alexsarll: (Default)
Once again, I've failed to post anything here in approximately forever. First of all there's not enough for a post, and then there's too much but not enough for two, and so on and let's just bloody write something, eh? So:
I went on a walk around London locations from The Prisoner. Walking down the corridor from the credits was quite an experience, though I can exclusively reveal that the reason he looks so disgusted, and perhaps for the resignation itself, is the overpowering smell of urine. Some of the rest was a bit niche for me, and that was aside from the brief detour into the inevitably schismatic politics of UK Prisoner fandom.
I went on another walk across the Heath, and then down for a pint. And another pint. And a couple more, and half a bottle of wine. But it started with a walk, and thus it was a very healthy day, right?
I found out where Hither Green is (seriously, I hadn't even known compass points a few months back), and that not every 'Something Cottage' in London is bullshitting with the name.
Outnumbered, I was part of a quiz team up against a celebrity all-star line-up of Caitlin Moran, Charlie Higson, David Arnold and friends. And we almost beat them, holding it to the second tie-break. A brave effort, if I do say so myself.
I saw a play about a haunted sock in my normal comedy venue of choice, and a dozen or more acts on one evening's bill elsewhere. In the latter instance, I was there for Rich Hurley, who was as full of hate - and as funny - as I'd have expected from my first meeting with the splenetic bastard, more years ago than I care to put in writing.
I've had some quiet weekends, but also managed some clubbing - Nuisance twice, new boy Some Weird Sin, Black Plastic, [livejournal.com profile] retro_geek's glam night in the implausible Cakey Muto.
I went to an alliterative gig, featuring Mikey aka Mr Solo and the Melting Ice Caps and Alexander's Festival Hall (who don't begin with M, but now sound like the Monochrome Set, so that's OK) at the Monarch, except it was the Madness for the night because it was hosting an album playback.
Best of all, though, Rebekah Delgado's album launch at Bush Hall. Which is the perfect setting for the Drugstore-y, Mazzy Star-like, late-night music she makes, all ballroom grandeur - but better still than the gig was being on the balcony early on and seeing [livejournal.com profile] xandratheblue sweep across in her grand new winter coat and getting one of those moments of yes, this life is a film, and sometimes it's a bloody good one. And rather than just throwing some other friendly acts on the bill there was a guitarist as we filtered in, and an acrobat, and human puppets, and the whole evening felt like a Moment. Even if I did miss much of the main support because I was talking to Art Brut about dogs in the bar, he had something too - a young man, but with an old man's voice and suit, like he'd just regenerated. Name of Tom Hickox, and deserves to go far.

In brief

Oct. 18th, 2011 07:58 am
alexsarll: (Default)
- I imagine when Cronenberg's Shivers came out, the parasites and the sex zombie behaviour they cause were pretty shocking, but now they can't compare to the fear and revulsion inspired by the styles worn by uninfected 1975 suburbanites.

- I like the Buffalo Bar, which is why it saddened me that after seeing dozens of gigs there with my umbrella safely in hand, one of their bouncers has now decided it is a problem - and worse, started quoting bullshit 'Health and Safety' and 'it's the law' claptrap to that effect.

- I need to find out why part of the Regent's Canal, not far from Little Venice, is lined by the aggressively private grounds of oddly squashed Regency palances. But I know that when I do it will be a disappointment. Still, I love the almost post-civilisational greenery of that part of town.

- Bevan 17 covering the Sugarcubes' 'Hit' was lovely. 47th Street Demon Exchange covering Therapy?'s 'Nowhere' slowly was inadvisable. Mr Solo covering Cypress Hill was...I don't know what that was.

- Sons of Anarchy came back from the debacle of the Oirish season with a finale which used one of my favourite narrative tricks, and not one I would normally have associated with this show. But also lots of badasses staring each other down. Obv.

- If David Shah hosts another night at the Wilmington he needs to give himself more stage time with the Soft Close-Ups, and parodic examples of the singer-songwriter genre a lot less.

- Community choirs performing in pubs: a lovely idea, so long as you're not too close to them.

- Enjoyed the Nuisance band's take on Blur, with [livejournal.com profile] steve586 as that hitherto inconceivable creature, a Graham Coxon I don't want to punch. And for all that Nuisance invariably attracts some bell-ends, we had already seen the evening's finest en route, when a yellow Maserati got into a race with our bus, and literally every passenger on it was making jokes about the motorist's inevitably inadequate manhood.

- Amusing to see Hamas agreeing with the line from the old Israeli joke about how one Israeli is worth a thousand of theirs.

- The Tate's John Martin exhibition is excellent. Yes, maybe he couldn't do lightining or faces - the former more of a problem than the latter - but he's still the go-to man for shit getting real. When an empire - or a mountain - falls, John Martin is your man. Or, when you want the great timeless cities off in the corner of an immense Arcadian landscape where I could quite happily lounge for an infinity or two, he does those also. Wonderful.
alexsarll: (Default)
I am in a church social club where one of my favourite bands are launching their concept album about David Koresh. I want to go to the loo, but it is marked 'DANCERS ONLY'. Two of my favourite singers are waiting for their guest spots as ATF agents, and insist that I should do a dance to make sure I am able to use the loo. Not a dream, not a hoax, not an imaginary story. And from there the weekend went pretty much like the last days of the Roman Empire, except I don't think the Romans had cider. [livejournal.com profile] charleston's birthday gig was at the Silver Bullet, which I may have mentioned before is one of my favourite venues what with the whole being-at-the-end-of-my-road thing, but the cider on tap there is Addlestones, which while very tasty is maybe not the best idea for prolonged sessions with dancing, so apologies to anyone caught by what I'm told was some impressive flailing.

A poor Doctor Who this weekend from Matthew 'Fear Her' Graham, supplying the opening to the dull, plot-holed two-parter which each new series season seems inexplicably obliged to offer. It was not entirely without merit - the setting was excellently atmospheric and Fang Rock, the lack of any aliens was a welcome escape from the formula of recent years* and Matt Smith was as excellent as ever - but boy, was it boring. Run through every cliche in the clone/replicant book, and just for good measure, add in a few moronic errors - "only living things grow" was a particular corker, but I think I may have winced even more at "cars don't fly themselves", simply because it thought it was so science-fictional and clever, while failing to notice that automation of driving is progressing a damn sight faster than getting cars airborne. Got the bad taste out of my mouth on Sunday with Planet of Fire, where Peter Davison goes to an alien planet which looks authentically alien because it was filmed on Lanzarote - although they do rather undermine that by then having a few scenes on Lanzarote too. But still, Turlough being a devious little sh1t! Peter Wyngarde as an evil high priest! And tiny Master in a box! That, Graham, is how you write a cliffhanger.

The news, as ever, is mostly too dismal for comment, but I find the whole Strauss-Kahn business especially grim. The IMF has its uses, but on the whole it has tended to take advantage of circumstances to screw low-status workers from poor countries, and not give a fig for their objections. And then suddenly the managing director is headline news because he tried to do that to one low-status worker, instead of a nation's worth? Just goes to prove what Stalin said about how one death is a tragedy but a million is a mere statistic...

*If the Flesh turns out to come from space, I will not be impressed. I suspected my hopes for a return to pure, alien-free historicals were not going to be met, but in their absence, strictly Earth-born near-future threats in the vein of WOTAN, Salamander and BOSS at least move us a step away from invasion-of-the-week.

45

Jan. 31st, 2011 10:58 am
alexsarll: (Default)
One can't say he was taken too soon or anything, but it's still a shame about John Barry. I watched a film he scored this weekend, Boom. Tennessee Williams' favourite film adaptation of his own work, and directed by the great Joseph Losey, it is nonetheless a dispiriting, messy slog. Elizabeth Taylor, after so long as the epitome of female desirability, has here become the sad, pilled-up drag queen's pastiche of herself that we know today - a much-married woman still convinced of her own desirability, hemmed in by injections and paranoia, the fleshiness of that face already running to fat. Noel Coward queens around in a role that contributes little beyond exposition and some baffling innuendo. Richard Burton has a certain battered dignity, looking surprisingly plausible in a kimono, but he can't do more to save the film than help with the couple of scenes near the end where Taylor remembers she can act.

I'm reading a Bogart biography at the moment, so it's appropriate that this weekend was mainly spent at gigs watching the usual suspects. Bevan 17 in Brixton first, and then much of the PopArt weekender, with Brontosaurus Chorus (if 'Louisiana' really was their last song ever, it's a shame Johnny and I didn't barrel on stage and start in with the chainsaw); Subliminal Girls (I spent almost the entire set at the bar, the service at the Bloomsbury Bowl was so bad); Keith TotP et al (vocals inaudible, but hey, lots of guitars); MJ Hibbett (I was obliged to contribute a sort of civilised heckle over his buying into Fantastic Four death hype, but the song in question mentions 'sulking like Black Bolt' so I can forgive much); The Laurel Collective (since I last heard them, Mystery Jets have happened, so now the poor sods sound like they're ripping off Mystery Jets even though they were doing this first); Abdjouparov (Les Carter was a young Bowie fan, and alas, he is now in his own Tin Machine phase); Mr Solo (minty Polo); and the PopArt Allstars (complete with Mr Solo mixing 'Space Oddity' and 'The Laughing Gnome' into the 'Modern Love' outro, Hibbett's 'Live and Let Die' accompanied by terrifyingly exothermic party poppers, and a 'Brimful of Asha' which I genuinely thought might never end).
Perhaps more importantly, I also confirmed that I have not lost my table football skills. Excellent.

I've finally read David Mazzuchelli's much-praised graphic novel (and for once, the term does apply, instead of just being an embarrassed synonym for 'comic') Asterios Polyp and yes, it is excellent. Remember a few years back when the mainstream critics were getting over-excited about the miserable piece of crap that was Jimmy Corrigan, the Smartest Kid on Earth? Because being, quite often, middle-aged men who feel they have wasted their lives, a lot of critics like works addressing similar themes (a good example in cinema: Sideways). Asterios Polyp, like Jimmy Corrigan, is a miserable middle-aged man, but instead of taking it to the absurd and risible lengths of Ware's effort, Mazzuchelli's protagonist is a success, of sorts...just one who still doesn't feel like he's succeeded, because how many people do? And beyond being more believable, it has vastly more to say. The one thing I did like in Jimmy Corrigan was the architecture...well, Polyp is an architect, and that gives us the way in to what Mazzuchelli is getting at here, expressed in a staggeringly versatile art which gives key characters their own art styles and then lets those spheres of influence ebb and flow into each other as a way of investigating how our own subjective worlds sometimes, somehow do manage to connect.
I don't want to get carried away here - obviously it's no All-Star Superman - but for people who really can't stand reading anything involving superheroes or robots or magic or teenage antics (ie, anything genre; ie, anything fun) then this may be the best comic in the world.
alexsarll: (Default)
"You know, you spend your childhood watching TV, assuming that at some point in the future everything you see there will one day happen to you: that you too will win a Formula One race, hop a train, foil a group of terrorists, tell someone 'Give me the gun', etc. Then you start secondary school, and suddenly everyone's asking you about your career plans and your long-term goals, and by goals they don't mean the kind you are planning to score in the FA Cup. Gradually the awful truth dawns on you: that Santa Claus was just the tip of the iceberg - that your future will not be the rollercoaster ride you imagined, that the world occupied by your parents, the world of washing the dishes, going to the dentist, weekend trips to the DIY superstore to buy floor-tiles, is actually largely what people mean when they speak of 'life'.Now, with eery day that passes, another door seems to close, the one marked PROFESSIONAL STUNTMAN, or FIGHT EVIL ROBOT, until as the weeks go by and the doors - GET BITTEN BY SNAKE, SAVE WORLD FROM ASTEROID, DISMANTLE BOMB WITH SECONDS TO SPARE - keep closing, you begin to hear the sound as a good thing, and start closing some yourself, even ones that didn't necessarily need to be closed..."
An early passage which goes some way to summing up the sprawling, glorious boarding school tragicomedy of (extended) adolescence that is Skippy Dies by Paul Murray. Set in a boarding school, the perspective shifts between a young teacher, wondering if he's supposed to have grown up yet, and the boys - Skippy among them - at the other end of the same inconclusive journey. Even if it were a lot less ambitious than it is, the sheer verve with which Murray catches the dynamics of schoolboy interaction would make this worth reading; I was especially taken with alleged lothario Mario, and his friends' gradual realisation that you should never take advice on girls from anyone who has a lucky condom. But Murray is going for something much bigger than that; I would say that his critique of the modern managerial approach to schools, embodied in acting head 'the Automator', is heavy-handed, except that I recently heard about my old school's new motto 'Together Everyone Achieves More (TEAM)'. And it takes a while for the M-theory subplot to make clear what it's doing in the book except providing a hobby for Skippy's room-mate, the rotund genius/bullsh1tter Ruprecht. There is, as well, a little too much event, and not quite the same charm, in the book's final third, once the eponymous event has come to pass. Still, it was a Booker longlist entry which looks a lot better than most of the shortlist* and, given this was only his second novel, I will take great interest in Murray's further work. So much quotable stuff in there, but I shall restrain myself to one more:
"Violence solves everything, you idiot, look at the history of the world. Any situation they have, they dick around with it for a while, then they bring in violence. That's the whole reason they have scientists, to make violence more violent."

Beyond that, plenty of pubbing this weekend and one rather splendid gig at which, for the first time, I saw the Video Club and the Art Goblins, two noughties indie outfits I feared I had missed forever. And what outfits - the Video Club resplendent in Regency frills and a flashing green line protruding from the keyboardist's fly, Art Goblins in matching jackets like a fifties US street gang. Plus Small Crew, Dream Themes and Mr Solo, and possibly too much of the Buffalo Bar's house white. Happy times.

Trinny & Susannah: From Boom to Bust is a lot better than a spoof documentary about makeover presenters has any right to be. The chap who played Nathan Barley is especially brilliant/odious as their faithless agent.

*I do also have Tom McCarthy's C out of the library - and while I've yet to start it, it's pretty unprecedented that I would even attempt two books from a modern Booker longlist, so they're doing something at least that right.
alexsarll: (crest)
Since last posting, I have:
- Kicked arse at the Man who Fell Asleep's bookshop quiz, then wandered home drunk on victory (and possibly alcohol) singing along to the World/Inferno Friendship Society and not realising it was out loud until I registered the funny looks.
- Seen The Melting Ice Caps' new line-up and Mr Solo at the Library, which has stroboscopic loos that make you feel like you're being hypnotised by the KGB, and light-stands which are uncomfortably close to book burning. Fine shows by both, but while some gigs leave you in the mood for a RAMPAGE, others leave you a bit dreamy and more fitted for a slow wander home through the trees with the closing movement of Promenade on the headphones. So I didn't go on to Nuisance.
- Been to various birthday and engagement celebrations. At one, in the park, we celebrated the miracles that are mobile internet access and Wikipedia by seeing how much of the entry for Uranus is funny if you read it out loud (pretty much all of it, obviously).
- At another we made the sad discovery that you really can't go back; even if Ale Meat Cider has rum cask cider, it may not be the same rum cask cider. Sad times.
- Seen a fan club show by Orchestral Manoeuvres in the Dark, whose new logo looks a bit like a cock, but whose new songs include at least one which is fit to stand alongside 'Electricity' and 'Enola Gay', which is handy given they played those two as well.
- Got drenched en route to another birthday which was in fact a pub quiz. So it goes.
- Seen Let The Right One In, which is a charming Swedish film about childhood, being alone and finding someone who understands, and Crank 2: High Voltage, which is none of those things except 'film', and even then you could argue that it has more in common with pop video and computer games. Still, they both have a bit of the old ultraviolence, and that's the main thing, isn't it?
alexsarll: (bernard)
The bubbling 'SPRING BREAK!' excitement of Maundy Thursday collapsed somewhere between rain and general inertia, leaving me with a QNI instead, so on Good Friday I was rather making up for lost time. This was error. A while back I learned an important lesson: never try to do three drinking events in a single day. On Friday, some cocktail of consolation, 'Tesla Girls' and seat of the pants theology saw me forget that lesson. It won't happen again - or at least, not for another few years. Good to hear Herman Dune in a pub, though.

On Saturday...well, I've already posted about Saturday's main business. But then I headed out for a quiet pint in the Ewok Village while we had it all to ourselves (always the best way for a pub (garden) to be), then on to the Mucky Pup. Which was full of people I didn't recognise even a little, something I'm not used to in North London. All of them split into very distinct little tribes, too, in spite of how small the pub was - lots of rockabilly girls with tats at one table, and stereotypical lesbians at the next, and one man with a lightning flash shaved into the back of his head, and one man who had the angriest face in the world but wasn't angry at all. The only problem, aside from my fragility after the night before, was that the Mucky Pup doesn't have a dancefloor, and when they're playing loud and dirty stuff like the Cramps, that's not really ideal for sitting and chatting. Cue for an early night.

PopArt's Cure special on Sunday kicked off with Girls On Film, who were very loud and did a good 'Cut Here', then Typewriter, with 'A Forest' and some great Barney Sumner stage presence from Matt. Then two bands I didn't know, so the Hell with them, time to sit outside. Keith TOTP had his own inimitable take on gothing up, drawing 'My Cold Black Heart' on one side of his shirt and writing 'I Never Asked To Be Born, Mother' on the other. Ace. He joined in with Mr Solo for a set whose lack of Cure cover can be forgiven on grounds of general awesomeness, but before them it was the White Witches punking their way through 'Killing An Arab' - a song even the Cure have now apparently retitled in case people miss the point. Jessies.

Monday brings the Greenford Tubewalk. Greenford still has a wooden escalator at the station - but only going up. Opposite the station is an estate agent's called Brian Cox & Company. And our walk begins through a park called Paradise Fields. What wonderland is this? Well, no. Within Paradise Fields the map indicates an area called The Depression, which is more like it, though at least the empty 12-packs of Durex around its margin indicate that the local people are taking steps to cheer themselves up. At our destination, Northolt, we pass a Harvester just before the station. Fortunately, from the station we can just make out another pub sign in the distance. Has to be worth a try, because how can it be worse than the Harvester? Here's how: it has burned down, and only the sign remains.

Yesterday I went to Hampton Court Palace. What's the first thing that springs to mind about Hampton Court Palace? It's the maze, isn't it? Well, the maze is rubbish. I expected something out of Terry Gilliam - or at least The Goblet of Fire. But you can see through the hedges! They're barely higher than my head! The overall area of the maze is probably smaller than that of the Monarch!
Fortunately, the rest of the place is brilliant. Swans getting confused by fences! More tapestries than I think I've seen in my life to date! The largest vine in the world! A palace in two styles which don't go together at all yet somehow work! Just like Brian Cox (not the estate agent) was saying on the last Wonders about how Earth has complex life because it's been stable enough for long enough, so with Britain - it's our knack for muddling along which leaves us with palaces like this whereas in more volatile lands like France they end up with constructions which are grand, unified and slightly dull.
alexsarll: (menswear)
Saturday night: a double bill of bands whose videos I've been in, so I was expecting to get mobbed by Youtube enthusiasts but people just seemed to watch the bands instead. I suppose they are both ace, so fair enough. If further proof were needed, I heard Loyd Grossman tell Brontosaurus Chorus "that was really good" in his actual Loyd Grossman voice. Didn't stick around for his band, though. Watching Loyd Grossman's pub rock band is a bit like shagging the Queen - worth it for the pub anecdote if you've got nothing else on, but if there's another offer you'd enjoy, it's just perverse. Of course, that did also mean missing Mr Solo but hey, it's only a fortnight since I saw him. The Queen-shagging analogy doesn't extend to that bit, I don't think. But off to Don't Stop Moving for pop we went. Whenever I go to two things with music in one night, however varied the remits, there will always be at least one song played at both, and this time it was 'Uptown Top Ranking'. Not the Black Box Recorder version, alas. In between playing 'Identify What The Own-Brand Confectionery Is Imitating' (and usually very well, both as in I guessed them all and they were all indistinguishable in taste from their more famous prototypes) I danced rather a lot, including twice to Lady Gaga's 'Bad Romance'. I think that, helped by the Camden Head's pleasingly overpowered soundsystem, I may be on the verge of being worn down/won over.

On Friday I wasn't going to go out because of the storm, but then it hit me - that's precisely the reason to go out, because hearing the great wind batter against the windows is fun but seeing the leaves lashed by air and water, the hurrying shadows from the Fullback's smoking pagoda is so much better. The best moment came when one gust caught a pub table umbrella, sending it pirouetting high into the air - and then plummeting clumsily down the central well, like the suicide of a ballerina attempting one final gesture against gravity. Except obviously I didn't say that at the time, going instead with 'oh my god' followed by 'sack the juggler'.

Thursday was the release party for the new issue of Phonogram, except it's not out yet because of some printing cock-up, but I did end up with an issue anyway. Don't bother trying to follow that. The point is, I think this is my favourite issue of The Singles Club. I said earlier on in the series, and [livejournal.com profile] azureskies notes from the other end here, that with this prismatic run of individual experiences of a night, it's not so much about the craft of the comic, because that runs at a consistently high standard; it's about which issues are your experiences, your people, your bands. And of all the music so far (yes, even 'Atomic') my favourite is the Long Blondes. This issue reminds me why, while also reminding me why I took them off my MP3 player - "My life is neither as good or bad as a Long Blondes song, but I have the sense and understanding that perhaps...well, perhaps one day it may be". More so even than the work of Greg Dulli, they are music to do bad things to. And yet after this issue, the first album is back on the MP3 player.
(Also out this week from Gillen and (partially) McKelvie, S.W.O.R.D. which Gillen correctly describes as His Girl Friday in space. Top fun, but I think I may enjoy it even more once the obligatory Dark Reign tie-in is out of the way because for all that it was a timely and smart direction for the Marvel Universe, I am starting to get a leetle tired of it)

The House Beautiful is having the Bathroom Slightly Grotty renovated, which while it's not before time, is mildly inconvenient in the meantime, especially what with me not needing to be at a job during the day or anything because of the whole 'epochal depression' business. Meaning that by the time I'd normally be surfacing in the morning, today I had already showered, dressed and watched Hard Candy. I remember this being much praised at the time - a hard-hitting but thoughtful and taut drama about paedophilia. Mainly, though, I just found myself thinking that now To Catch A Predator does the entrapment bit for real, TV doesn't exactly need this, and that as a two-hander which mostly takes place in one house, it would work much better as a play.
Also, I totally failed to register that the male lead was the guy who played Nite Owl.
alexsarll: (pangolin)
Anyone else been on the new Overground trains yet? Nice and spacious and all, but what's with the weird handles on the windows? I spent a minute trying various methods of opening them before being told by another passenger that they didn't open - and I remain unsure whether she knew this from another source, or had just been defeated by them herself. If she was right, then why do they look like they open when they don't? Must we be taunted so?
Anyway, I was aboard for my second trip (this year/ever) to Kew Gardens, which has the advantage not only of being so massive that you'll never cover it all in one visit, but of changing with the seasons so that even the bits you did see and love in summer are beautiful in entirely different ways come autumn.

Up is, as everyone has said, heartbreakingly beautiful. The effect of the ascending house works on a primal level, and the first twenty minutes is not only terribly, terribly sad - it explains to children how old people happen, something which always puzzled me at that age. Plus, the moral in so far as there is one is pretty much terrifying - not only that 'life is what happens while you're making other plans' but that, even if you do complete those plans, the result won't satisfy you because humanity doesn't do satisfaction. So it's perhaps appropriate to note that this is not the perfect film I keep seeing it hailed as. In particular, there's an odd moment-by-moment indecision as to whether it operates by cartoon physics or real world (or at least, adventure film) physics, meaning I didn't always know what consequence to expect from an action, how seriously to take any given jeopardy.

Back in the day, Doctor Who had a bit of a tendency to spoiler itself with the episode titles; it's difficult to be excited by the end-of-episode-one reveal of the villain behind events when the story is called Attack of the Cybermen or Revelation of the Daleks. The Sarah Jane Adventures has now managed to get itself into a similar situation more obliquely, in that if the story title includes Sarah Jane Smith's full name, it always seems to indicate the same adversary. Still great to see him facing up to the Doctor last week, though.

Still recovering slightly from a nightlife-heavy weekend. Poptimism was down to core personnel, on top of which strangers came - and not ones who wanted to dance which would have been grand, but ones who just sat there looking like disgruntled darts players. Nonetheless, an enjoyable night. Prom Night, on the other hand, was swarming with people who were very much on the right wavelength - Jareth from Labyrinth and the disembowelled nerd were particularly impressive, but at ever turn there was another great costume. I felt almost underdressed, particularly since a year without practice meant it was midnight before I really remembered how to wear my cloak to best effect, but I still danced until my feet hurt, and then some.
Out on the streets, though, Hallowe'en falling on a Saturday seemed to mean amateur hour - I saw a few zombie/vampire/witch hybrids who seemed to have been taking tips from Alan Partridge, and some inexplicable blackface (but orc black not black person black, so far as one could tell. Are chimney sweeps spooky?). Also, a puzzling preponderance of Beetlejuices.
And on Sunday, the PopArt Bowie special. Nightbeast aka The Sex Tourists aka White Witches and Jonny Cola both did fine Bowie covers, Mr Solo didn't bother but hey, he's Mr Solo, he can do what the Hell he likes, even bring along an alter-Devant band with aliases of the Detective, the Czar and the Inquisition. The night ended with the PopArt Allstars doing a whole set of Bowie covers for which, on balance, you had to be there.
alexsarll: (crest)
A moment of unexpected beauty: walking to the dole office, hardly the highlight of my week, I find myself striding through a rain of blossom just as, on my earphones, the Indelicates' 'Unity Mitford' peaks. I've just found a lovely map of fairy places, but can't help but feel it has slightly missed the point when enchantment lurks around every corner if you get the moment right. And so often this week, the moment has been right - spring just starting to feel confident that it's here to stay, the grass going mad to get as close to the sun as quickly as possible, everything alive. Everything possible.

Gigging galore over the past week; last night was the first full Soft Close-Ups show, in the Vibe Bar. Does Brick Lane have more curry houses or complete tossers? It's a close-run thing. The Vibe Bar seems to acquire new rooms every time I visit, and now has an atrium, a giant eagle, a postbox and what looks like a hotel. The set was hampered by the poor sound quality one comes to expect at multimedia art happening experiences, but otherwise wonderful, and I'm not just saying that because [livejournal.com profile] augstone took my advice after the last show about resurrecting the axe god moves, pedals and feather boa. Or feather boar, as I just typed.
On Tuesday at the less up-own-jacksie Lexington, Jonny Cola & the A-Grades and Glam Chops, both as stylish and pop as ever, the latter with a new jumpsuit for Eddie, whose new Art Brut album came out the day before but who was still here playing small shows with two of his side-projects. The other being Keith Top Of The Pops And His Minor UK Indie Celebrity All-Star Backing Band, a poorly-recorded version of whose excellent show you can see here. I can't decide whether the highlight was 'I Hate Your Band', with [livejournal.com profile] thedavidx and James Rocks playing each other's guitars while Keith sings "you could swap members, you could swap songs", or Fvck The MSP, with its rousing final chant of "Nicky Wire can suck my cock", something I hesitate to mention on the internet lest someone write the slash fic where Nicky Wire does exactly that to all 16 members of the band, including the girls.

Listening to the new Decemberists album, I wonder, as I did with the last two, why the same band who can sound so genuinely...unearthly is the wrong word, because I think of our Earth's past, or at least our Earth's past as it should have been, so say 'out of time'...on most of the songs, manage to sound so like a pedestrian indie outfit on the rest. The one which appears to have escaped from a poor PJ Harvey album in particular. Still, all considerably better than the new Bat For Lashes, which I don't even know why I bothered stealing - it doesn't even have one delightfully eerie single like the first album, it's just boil-in-the-bag kookiness for dull people.
alexsarll: (crest)
Every so often, I flick back through my Livejournal to see what I was doing on this day ago. So this weekend, I found that it was a year since I'd last been on a doomed expedition to find anything of artistic worth in the Hayward Gallery, before dawdling along the rest of the South Bank instead. This time, the things which actually gave me the shock to which modern art aspires were a robot wrapped in plastic in the BFI corridor, and seeing the huge doors on the side of the Turbine Hall open for the first time - though we did get some laughs from Joan Miro's muff obsession.
It's also a year since I saw the Indelicates launch the album of 2008, American Demo. And now they're back with some new stuff mixed in to the set - 'The Recession Song' has already been doing the rounds, ditto Simon's 'David Koresh Superstar' side-project (but what a perfect source for a song to spice up the Easter set). But the new song proper, 'Savages'...oh, it's lovely. More 'New Art For The People' or '...if Jeff Buckely had Lived' than 'We Hate The Kids', more beauty than bile (but with plenty of bitterness still because this is, after all, an Indelicates song).
Their Cargo show on Tuesday is a Club Attitude event, intended to encourage disabled people to attend gigs. Whether incapacity benefits would cover Cargo drinks prices is another question, but the photographer whizzing around in a pimped wheelchair is pretty swish, and the sign language guy...I'm used to sign language guys being expressionless berks in red sweaters who obscure a quarter of the screen when I'm trying to watch a late-night film, and who just make me think 'What's wrong with subtitles?' This man feels like part of the band from the start, getting into it, really conveying the spirit of the music as well as the words. He is an artist. Plus, he looks like Ming the Merciless crossed with [livejournal.com profile] moleintheground, so watching him sign "but for the come in your hair" was always going to be classic.
No signer on Saturday, but there is Mr Solo, in a more conventional gig format than I usually see him, and as such, with an audience who seemed less appreciative. I think they must have been the peons there en masse for the other band, whose name happily escapes me.

Between my own sluggish attempts at getting up after the Bank Holiday excesses, and the dearth of Uxbridge trains, it was apparent to me yesterday that I was going to be late enough for the Tubewalk that I couldn't in all conscience ask everyone to wait for me - I decided instead to trust to synchronicity, and set off on my own walk in the rough direction of Rayner's Lane. Which didn't bring me to the expeditionary force, but did find me a wonderful little streamside park, and a house so tumbledown and overgrown that rather than thinking 'slatterns' it makes you think 'Sleeping Beauty in Pinner', and a very confused mouse lost on a main road.

Dear Gordon - I know you're a bit busy at the moment on account of your aides being a shower of arses who can't even run a smear campaign without tripping over themselves, but you should still be aware that there is, by definition, no such thing as a 'compulsory volunteer'. Such work is not 'voluntary', it is simply 'unpaid'. And mandatory unpaid work is called 'slavery'.
(ETA: This article has been tidied up since it was first posted, and now uses 'voluntary' considerably less than it did. But it still uses it, so the point still stands)
Another great move by the party of labour there - getting back to the old socialist roots with work camps, while simultaneously depressing the job market by providing a free alternative!
Though arguably the whole issue is academic, given it hinges on Brown winning the next election.

Margaret Drabble, in a piece about coping with depression, wisely recommends walking. But more interestingly, she also mentions "I've met only one writer who frankly admits that if it hadn't been for the drink, he'd have committed suicide long ago. Nobody would publish his book on alcohol as life-saver, because everyone is keen to toe the safer party line that it's really a depressant." I'd like to read that book, if anyone fancies running the neo-Puritan blockade. Bet it would have been all over the place if Wee Charlie Kennedy were PM.
alexsarll: (magneto)
May have mentioned this before, but I'd have a lot more time for christianity if they made something of today. At present it's the awkward, slightly embarrassed non-Bank-Holiday of the weekend, in spite of marking the best bit of the story - the Harrowing of Hell. Where Jesus goes down to the Inferno, and busts out all the righteous men who lived before he came. I mean, sod Mel Gibson's SM epic, this is the Jesus film I'd watch. Think the prison break from Watchmen, but with Jesus as Nite Owl, the Holy Ghost as Silk Spectre and Moses as Rorschach. Plus demons.
Today also marks 383 years since Sir Francis 'Not That One' Bacon caught his death of cold by stuffing a chicken with snow - which I now discover took place on a journey between Gray's Inn and Highgate, ie very possibly along the Holloway Road. Last night I too faced a bathetic yet appalling incident on the Holloway Road, to wit, a Brummie ZZ Top covers band polluting Big Red, and not even playing the good songs. So we pissed off to another pub where the only distraction was the BBC showing of The Others, which we loudly spoilered before realising that some of the patrons in the other room were properly watching it. However, when the end was reached, they appeared not to have registered our unwitting intrusion. Possibly spoilers ) Or possibly they were just drunk.

This evening: Doctor Who, The Indelicates and Mr Solo. Which between them are keeping me going though the morning oppresses with a quite supernal greyness.

Teetering

Jan. 23rd, 2009 05:41 pm
alexsarll: (magnus)
I'm surprised more hasn't been made of Mick Harvey leaving the Bad Seeds. Mick's been working with Nick since The Boys Next Door, and I've always wondered how much of what we think of as Cave is in fact Harvey, particularly when listening to Harvey's other projects. I suppose now we get to find out.

Final Crisis: Superman Beyond's second issue confirms that this is the comic Final Crisis should have been. Yes, Grant Morrison is reusing his old tropes again - breaking the fourth wall, Limbo, the self-evolving hyperstory, creators trapped in creation - but here there's a manic, fizzing joy and ingenuity I'm not getting from the parent Rock of Ages reprise. Some great 3D sequences, too - though should you happen, as I did, to look out of the window with your glasses still on, it brings a real moment of Crisis terror - RED SKIES!
Elsewhere in comics, Bendis' Dark Avengers may not have any lines to equal the best of Warren Ellis' Thunderbolts run, but in so far as it's taking that series' concept - Marvel's biggest bastards given the keys to the kingdom - to the next level, I'm very much interested. Thunderbolts, meanwhile, has gone deeper and darker under Andy Diggle, and this issue includes a considerably more substantial Barack Obama appearance than that meaningless fluff-piece of a Spider-Man back-up strip, albeit to considerably less fanfare.

Have been left with a nagging sensation that I've not used my leisure to best advantage this week, to the extent that I started getting quite angry with myself/the world and had to go wander the British Museum for a while to calm down. Silly, really - even aside from the nebulous business of Seeing Nice People, I've watched another Losey/Pinter/Bogarde masterpiece, Accident; seen the Soft Close-Ups and Mr Solo; and made a reasonably good start on Ulysses, so it's not as if I'm flicking myself off to Trisha just yet.

I know list articles are intrinsically pointless, and I know they're designed to provoke quibbling, so I'm not going to get up in arms about the omissions from the Guardian's Novels You Must Read, or the times where they've chosen a book which isn't the author's best. And I should be glad, I suppose, that one of the seven sections was science fiction and fantasy. But since when was Kavalier & Clay, The Man Who Was Thursday or The Wasp Factory science fiction or fantasy? They may not be dull enough to be literary fiction, but none of them takes place in a world that is not the consensus version of this one - except in so far as they are not true. If we say that the fictional comics in Chabon's book make it an alternate world, then so does the fictional MP in The Line of Beauty, and down that line every book bar the most tiresomely domestic becomes SF. Which would amuse me at least a little, it's true, but is patently nonsense.
alexsarll: (menswear)
Can anyone find a definitive story on which version of Battlestar Galactica the lorry driver was watching at the wheel? Obviously there's no excuse for inattentive driving, but if he's hooked on the new version I can at least sympathise - whereas if he was watching the original, as some reports claim, then add bad taste to dangerous driving and throw away the key.

Went to that big Concrete and Glass festival last night. Well, sort of - I went to one venue right on the periphery where the only three bands who interested me* were very thoughtfully all playing not only in the same venue, but the same room. [livejournal.com profile] augstone and I attempted to take advantage of this by smuggling chairs into that room, but others, jealous of our seating, stood spitefully in front of us. Not a bad little venue, either - called the Brady Arts Centre. You could tell it didn't get used for many gigs, though; when I first walked in the lights were blinding, and you could smell the scorch as the dust burned off them, like the first time a radiator goes on in Autumn. They'd also had to bring in a bar - and not just cans, draught, but you could see the workings giving it a splendid mad scientist's lab feel - "You call me mad? I, who have created pints?" And they were using the bottom drawer of a fridge for the cashbox. A sign on the door to the garden said children shouldn't play unsupervised, because there was an open pond; I went out looking for it, didn't find it and was briefly locked out.
Weird being in Whitechapel a day after playing binge catch-up on Warren Ellis'
Freakangels.

I've been reading two biographies of peculiar writers, AJA Symons' The Quest for Corvo and Steve Aylett's Lint. Though written 70 years apart, they have a lot in common. Both writers, like so many, struggled to find success during their lifetime - something one cannot in all honestly be completely surprised at given the work. Lint's novels included I Blame Ferns, Nose Furnace and Sadly Disappointed (about a child who is not possessed by the devil); he was also the writer of the short-lived TV show Catty and the Major and the seventies comic The Caterer. Corvo wrote historical romances, translations from languages in which he was not fluent and a history of the Borgias in which he refused to use the word 'poison' and which he eventually disowned in an argument over grammar, but is best known for Hadrian the Seventh, a book in which his Mary Sue becomes Pope and saves the world, the efforts of thinly-disguised versions of his enemies notwithstanding. On which note, both had a knack for making enemies. Lint favoured the principle of 'effortless incitement', by which he was able to provoke violence even in casual passers-by, but was the subject of particular loathing from the critic and dullard Cameo Herzog (author of the Empty Trumpet books); Corvo had a spectacular feud with the Aberdeen Free Press, but beyond that was convinced that all the forces of the Catholick Church were arrayed against him (he had failed in two early bids for the priesthood, in spite of a liking for young boys). Of course, upon their deaths such enemies as had outlived them were quick to change their tune and hail their genius - something which threw several of Lint's enemies given the persistent 'Lint is dead' rumours during his lifetime. Both cut odd figures - "Lint filled the room like a buffalo, with a haircut like a Rolodex and a greying beard like a surf explosion", while Corvo described himself as a "haggard shabby shy priestly-visaged individual". Corvo claimed to have invented colour photography; from childhood Lint was obsessed with the search for new and unnamed colours. Both have been survived by their work (and in Corvo's case by his handwriting), leading to small sodalities of devotees - Stephen Fry is among Corvo's fans, while Alan Moore gives a rave review of Lint on the back of Aylett's book. Lint, described by Gore Vidal as "entering the world of letters like a fat man jumping into a swimming pool", died while writing his thankfully incomplete attempt at autobiography, The Man Who Gave Birth To His Arse; Corvo left the scandalous The Desire And Pursuit Of The Whole, having earlier declared "I am now simply engaged in dying as slowly and as publicly and as annoyingly to all of you professing and non-practising friends of mine as possible", attempted to commit suicide by gondola and then threatened to publish an edition of pornography in the names of his enemies (their crime, for the most part, that they declined to 'lend' him further money once it became clear that they were never going to get the last lot back).
Neither of these men is quite plausible, but one of them is real.

"Oddly inspiring and supremely pointless" - Andrew from Swimmer One interviews Bill Drummond.

Bran Mak Morn - the movie. With a Solomon Kane film also in the works, could it be that one day not that far away, Robert E Howard will no longer just be known as 'the Conan guy'?
(The director's past work does not enthuse me, it's true, but he does mention that he's also a fan of Slaine)

*Flipron, (The Real) Tuesday Weld and Mr Solo, whose band now contains more people than David Devant. All very good, obv.

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