It's the Halloween season, and when in the mood for quintessential gothic rock, Nosferatu is the perfect fit.
Formed in the UK in 1988 during the second wave of goth music, Nosferatu does not shirk its heritage. Named for the king of the undead? Check. Low, wailing vocals? Check. Relentless guitars counterpointed by organ and harpsicord-like keyboards? Check. Enough vampire, witch and ghoul-themed songs to fill an entire album? Double check.
"The Haunting" from 1996's Prince of Darkness:
While moderately successful in the UK and Europe, most of Nosferatu's popularity in the US stems from Cleopatra Records various goth anthology records. Regardless, Nosferatu has continued to record, with an ever-changing line up of musicians, for over twenty years. Only lead guitarist Damien DeVille is an originating member.
As is the case with many obscure or near-obscure bands, Nosferatu has embraced digital distribution, taking advantage of all that MySpace, SoundClick and Amazon have to offer.
Monday, October 26, 2009
Monday, October 19, 2009
Music: Jill Tracy
Jill Tracy is the Edward Gorey of music. Whether it's only Tracy's smokey voice as counterpoint to broken piano melodies or backed by The Malcontent Orchestra, her neo-cabaret sound is gray-scale simple and yet, lyrically, wickedly baroque. Firmly tongue-in-cheek, the sensibility of Gorey and Tracy is the same. "I'll hold your hand while they drag the river / I'll cuddle you in the undertow" is what passes for a Jill Tracy love song.
Obviously, the "horror genre" of music isn't anything Tracy shies away from. After 1999's Diabolical Streak, Tracy and The Malcontent Orchestra provided an original score to the 1922 silent film version of Nosferatu which later debuted live. She has also performed in the past with San Francisco's modern Grand Guignol troupe, Thrillpeddlers.
From 1999's Diabolical Streak:
From 2008's The Bittersweet Constrain:
Tracy's most recent effort, The Bittersweet Constrain, offers slightly more mainstream accessibility, but by no means sellout the ethos that sets her apart from a piano songstress like Fiona Apple or a Victorian goth act like Rasputina. Jill Tracy's albums and singles are found through the typical online vendors such as Amazon.com and CDBaby.
Obviously, the "horror genre" of music isn't anything Tracy shies away from. After 1999's Diabolical Streak, Tracy and The Malcontent Orchestra provided an original score to the 1922 silent film version of Nosferatu which later debuted live. She has also performed in the past with San Francisco's modern Grand Guignol troupe, Thrillpeddlers.
From 1999's Diabolical Streak:
From 2008's The Bittersweet Constrain:
Tracy's most recent effort, The Bittersweet Constrain, offers slightly more mainstream accessibility, but by no means sellout the ethos that sets her apart from a piano songstress like Fiona Apple or a Victorian goth act like Rasputina. Jill Tracy's albums and singles are found through the typical online vendors such as Amazon.com and CDBaby.
Monday, October 5, 2009
Music: Murder By Death
If you were looking to score a gritty post-apocalyptic movie full of dusty anti-heroes, the Indiana-based Murder by Death would be a good choice. In fact, author Jeff Vandermeer seemed to have that very idea when he approached the band to provide an accompaniment to his up-coming science fiction novel Finch. The project is a natural extension of the band's loose concept albums which often include instrumental bridges between tracks.
Aside from sweeping instrumentals, the average Murder by Death song combines jangly punk guitar riffs with the smooth cello bass lines, topped off by Adam Turla's gravely vocals. Despite frequent horror genre references in album titles and song content, the band includes enough of a alt-country influence to completely avoid the goth genre. It's an interesting high wire act of sound that has become more cohesive and listenable over time. In terms of songwriting, the lyrics are considerably sophisticated using allusion and word play to good advantage.
Off 2008's Red of Tooth and Claw:
All four of Murder by Death's albums are available from Amazon in MP3 and other formats. The band's site also includes merchandise. The instrumental score to Finch is currently available for listening and purchase through BandCamp.
Aside from sweeping instrumentals, the average Murder by Death song combines jangly punk guitar riffs with the smooth cello bass lines, topped off by Adam Turla's gravely vocals. Despite frequent horror genre references in album titles and song content, the band includes enough of a alt-country influence to completely avoid the goth genre. It's an interesting high wire act of sound that has become more cohesive and listenable over time. In terms of songwriting, the lyrics are considerably sophisticated using allusion and word play to good advantage.
Off 2008's Red of Tooth and Claw:
All four of Murder by Death's albums are available from Amazon in MP3 and other formats. The band's site also includes merchandise. The instrumental score to Finch is currently available for listening and purchase through BandCamp.
Monday, September 21, 2009
Movie: Mr. Brooks
Somewhere in mid-90s, Kevin Costner lost clout with audiences. Maybe it was the bloated Waterwolrd (1995) or over-wrought The Postman (1997), but Kevin Costner was somewhat abandoned; given up on as being too...well, too Kevin Costner. By 2007, the concept of the former Robin Hood starring as a serial killer was slightly laughable. Mr. Books was the pet project of Costner and one of its writers Raynold Gideon due to studios being equally dubious. But, part of what makes the movie entertaining is seeing Costner's acting prowess once again.
Some plot aspects of Mr. Brooks might be familiar to fans of the "civilized serial killer" genre, especially in light of Showtime's Dexter (2006) TV series (based on Jeff Lindsay's series of books). While Dexter Morgan's inner "dark passenger" is never personified, Earl Brooks' psychotic alter ego is presented to the viewer in the form of Marshall, played by William Hurt (The Village, The Accidental Tourist). While Costner gives a icy and reserved performance, Hurt embodies gleeful, manic fervor. The direction and superb camera work make the two characters uncannily similar in many scenes.
Mr. Brooks also attends a 12-step program in an effort to control his activities. This concept is probably not entirely original to the genre, but its use here most likely predates the writing of season 2 of Dexter. Despite these similarities, Mr. Books still offers surprises. (Not the least of which is a solid performance by comedian Dane Cook.) Earl Brooks is, after all, a family man and what wouldn't he do for his family?
Some plot aspects of Mr. Brooks might be familiar to fans of the "civilized serial killer" genre, especially in light of Showtime's Dexter (2006) TV series (based on Jeff Lindsay's series of books). While Dexter Morgan's inner "dark passenger" is never personified, Earl Brooks' psychotic alter ego is presented to the viewer in the form of Marshall, played by William Hurt (The Village, The Accidental Tourist). While Costner gives a icy and reserved performance, Hurt embodies gleeful, manic fervor. The direction and superb camera work make the two characters uncannily similar in many scenes.
Mr. Brooks also attends a 12-step program in an effort to control his activities. This concept is probably not entirely original to the genre, but its use here most likely predates the writing of season 2 of Dexter. Despite these similarities, Mr. Books still offers surprises. (Not the least of which is a solid performance by comedian Dane Cook.) Earl Brooks is, after all, a family man and what wouldn't he do for his family?
Monday, August 3, 2009
Preemptive Strike: The Hurt Locker
Kathryn Bigelow's The Hurt Locker has been trickling out in limited release ever since its impressive debut at the Venice Film Festival in 2008. Stripped to a bare plot, the movie follows a group of three bomb disposal experts during the last 38 days of their rotation.
Films about the Iraq war, a conflict that is still on-going, have not done well. Therefore, it's not surprising that The Hurt Locker has received tentative distribution. That doesn't make the limited ability to see this film any less unfortunate. On a budget of $11 million, Bigelow puts together a film that is at times slick, at times as gritty at its setting. The main cast are little-knowns (Jeremy Renner, Anthony Mackie, Brian Geraghty) that do an excellent job. My one problem is that some of the dialogue comes off a little canned, but these moments are never suffered for long. The film moves at a brisk pace in the only direction there is: day zero of Bravo Company's rotation.
The Hurt Locker is by no means a perfect film, as some critics have claimed, but it is the film that's been the most deserving of my $7 this summer. If it's playing in your area, go see it. I'd rather it didn't belong among the ranks of the obscure.
Films about the Iraq war, a conflict that is still on-going, have not done well. Therefore, it's not surprising that The Hurt Locker has received tentative distribution. That doesn't make the limited ability to see this film any less unfortunate. On a budget of $11 million, Bigelow puts together a film that is at times slick, at times as gritty at its setting. The main cast are little-knowns (Jeremy Renner, Anthony Mackie, Brian Geraghty) that do an excellent job. My one problem is that some of the dialogue comes off a little canned, but these moments are never suffered for long. The film moves at a brisk pace in the only direction there is: day zero of Bravo Company's rotation.
The Hurt Locker is by no means a perfect film, as some critics have claimed, but it is the film that's been the most deserving of my $7 this summer. If it's playing in your area, go see it. I'd rather it didn't belong among the ranks of the obscure.
Monday, July 27, 2009
Music: A3 (or Alabama 3)
"And from that day forward told you to go out and spread my word through music: sweet, pretty, country acid house music..."
Known in the US mainly for the infectious theme to HBO's The Sopranos, A3 has been a high-number fixture on United Kingdom chats for over a decade and appeared in the soundtracks of many BBC series. The idea for the band's sound came when Londoners Jake Black and Rob Spragg decided that country and acid house music could co-exits together; a lion lying down with a lamb. Country music is not without its own sub-genres and the style chosen for the pairing was possibly the most dissimilar from acid house: folk/gospel. The combination lends itself to irony. Similar to ICP and Zug Izland, the members of A3 each have an on-stage persona. Indeed, at times the band itself seems to aspire to a tent revivalist alter-ego.
Known outside the United States as Alabama 3, the band modified its name to avoid legal conflicts with the straight-up country band Alabama. Unfortunately, internet search engines doesn't treat the shorter name kindly. A3 is currently touring and working on a album that promises to be rights-friendly to third party input. Current albums are readily available through online retailers.
Known in the US mainly for the infectious theme to HBO's The Sopranos, A3 has been a high-number fixture on United Kingdom chats for over a decade and appeared in the soundtracks of many BBC series. The idea for the band's sound came when Londoners Jake Black and Rob Spragg decided that country and acid house music could co-exits together; a lion lying down with a lamb. Country music is not without its own sub-genres and the style chosen for the pairing was possibly the most dissimilar from acid house: folk/gospel. The combination lends itself to irony. Similar to ICP and Zug Izland, the members of A3 each have an on-stage persona. Indeed, at times the band itself seems to aspire to a tent revivalist alter-ego.
Known outside the United States as Alabama 3, the band modified its name to avoid legal conflicts with the straight-up country band Alabama. Unfortunately, internet search engines doesn't treat the shorter name kindly. A3 is currently touring and working on a album that promises to be rights-friendly to third party input. Current albums are readily available through online retailers.
Monday, July 6, 2009
Television: Probe
Before CSI (2000) debunked and solved crimes with science and House M.D. (2004) disparaged humanity, there was Austin James and Probe. Debuting as a mid-season replacement on ABC in 1988, Probe followed many of the cliches of 80s crimes dramas: a bickering duo solving mysteries with the usual number of pre-commercial cliff-hangers, car chases, and a synthesized score. What set it apart for its time was the clever use of science and Sherlockian logic to unravel the storylines.
Parker Stevenson (pre-Baywatch) starred as misanthropic genius, Austin James, the founder of and expatriate from a massive tech corporation. Ashley Crow, playing secretary Mickey, provided the common sense foil for James's overbearing and manic brilliance.
Co-created by Isaac Asimov, the show had distinctly a skeptical slant. It relied on more reality-based science fiction concepts, eschewing the supernatural as an explanation for phenomena. Many of the plots were based around James's tech company, poking at the notion of corporate mismanagement. Some plot devices are far-fetched, but this is science *fiction* after all.
Introduction to Mickey, Serendip and Austin James:
Ratings were never high during its half season run and Probe wasn't renewed after its initial six episodes. Regardless, the show still maintains a small devoted following. Since it is not currently available in any video format, I have no compunction about linking to the YouTube clips. YouTube user thunderwolf429 has made all the episodes available and they can also be found at Probe Resurrected.
Parker Stevenson (pre-Baywatch) starred as misanthropic genius, Austin James, the founder of and expatriate from a massive tech corporation. Ashley Crow, playing secretary Mickey, provided the common sense foil for James's overbearing and manic brilliance.
Co-created by Isaac Asimov, the show had distinctly a skeptical slant. It relied on more reality-based science fiction concepts, eschewing the supernatural as an explanation for phenomena. Many of the plots were based around James's tech company, poking at the notion of corporate mismanagement. Some plot devices are far-fetched, but this is science *fiction* after all.
Introduction to Mickey, Serendip and Austin James:
Ratings were never high during its half season run and Probe wasn't renewed after its initial six episodes. Regardless, the show still maintains a small devoted following. Since it is not currently available in any video format, I have no compunction about linking to the YouTube clips. YouTube user thunderwolf429 has made all the episodes available and they can also be found at Probe Resurrected.
Subscribe to:
Posts (Atom)