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Caïna I am the Flail of the Lord
‘Caïna, the UK-based black metal project helmed by Andy Curtis-Brignell, can described in a number of different ways, given how much its sound has evolved over the years. It’s rooted in black metal, and has carried at least some element of its ferocious darkness with every permutation, though Caïna has never been particularly faithful to the sounds of church-burners past. At times, like on 2008′s Temporary Antennae, Caïna more closely resembled post-rock. And 2013′s Litanies of Abjection, Curtis-Brignell once again stepped away from tradition and delivered a dark ambient record. Much of Setter of Unseen Snares is remarkably accessible, not just by Curtis-Brignell’s standards, but of black metal in general. Its first proper track, “I Am the Flail of the Lord,” has the momentum and roar of a great metal track, but it’s unusually catchy. In fact, it almost doesn’t sound like black metal, pummeling with the urgency of hardcore.’ — Treble
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The Inward Circles And in Their Groves of the Sun This Was a Fit Number
‘Richard Skelton’s explorations of the human soul within the landscapes of the British Isles have made for some of the most eloquent and evocative music of recent times, and his recent concert at LSO St Lukes with the Elysian Quartet was one of the live highlights of the year. Now, he returns with a new project, The Inward Circles, and a refreshing new direction. His distinctive drones and rough sonics, the capturing of water over landscape and air moving past rock, have taken on a tougher, more electronic edge reminiscent of artists like Stephen O’Malley and Peter Rehberg’s KTL. Where before his music, and the beautiful books that he published to accompany them, might create images of the vast damp spaces of the north of England in a way that seemed to reflect the ambivalence of nature towards us fragile and fleshy mortals, The Inwards Circles is full of threat, things ancient and unknown appearing amidst the sphagnum moss and heather.’ — The Quietus
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Tujiko Noriko Minty You
‘My Ghost Comes Back sees the return of Tujiko Noriko after a hiatus exploring worlds beyond those we regularly inhabit. The results of these travels provided the formula for this, her most accomplished record to date. As rich in ambition as it is skewered in it’s melodic stance, the album is a decidedly more acoustic affair in which a host of guest musicians incorporate mandolin, viola, musical saw, optigon and other such wares into the exotic environment where her unique songwriting now resides. Furthering an exploration of unorthodox arrangements, rhythm and melody Noriko concocts engaging pop explosions where flickering electronics, staggered rhythms, shimmering vocals all dance on a plateau of melancholic ecstasy. ‘My Heart Isn’t Only Mine’ launches proceedings as a slow burning landscape of electronics, organ and subdued vocal arrangements which unfold over 14+ minutes, delicately setting the scene for a new kind of record. ‘Give me your hands’ and ‘Minty You’ exude a joyous warmth as pop perfection extends into the ether.’ — boomkat
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Secret Circuit Rogue Unit
‘Emotional Response have trawled through boxes of old cassette recordings from L.A multi-instrumentalist Eddie “Secret Circuit” Ruscha to compile a follow-up to 2012’s brilliant Tropical Psychedelics compilation. Predictably, the resulting collection is nothing short of brilliant. Typically eccentric, melodious, atmospheric and bristling with interesting ideas, Cosmic Vibrations delves deeper into Ruscha’s archives and comes up with gold. Highlights are naturally plentiful, but keep an eye out for the psychedelic ambience of “Electric Brain”, the analogue electronic explorations of “Nova Laser”, and “Shockers”, an acid-flecked chunk of chiming Balearic deep house with exotic, Arabic touches.’ — Boomkat
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Aaron Dilloway & Jason Lescalleet Black Mountain
‘It doesn’t mean anything to you until you decide that it does. That could easily work as a mantra to be repeated before playing any of Jason Lescalleet’s or Aaron Dilloway’s music, as a precursor to the experience and a step toward preparation. It’s an interesting premise, because there are no boundaries as to how far you can take it; you can nearly apply this concept to anything and feel content that what you are experiencing is a product of your own intrigue, your own desire to make “it” work. But in order for that to happen, you need to have an entry point that can send you somewhere fascinating. On Popeth, the second collaborative full-length from Lescalleet and Dilloway, that entry point is a deep-cut and disintegrating tunnel of sound, a fractured rumble that marks negotiated conversations between respective artistic methods of instrumentation.’ — Tiny Mix Tapes
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Cassegrain New Hexagon
‘Building on ample evidence provided by previous EPs and their bracing live performances, the duo has crafted in a late masterwork of this particular school, even in the face of increasing creative overcrowding. Centres Of Distraction is very much in keeping with the zeitgeist of experimental techno, but it easily surpasses most of its contemporaries in clarity and depth of execution. The pendulum swings of stylistic popularity and focus may already be moving on, as demonstrated by newer outcroppings of noise, kosmiche, and industrial that are now merging their way into dance music, but that is immaterial in the analysis of this particular streak of creativity. Cassegrain may go down as an odd footnote next to more famous peers whose music broadly falls into similar stylistic territory, but they have accomplished the rare feat of creating their own interpretation of that style, and this album is the most formidable, complete expression of their ideas yet and a work that rewards intent listening, hopefully and deservedly for years to come.’‘ — collaged
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Ghost Culture Lucky
‘Ghost Culture excels in atmosphere and layering, rather than heading direct for the doof. That’s not to say there’s nothing to dance to; it’s like some sumptuous buffet of electronic wonder – minimalist techno, kraut, ambient house, full on electro. You feel you know something or half recognise a fraction or mood. Like a secret shared by only the listener, like sensual caress and warm whispers and a tune that sounds both familiar yet reformed into new shapes. Ghost Culture is well aware that everything has already come before, but not in an irritating “DO YOU SEE?” way. Managing to make the sounds you’ve heard millions of times from history, sound fresh and new. This isn’t some retro Jack White analogue borefest, this is a snatch of the beauty that remains in the wheezing and dying lights.’ — The Quietus
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canooooopy mono montaged oratorio
‘Japanese producer Canooooopy draws from the more mundane moments of daily life. “The sound of an air conditioner, the rhythm of a pen falling down, a conversation from other people,” are just some of the ho-hum influences on his music that he mentions in an interview with Japanese music blog Hi-Hi-Whoopee, capping his answer off with “a monotonous life.” Canooooopy subscribes to a “100% sampling” ethos, and builds every track on his first CD release Disconnected Words Connect the Worlds from noises that seem innocuous enough in their original context—an automated telephone greeting, people chatting, children singing. Yet he’s able to warp them into disjointed little worlds, and Disconnected serves as a solid introduction to one of the wonkier beatmakers to pop up out of Japan over the last couple of years.’ — Patrick St. Michel
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Napalm Death Smash a Single Digit
‘With much of the metal scene in a permanent state of superficiality, Napalm Death’s righteous fury and utter disregard for routine sonic styles mark the grindcore legends out as one of the few truly subversive bands around. But even by their own standards, Apex Predator – Easy Meat is startling. Thematically centred on the horror of industrialised slave labour in the modern world, the band’s 15th studio album revels in the perversity of such compassionate and humane lyrical ideas being tethered to music that seeks to leave real scars. It’s a diverse set that veers from expected bursts of dizzying speed and violence such as “Smash a Single Digit” and” Cesspits” to gruelling, hypnotic dirges such as the dense, unearthly Swans-isms of the title track and the churning “Dear Slum Landlord”, while the hammering, dissonant grooves of “How the Years Condemn” and “Timeless Flogging” add twisted accessibility to an otherwise remorseless onslaught. Untrained ears might shrivel in terror, but those who appreciate the joy of noise will recognise the sound of veteran masters on unassailable form.’ — The Guardian
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Spencer Radcliffe & R.L. Kelly Green Things
‘Chicago’s Spencer Radcliffe and L.A. native R.L. Kelly (alias for Rachel Levy) make an exceptionally compatible duo on Brown Horse, released earlier this month on Orchid Tapes. Though Radcliffe’s brand of heady and meandering pop isn’t perfectly congruent with Levy’s simple, saccharine tunes, the two converge on a thematic plane. Ultimately, Brown Horse is a record about yearning, whether it’s for a past we can no longer access or an idyllic future that may never actually play out. R. L. Kelly and Spencer Radcliffe both convey an understated authority, bordering the line between youth and maturity, self-deprecation and self-assurance, and quietly asserting themselves through their liminality.’ — Impose
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Dalglish Oidhche
‘Chris Douglas is one of the most enigmatic, progressive and emotionally arresting producer/ composers currently operating around electronic music’s fringes. After an eventful youth that saw him host seminal parties in his native San Francisco before taking up root in Detroit – where he worked with and learned from such luminaries as Underground Resistance’s Mike Banks and Drexciya’s James Stinson, and established his O.S.T. project – he moved to Berlin in 2003. He has since written a series of unexpected, mysterious and affecting albums that twist and reimagine electronic music in enigmatic yet moving ways. Douglas has operated under a variety of names such as Rook, Scald Rougish and Dalglish, with the latter rising to prominence when his 2011 album Benacah Drann Deachd drew considerable praise. This month sees the release of Dalglish’s much-anticipated third album, Niaiw Ot Vile, which sees Douglas make his debut on Bill Kouligas’ increasingly renowned PAN label. The album marks a clear progression from its predecessor – a beautifully nebulous collection of outsider electronics mapping out new territories that touch on techno, musique concrète and the avant garde.’ — The Quietus
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Black To Comm Hands
‘As the Singaporean artist Ho Tzu Nyen’s video Earth traveled around the world, different musicians were enlisted to provide live music for it, from Australia’s Oren Ambarchi to Germany’s Black to Comm. The latter was a natural fit for a video in which long pans take in a fabulous landscape full of piled corpses and visual references to European painting. In Black to Comm’s music, we likewise feel ourselves to be plowing across wastelands of aestheticized violence and apocalyptic beauty. You could call it a match made in hell. Black to Comm’s music is as abstract as an inkblot, and so you can project your favorite influences onto it: 1970s German experimental music, contemporary noise, eccentric outsider art, classic film scores– all fair game. Liberated from any one set of formal constraints, Richter uses his many resources to conjure delicate effects of mood and graded shading. If you generally listen to music on the factory speakers in your car or computer, you can basically forget about Black to Comm. All you’ll hear is distant rustling and moaning; some indifferently fretted acoustic guitar. The music is for close listening or for nothing.’ — Brian Howe
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Peverelist Kinetics
‘One to roll with the punches, Tom Ford aka Peverelist belongs to dubstep’s most intriguing characters without being one for the spotlight. Biographical articles or even interviews are rarely to be found. Music nerds care about music, not about their public relations. Notable for holding down the Rooted Records specialist shop in Bristol, and curating the Punch Drunk record label, the man like Peverelist is a driving force behind the marriage of techno and British bass music, alongside his peers Appleblim or Shackleton. Techno at heart but dubstep in name, his sound bridges the gap between the hypnotic minimal patterns of the music first given its name in Detroit, and the heavyweight polyrhythmic machinations of dubstep. Check amazing and outstanding tunes like Gather on his aforementioned Punch Drunk outfit that combines the legacy of Bristol’s bass control, its sound systems and London’s DMZ and FWD>> scenes.’ — rbmaradio.com
*
p.s. Hey. ** David Ehrenstein, Who’s Leonard Reed? I’ll google him. Actually, the testiest waiter in Los Feliz, but testy enough to maybe win the prize for the whole East Hollywood area. ** Sypha, Hi. Do you have a publication date or general release time for your book yet? No, I really need to get Oscar’s children’s book. Thank you for reminding me. The Harry Potter movies take a big upswing in quality with the third one, if you ask me. ** Tosh Berman, ‘Fancy’ is great! That’s one of the few on that list that I’ve already read. Jeremy Davies is an awesome writer. He’s also one of the editors at the great, great Dalkey Archive press. Hardcore France 1970 sounds like plenty of an allure to me. ** Wvandenberg, Hi, welcome, and thank you a lot for coming in here! Wow, I don’t know if I have a very favorite Millhauser story. Huh. I would have to really think about that. Do you have one? ** Slatted light, D-ster! Always greatness to see you! Yeah, 2015 might just be the best US literary year yet. It’s crazy. You good? What’s up, man? Love, me. ** Steevee, Hi. That Facets set rings a bell. I think I saw it when making the post and spaced out on linking to it. Zachary Quinto as Glenn Greenwald, wow. Weird. Dylan doing standards is just such an incredibly uninteresting idea to me for some reason. No interest in hearing that, at least in theory. But I stopped following Dylan in general ages ago. ** _Black_Acrylic, I’m reading the Kitchell book now. It’s really great! Shit, evicted, ugh. I feel that. I have to start seriously searching for a new place right away. I’ve been putting it off because I’ve been so busy, but time is starting to run out, ugh, so I need to get on that. I hope the place that your mom found pans out. ** Gregoryedwin, Hi! Oh, well, man, ‘Hospice’ is a particularly shining light in there. Don’t forget that I’d love to do a ‘welcome to the world’ post re: it if you’re still game. Thanks for the props about this place. Very kind of you. Love, me. ** Chilly Jay Chill, Cool, thanks, I’ll look into that Dibell novel. I’m going to scour the local shops for those Kluges first, but I don’t have much hope on that front.There’s only one actually really good English language bookstore here, and it’s mostly used books. So I’ll probably order them. That’s very exciting! We should start getting more feedback on the film soon. We finished it yesterday, and it’s going up on Vimeo Private today, at which point a couple of people we want to get feedback from will be able to watch it without the hassle of coming over to Zac’s place. The producers are being very curt with us. They’ll see the final version of the film tonight or tomorrow when it’s uploaded, I guess. I don’t have high hopes there at all. ** Keaton, As you know, I remember about 3% of the dreams I have, if I’m lucky. My dreams that I remember since I was a kid are like the same dream over and over just with an ever-changing cast of characters. That ‘Inferno of music’ thing is wild. ‘Bill Evans Trio with an 80 yr old David Gilmour’ is a hell of a brain-twister. Me, I vote for Dylan Carlson never ever ever working with singers again, unless I can pick them for him. Much love back. ** Grant maierhofer, Hi, Grant! That Gary Lutz book news bowled me over too. Exciting news about ‘Marcel’! I wish I’d found that in my search when making the post. Awesome! And I’ll go check out Queen Mob’s Teahouse, obviously! Lots of you = lots of great! Sean Kilpatrick’s editing help must have been super. He’s so good. Really excited for his new book. Cool, awesome thoughts on Blake’s work. Very interesting. New tumblr. I’m there. Everyone, mighty writer and d.l. Grant Maierhofer has a new tumblr. Go check it the heck out, why don’t you? It’s here. Thanks for your kindness, man. You’ve very important to this blog and to me too. Word. ** Misanthrope, The Mark Doten novel is fucking great, absolutely! Fingers crossed that … nothing comes of her trip down South. That’s the ideal, right? Yeah, poor LPS has been through way too much shit, and, yeah, heartbreaking it is. I hope he ends up okay. ** Brendan, Hi, B. Cool, let me know how it is. I’ve had zip luck getting a copy so far, but I’m still on it. ** Cal Graves, Hi, Cal. You’re being really sane about the workshop experience, I think, cool. Very good. I find those things can be so traumatic, but, after going to poetry workshops for a couple of years in college, which actually was really helpful, I stopped. I’m easily spooked about feedback until I feel like something is completely finished, I don’t know why. Anyway, it sounds sound like a classic workshop experience, complete with the most praise being rained on the most conventional seeming piece. Bleh. Ha ha, unprofessional is a compliment in my book. It usually means ‘original’. We finished editing the film yesterday, or probably so. Any changes now will be minuscule, I think. The trailer we made was a quickie. It probably won’t go public unless our producers decide to make it so. We’ll make a proper trailer at some point. We hope to show the film to a couple of more people later this week. That’s a good answer: the camera in ‘Slacker’. That’s a really nice answer. Hm, your question today is one I think I can’t answer just because the film I showed would totally depend on what I knew of the person I was showing it too, like what I thought would be helpful or revelatory to him or her, I think. Yeah, I think I would have to have a particular person in mind. I can’t think of a film that would transcend and be fit for anyone. Strange. Can you pick a film that you’d show? Cock-a-doodle-do, Dennis ** The Man Who Couldn’t Blog, Hi, Matthew! This is so cool! That’s such great news about your new book! Re: the news I saw on Facebook yesterday, I mean. I’m very excited! I will definitely read the new Shya Scanlon. I seem to have accidentally missed that one when I was compiling. Cool! Great to see you! Respect! ** Mark Gluth, The honor is most entiely only mine, Mr. Gluth. Yes, the Purtill/Moore zine, absolutely! I would be a billion percent into hosting that interviewish thing as a post here. Please, even. I’m on my knees, even. ** Kier, Hi, hi, hi! Yeah, that’s what Gisele has assigned Zac and me to write. We’ll see. She gets a million ideas, but she does seem pretty set on this one. Generally, my health has been great since I went vegetarian. But I was 16, so maybe my body grew into accepting it or something? I do take supplements most of the time, and I do eat a lot of protein stuff. But, yeah, iron pills, for sure, Why not, right? I’ve never played a single Playstation game in any of its generations ever. Weird. I’ve always been a Nintendo guy other than one year during which a friend lent me his Xbox. Yesterday Zac and I spent all day into the night finishing the film. And we did! I guess if we get some criticism from the people we show it to, we could go back and fiddle, but we’ve worked the film to a point where we think its pretty perfect apart from the technical stuff we’ll do in post. I would imagine our producers will shred it, but since their opinions and suggestions on the rough cut were incredibly dumb and wrongheaded, I think that won’t change anything, and we’re confident enough now to defend the film, and I just hope we don’t have an ugly war with them. It’s been uploaded now, so they’ll watch it tonight or tomorrow, I guess. Anyway, we mostly corrected some sound and color issues, and we did a last fiddle with the edit of Scene 2, which is the ‘club scene’, and, yeah, I think it’s done. But we have a little less than two weeks to get select feedback and revisit it before we leave for Germany, at which point it has to be set in stone. That was the massive majority of my day. Then I came home and looked at emails and did a little work and blog-making stuff. That’s it. And you? And Thursday? How did you and these current 24 hours get along? ** Done. Up there is the latest gig from me, this one full of newbies after the couple of elderly psychedelic-focused ones. Some awesome stuff in there. Please try it out, if you like. See you tomorrow.
Now available in North America 
Hi Dennis, sound post, which reminds me I want to pick your brain possibly at some point for suggestions about sound art/artists… How have you been? I have been busy and a bit swamped trying to make order of this project (phd/book) for a deadline and realising the corrections and additions are working but very time intensive (trying to do a last minute bunch of power reading of novels to expand my sources beyond contemporary art and give it more texture). I feel like there was something you asked me in a previous post that I never responded to?
PS: for the blog post verification, I like how it asks me to tick the box that I'm not a robot and sometimes takes my word for it and other times asks for a second verification… maybe sometimes I am more robotic than others?
Dennis! A gig! Of late! YES!
How are you, man? This is what I've been needing. I'm not quite sure what to listen to at the moment. Lee Gamble has been on a lot, but that's all so last year. (But it is great. Koch, I mean. )
That is very exciting news about the film. I've been telling everyone who will listen that your film is going raise eyebrows and then some. Has the film been influenced by any films/filmmakers in particular, or is it as defiantly singular as I imagine it to be?
Oh, and weeks ago you asked me where I intend to study film and then I went away on holiday and didn't respond. Glasgow uni is my first choice as I don't want to move away. It's a very good university and I have many friends in and around it. Now, I'm away to listen to this gig, many unfamiliar artists which is always a good thing.
Have a thoroughly splendid day, Dennis.
Leonard Reed
Hi Dennis,
Thanks so much for including TIADM in yr roundup yesterday. Would you be able to send a blurb by the end of the week, or early next week? Thanks!! xo
I'm looking forward to listening to the new music that is posted on your blog today. I have to do a lot of writing/thinking/meditating/ and pay some bills today. For the first time in my adult life, I'm very much interested in the new Dylan album. In my world, Dylan is very much a glam artist in the same vain as David Bowie and Bryan Ferry. He wears so many masks, a total performer. What I have heard of the new album, I like. Very minimal arrangements to great songs – and I think he's a great vocalist. But oddly enough, I'm not a Dylan fanatic, I just like the thought of him. The one work of genius from him is his memoir. An incredible book. And about a year ago I found a mono version of "Blonde on Blonde." He's great that's for sure, but I prefer Donovan's Mickie Most recordings. And maybe Phil Ochs?
Dennis, glad to hear the film is finished!
re: my book, no, still no set release date. Right now I'm waiting for Misa to finish proofreading. Once he's done that, I'll send any errors he found (along with the errors I found during my proofreading) to RS so they can make the corrections. Then it will just be a matter of waiting to get a final version to finalize (though that might take awhile)… so I HOPE it'll come out this year, but who knows?
i hope this is ok with you, but i took some time out to record the first chapter of Closer so i could present it to a friend of mine who was curious.
if i have infringed too much i will happily pull it down.
the link is here:
https://soundcloud.com/3z13/closer-chapter1
thanks for challenging me for so many years now….
justin
hey dennis,
just wanted to follow up and thank you for the kindness. i spent a lot of today reading from mathias enard's zone. along with everything else i'm reading i try to read at least a chapter of it every day. i'm assuming you're aware of it. i picked it up solely because brian evenson wrote the introduction, and came to find out it was more or less a 500-page sentence, with chapter breaks and occasional shifts to stories from an imagined collection about the state of the middle east and stuff. i don't know, in evenson's introduction he talks about being at some euro conference and all these journalists talking about this book more than any other when prompted for recommendations, so i guess that's why i'm mentioning it. it's like the structure of irritant, sort of, a little, but it doesn't feel experimental really, just intense and supremely human. the term georges perec uses for it is slipping my mind at the moment, but in a brief essay he talks about a literature of the everyday, sort of the robbe-grillet vein i guess, but with even more attention to the stuff nobody focuses on. zone strikes me as this, if the impetus as the outset was to apply that method to the delillo vein of terror-conspiracy-centric lit, or even cold war shit like le carre in some ways. there's a quote at the beginning of alan hollinghurst about reading fast and wide via seeing too many films, i feel like maybe that's where i am right now. i read like i watch tv, but it seems to cohere enough.
another rambling note, apologies. just happy to be within this realm again.
grant
I'll always have time for some Napalm Death. I was intrigued by the new material, mostly thanks to an eminently reasonable recent interview they gave to the Quietus that can be found here. IIRC DC's once hosted a Day devoted to the band's classic tune You Suffer, an avant-garde masterpiece to forever soundtrack this video of Hans Moleman being hit in the groin by a football.
@ DC, here's hoping your property issues get settled without too much upheaval. I'm viewing that exciting new place tomorrow, so things might hopefully be resolved in double quick time here, all being well. I have to say it looks like being the only show in town.
Tomorrow I'll be doing the ArtinScotland.TV interview thing, and I plan on wearing the Pink Panther jumper for it. Think it's just on my own but I'll be fine. Later there's an opening of paintings and video work by French brothers Florian & Michael Quistrebert that could be good. I think Genesis Breyer P-Orridge wrote an essay about them, for whatever that's worth, and they've shown around Paris quite extensively. @ DC, you familiar with their work at all?
Dennis, thank your for the last two posts. The booklist is great and will be helpful in the future!
The gig as always very welcome:
The stuff I know are favorites of mine (Dillowleet, Noriko, Dalglish and Black to Comm!) and the others are great finds. (at the moment on top: The Inward Circles) Again thank you very much!
I think I mentioned before that I am a big fan of Jason Lescalleet but I have to tell you this: Before I heard on sound from him I liked his name so much that I wanted to hear the music and I was totally convinced that I will like it! It all came true.
At the moment he is releasing a monthly volume of music This is what I Do – and till now it is a great series.
Our trip into the Black Forest was great and we had so much snow. We barely escaped. I`ll write more about it tomorrow – I have to go to sleep asap.
Some of those reads sound really cool. That seems disturbing or interesting. Maybe that involves the “repetition” thing. Haha, uhh, trying to pull off that “totally kill” lap-steel solo. Haha, do the trolls eventually like just come and drag him into the “Earth” or what? Haha, love Earth. I thought I touched some dirt in Ireland and freaked out for a sec. Mark Lanegan, I don’t know man, I can’t tell the difference between him and Tom Waits. I don’t like that gruff sounding thing. Oh God, who would you pick?
Have you heard of this film about the French punk scene?
LA BRUNE ET MOI
Dir. Philippe Picouyoul, 1981
It's playing the Brooklyn micro-cinema Spectacle next Wednesday. If the weather's bearable that day, I think I'm going to try and go. Their program notes describe it as a punk homage to THE GIRL CAN'T HELP IT, starring Pierre Clementi as a businessman who falls in love with a teenage punk singer!
Dennis,
Super mega ultra congrats on the editing finishing!
I saw a a film Michael made with one Elri and he's in yours as well, right?
Cool re the blog day. I'll get something to you. Also, I know yer super buys but I could send you a pdf of the book too. Michael's nailing down the printing currently as he's working with new printers, hopefully copies are extant by the 23rd.
Take Care,
Mark
Hey Dennis, hope this finds you well. Excited about your movie coming into being. I need to download Zac's Haunted House–I loved seeing the drafts here last year. Things are good here. I've been back almost 3 weeks now from Australia, felt really good to travel and return. My book is going well, can see the proverbial light at the end of the tunnel re finishing it as I prune. Anyways, have a good day!Alistairxo
hey deneanor,
the workshop was. that's about how i feel right now. I talked to my prof today which felt slightly more productive because he understood where I was coming from.
actually, your answer re: my question (still no idea if im using 're:' right) is probably a better answer than naming a film. I love subjecting people to movies all the time, especially normal people: Caligula and Pink Flamingos tend to be the best cos they're fucked up yet more easily accessible for virgins to "artsy"/fucked up flicks.
congrats on getting the film done!!! — even if it is a rougher cut. I can hardly wait to see what happens next.
t.q.: who in all of history would you most want to get high with? (on any drug of choice)
sincerely,
cal
p.s. "Cock-a-doodle-do, Dennis" made me laugh on and off for an hour.
hey denightful, awesome, a gig! gonna listen to it later today. i've been veggie since i was 17, so my body should be pretty used to it. you finished the film!! well, in a way. congrats!! yesterday we got new chickens on the farm. that meant killing off the four old chickens we had. i happily didn't see them get snuffed, but i did see them come back headless. i was filling some buckets of water for the animals and the farmer came over to wash off his bloody axe and boots. then the chickens got plucked and had their innards taken out. they're gonna cook them, i guess. it was weird, i guess. we drove out to a place called Ålgård and picked up the new ones, ten of them, brown. they lay brown eggs. after work i went to the library and picked up some books, a marguerite duras, a nabokov, a cormac mccarthy and the consumer by michael gira, which a friend recommended. was kind of surprised to find it. also got some music: björk, dinosaur jr., cult of youth, deerhoof, amen dunes, earth. then i went to see 'a streetcar named desire' at the cinema, this film club at the cinema. oh god dennis, it was so long! and vivien leigh was juuust terrible. i ended up hating it, and it was very obvious it was a play, super static. then i came home and played some more ps2. i've never played xbox or nintendo, except maybe when i was about 14 and we played donky kong. then i went to bed, i'm reading leora lev's 'enter at your own risk.' then i slept, then i got up and now i'm about to go to work. how was your day? love
Yow, what a great 2015 booklist, Dennis. I'm bookmarking the post to refer to regularly. Gary Lutz. Amelia Gray. Steven Millhauser. Mike Kitchell. xTx. Brian Oliu. Wow.
I think City Lights is already tired of me asking for the new Kelly Link. But it should be out in a week or two.
The canooooopy video is very odd and intriguing. Will have to find out more…
Hope things go well with the producers tomorrow.
Bill
Hey Coop. Yeah, doing ok, just decided to duck out for awhile because I was getting on your nerves with the Hebdo thing. I read Zac's Haunted House and thought it was a really superb piece of work. I'll have to try and get in here to say more when I get the chance. Hey, and congratulations on finishing your film, man! That's amazing! I think I already asked this but am spacing on the answer, if so: is the film likely to get a 2015 release in a way where someone like me will be able to view it, i.e. Blu-ray/DVD? Or will it be more likely 2016 before its available in that format? I guess there's a possibility it might end up at one of the film festivals here in Sydney, right, but my hikikomori ways mean I'm almost certain not to be able to see it through that means, even if it does, which sucks. At any rate, congrats again, my pal. Hope you're well. Big love from me.