tooth accommodating front. Are you also, like me, another rare person who still has his tonsils? Mine are still down there doing whatever tonsils are supposed to do, as well behaved as ever. ** John Fram, Hi again, John. Oh, you’re selling a novel on an outline. Good luck. I know that can work. The one time I tried to do that I wound up writing a totally different novel than the one the publisher thought they were buying, and they cancelled it, so I’m never trying that again. I don’t know either of those things you watched. I’ll hunt them. I think Stephen King is kind of a genius re: ideas, plots, etc. I just can’t take his actual prose. But I know a number of very good writers who are way on board with his work. Mm, I feel like I get amped by things a lot. The music in the gig post today for instance. I’m doing my favorites of 2017 list next week, so that’ll name stuff. I don’t think I find writing scripts more liberating, no, just different. More challenging since its relatively new to me, and, hence, more exciting to tackle at the moment. Take care, man. ** Right. There’s a gig up there of music I’ve been liking lately and, as always, do see if any of it floats your boats. See you tomorrow.

14 Comments

  1. MyNeighbourJohnTurturro

    December 7, 2017 at 12:01 pm

    Hi Dennis. How do? I had to jump in and approve this month’s gig. Lots of stuff I’ve been listening to also. Oren, The Body, UUUU and especially Impossible Nothing. That guy is genius or something. It feels like electronic music is in the midst of its golden age just now. Just an eruption of creativity that’s hard to keep up with.
    I regret not seeing you when I came to Paris, my mental health has been quite poor this year and I didn’t feel i was equipped to meet you, but I think your were very busy anyway.
    Am looking forward to the new film, looks wonderful.

  2. Hey D,
    This is the second time this week I’ve heard about Baths–I need to sit down and listen to that album. Thankfully I’m not selling the actual book on outline, just working out the general movement of the novel to make sure it seems solid (and vaguely marketable) before I write the full thing. I remember very well you telling me about the book that went through publisher hell and I’m hoping to avoid it, if possible.

    You know, the funny thing about Stephen King is that his prose has these weird glimmers of good stuff, like really felicitous moments and choices of words, but then it can be buried in some seriously banal bits, yes. Also, his endings really suffer from his disinterest in any sort of pre-planning. I think that can work in “small” (I wish there were a word to describe something as “minor” without implying inferiority) crime novels like Elmore Leonard where you have three major characters and a villain and things can just sort of shake out how you want them to. In a large-scale book like “Desperation,” the one I’m reading now, I think you really need to portion out your escalating terror (and the scope of your action) the higher the body count gets, which he seems to struggle with. But that’s just me.

    Did I tell you I designed an escape room for St. Vincent (the singer)?

    Talk soon
    J

  3. David Ehrenstein

    December 7, 2017 at 2:59 pm

    Calling a group “The Baths” brings The Baths to mind for me — ah those dear dead days! I especially recall with great fondness the decaying walls of the steam room at the Everard.

    Susan Seeking Desperately Gone but never to be forgotten.

  4. For once, I owned one of these before you did the Gig: Slender’s EP. I heard Buy Muy Drugs’ collaboration with Yasiin Bey on the Afropunk website about 2 months ago. I am doing a piece for the Nashville Scene on my favorite music videos of the year and their “MZKFT” video is now a late addition to it: they are doing something really interesting with hip-hop tropes about selling crack. Oxhy’s drone might be my favorite of these artists judging from your clip, and their album is a free download, but once I got it on my hard drive, I couldn’t open it. I also like Errorsmith’s combination of slick production and jitteriness and the way Hayward and Moore made free improv work in a rock context.

    Yes, showing people tripping is really hard, and the montage of people tripping in Yoshida’s film is probably its weakest part. Mitski’s character never takes the drug whose trip she helps people through herself, and I think the film is better for focusing on her. I have thought about music choices that would enhance the horror of Sessions and Pence’s trip. Behemoth came to mind, as did Godflesh and Big Black. I’m not sure those guys could understand the lyrics to a song like Behemoth’s “Drop Your Trumpet Gabriel” and be offended by what it’s saying about Christianity, but if you heard that on a bad trip, I’m sure the music alone would freak you out.

    • I figured out how to convert .rar files to zip, and I’m now playing the Oxhy EP. It’s not all drone after the first track, and gets into glitch and noise territory. I downloaded Buy Muy Drugs album from Bandcamp – they managed to create a great dystopian soundscape, even apart from the lyrics.

  5. Hi Dennis,

    I hope you are doing well. A few months ago I emailed you a digital copy of my new book after Jeff Jackson gave me your email. He blurbed my book and agreed it might be something that you would like. I have been enamored by your work since I was a teenager in the 90s and discovered John Zorn’s Weird Little Boy at Tower Records. That album got me on to your books. I can email you the book again but I would be very happy to mail it to you too.
    Thank you for taking the time to read this and I really love being able to go here, to your blog and get insight into books and films that I already know and also get a heads up on work that I’m not already familiar with. Thanks for being Dennis Cooper!
    best,
    Jordan

    Here are the blurbs for my new book:
    “My Shadow Book contains multitudes. It’s a fascinating collage of quotations, diaries, drawings, aphorisms, confessions, short fictions, and political manifestos. Concealed within is a clever Mobius strip narrative and an invitation to a secret society comprised of history’s most subversive artists. It’s many potential books in one, waiting only for a reader to bring it to life.”
    Jeff Jackson, author of Mira Corpora and Destroy All Monsters

    “Jordan Rothacker’s ebullient, entrancing, playful, linguistically sensuous MY SHADOW BOOK is a triumph of narrative and structural inventiveness. As the intrigues and mysteries unfold, Rothacker’s polyphonic storytelling becomes a journey of ever-increasing entrancement. Invoking the epic speculative works of Clarice Lispector, Milorad Pavic, Edmond Jabés, and Borges, MY SHADOW BOOK is a masterfully crafted kaleidoscopic reinvention of literary beauty: a fragmented, arcane, haunting, and deliciously luxurious complexity of shimmering light that illuminates the very edges of thought and language.”
    Quintan Ana Wikswo, author of The Hope of Floating Has Carried Us This Far and A Long Curving Scar Where The Heart Should Be

    “In My Shadow Book Jordan Rothacker is amanuensis to a mysterious yet familiar intelligence, and is our guide to a literary operation where—between the fragments, aphorisms, and stories—we are reflected in his gleaming scalpel. Part autopsy, part reconstruction, a stitched maze, here is the melancholy play of Borges, delighting along the seam between Boswell and Roswell. Rothacker’s shadow men maintain an Area 51 of style and secrets. Recognize yourself there, or discover yourself there, the joy of this shadow book is in its devotion to the personal canonical, to discovering alien knowledge, the voices, zones, and memories that preserve us.”
    James Reich, author of Mistah Kurtz and Soft Invasions

    “In My Shadow Book, by Maawaam, editor and writer Jordan A. Rothacker weaves a tapestry of symbiotic diary entries, sections of prose, drawings, and dark musings from a dark and light soul who seems to teeter along the precipice of falling into eternal gray shadows. If the writer Maawaam is a word tour guide through existential angst and evanescent clarity then Rothacker is the hidden conductor, keeping time to his haunting song. Like ink dripping from a gothic paintbrush, text varies from expertly relayed metaphor to psychological realism. In one section Maawaam decrees: ‘We bring out this army of bricks and stones and build this city…protecting truth, it moves from tower to tower,’ and in the next, this modern seeming sage bemoans: ‘I wish I could just walk into to the light, live in the light. I wish I could just give up the ghost.’ Readers can be grateful that Maawaam keeps his ghosts close; we feel them on every page.”
    Jennifer MacBain-Stephens, author of Your Best Asset is a White Lace Dress and The Messenger is Already Dead.

    “In the sublime My Shadow Book, Rothacker carefully traces an aesthetic genealogy of shadow-thinkers, deftly fusing it to his own narrative. The end result is stunning, mesmerizing, an idiosyncratic mythology, reminding us of the possibilities of what this strange thing we call ‘a book’ can be. Rothacker offers up a graceful and radical counter-poetics to give the reader deep and serious pleasure in our troubled times.”
    Alistair McCartney, author of The Disintegrations

    “Rothacker continues to surprise and delight as he smashes literary norms with My Shadow Book. Rothacker serves as curator to the lost notes of Maawaam, a Shadow Man, that chronicle, analyze, and craft a message meant to heal a desperate world. Through Maawaam’s inner most thoughts, perspectives on the successes and failures of fellow Shadow Wo/Men, and snippets of his writing, we witness his evolution. Rothacker’s message is integral in any age: to write, to read, and to live makes us a part and party to the entire unraveling of human history—bridging time and space seamlessly. As long as a story can be told, it can live. As long as a story can live, it can live forever.”
    William M. Brandon III, author of Silence

    Praise for the Rothacker’s earlier work…
    “Any book blurb serves two functions: (1) Contextualizing of a work. (2) The lending of authorial imprimatur. And Wind Will Wash Away is too huge, too sprawling, too complex, too interesting and too weird for pithy contextualization. So here’s what I’ll say: I really, really, like this book.”
    Jarett Kobek, author of I Hate the Internet, ATTA, and The Future Won’t Be Long

    “Jordan A. Rothacker’s Atlanta operates in a nebulous place, shifting between this world and one in which the object of one’s faith is almost close enough to touch. Detective Jonathan Wind explores this place as an observer, not a participant, head and heart kept at bay in all things—in faith, in love. Rothacker’s scholarly and lyrical prose is something for the reader to grab ahold of as we follow Jonathan Wind. With Wind, we learn. Perhaps, too, we believe.”
    Pam Jones, author of The Biggest Little Bird

    “You’d be hard-pressed to find a more literary, erudite and metaphysical noir novel than the one now in your hands. Detective Jonathan Wind’s search for the killer of his beloved mistress, Flora Ross, leads him through history, literature, art, and an Atlanta that swirls with ghosts, tricksters, demons, saints and a phantasmagorical array of urban characters you haven’t seen since Fellini filmed his dreams and nightmares of Rome.”
    Reginald McKnight, author of White Boys and He Sleeps.

    “Part farce, part gumshoe noir, part deep inquiry into the nature of belief—And Wind Will Wash Away is all of these things and more. Under Jordan Rothacker’s pen, the American South is rendered an absurd and mystical topography that brings to mind such writers as Thomas Pynchon, James Purdy, David Foster Wallace, William S. Burroughs, and David Lynch. Be prepared for a crazy, inspired, breathtaking ride.”
    Christian Kiefer, author of One Day Soon Time Will Have No Place Left to Hide.

    “Rothacker has seamlessly sewn together detective fiction, gritty Beat literature, and serious theological speculation in his debut novel. And Wind Will Wash Away is at once erudite and entertaining, and Rothacker depicts the city of Atlanta with a knowing intimacy that reminds me of Jean-Paul Sartre describing Paris or John O’Hara describing New York City. The characters, the ideas, and the setting are all alive and utterly themselves in this impressive work of philosophical fiction. Get a copy for yourself and one for a friend, because you’re going to want to talk about this book for a long time to come.”
    Okla Elliott, author of From the Crooked Timber and The Doors You Mark Are Your Own.

  6. That’s me out of work for the first time since 2003 and I feel quite okay, like a cartoon character walking off a cliff and just keeping going without looking down and realising. But still, I’m determined to make this a success. I’m about to head to DCA for a Xmas meal with my dad, he’ll buy me the new Wire, we’ll have some wine and I’ll not worry.

    I have a Fabric DJ mix by Call Super and am interested to hear what his production sounds like.

  7. David Ehrenstein

    December 7, 2017 at 9:12 pm

    Up on “Gay City News” at last : A Step Away From Touche

  8. Hi!

    Such good news!! It’s always so inspiring to hear how you and Zac work together! I do hope you manage to work as much on the script as possible before the assignment work!
    I totally understand that. Actually… I don’t like the cold all that much even when it’s where it belongs, haha, and certainly not when it sneaks in anywhere it doesn’t.
    Oh, how exciting! I keep my fingers crossed for the Paris premiere! How was it? What are your thoughts/experiences?
    Thank you! I am, too, very excited for the new issue of SCAB, to be honest. I’ve received some mindblowing submissions already and I can’t wait to put them out there! I actually did have some time in the early afternoon to work on my own stuff today too (I read a little, I wrote a long e-mail to Christin, etc.) which was nice.
    I hope you had a lovely day and ‘Crowd’ made you proud!

  9. I just read Armond White’s CALL ME BY YOUR NAME review, and while I totally agree about how trite the film is, the rest of it is just a bunch of predictable self-hating accusations that people who like the film but condemn Weinstein, Spacey, etc. are hypocrites.

  10. Hey Dennis – William H. Gass, RIP. Sad news, though he certainly lived a long and productive life. Did you know him at all?

    This post soundtracked part of my day. Super enjoyable as I didn’t know any of these releases. Good to see Charles Hayward doing stuff again and the collab with Moore was cool. The Oxhy, Rainforest Enslavement, and especially the In the Nursery Tracks grabbed me in particular.

    Are you a fan of In the Nursery? Can you recommend particular albums as a good place to start? (Maybe the new one?)

    Still fighting off allergies. I’ve been working on new songs with Julian Calendar band, which has been enjoyable. A new batch seems to be falling into place.

  11. Amphibiouspeter

    December 8, 2017 at 3:48 am

    Hey DC,

    Will check all these out tomorrow – the Slender sounds really interesting – but I’m currently in the middle of the journey from hell. Buses into mainland Europe usually go through the channel tunnel but this one has decided to go on a ferry. The ferry was delayed by two hours so we were just stuck on the bus at Dover. Now I’m on the boat surrounded by teenagers (millions) and won’t be leaving until half 4. Maybe I could play some Thurston Moore and freak em all out.

    Gutted I didn’t check in for flags yesterday! That was awesome. The lists of things always feel like the stuff on here which is closest to your literary gif works, and yeah the flag thing felt like a step further into that space. Plus, pirate flags are sick.

    Sweeeet, hope you have a good day !

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