#John Davis Metropolis Studios

[fyeahcindie]

Title track off the long-awaited album from 烏兔 WUTU (the band formerly known as 旅人 Pilots In The Sky And On The Sea)   =D

This song has more of an synth-tronic arrangement than their Pilots material.  They released another track as a single last winter, a tune with a dark, menacing feel.  We posted it HERE, please do check it out!  

MV: Script / Handwriting: 王秀琳 Maggie Wang Illustration: 羅朕安 Ann Lo Animation: 張舜閔 MicFilmStudio SONG: Production: 烏兔 WUTU Co-Production / Recording / Mixing: Troy Lin 林昀駿 Mastering: John Davis (Metropolis Studios) Lyrics: 王秀琳 Maggie Translation: Rob Chen WUTU are: 王秀琳 Maggie: Vocal, Synth 羅朕安 Ann Lo: Guitar 王重陽 Yang Yang: Guitar (Bass/Vocal in You Kids Have Fun 重陽路上小心 and Gtr in 荒山茉莉 Molly in Mountain) 許澤民 Benjamin: Bass Guitar (Voc/Gtr in South Bad Boy) 潘睿翊 Jason Pan (小潘): Drums (also in 神棍樂團 ZenKwun)

Links:  Spotify,  Instagram,  YouTube,  WUTU Bandcamp,  Old Bandcamp (has the Pilots 1st ep),  Maggie Instagram.

Bonus clip:  This is the most recent single from Ben’s other band, South Bad Boy:

South Bad Boy Links:  Instagram,  YouTube,  Spotify,  StreetVoice

[human363]

[m3t4ln3rd]

Green Lung announce new effort Black Harvest; stream first single "Leaders of the Blind"

Official press release: Green Lung have re-emerged from their mulchy catacombs to present the follow-up to their debut album, Woodland Rites. Black Harvest will be released this autumn on October 22nd via Svart Records. The first single from the record, “Leaders of the Blind”, is streaming now via Decibel Magazine. Black Harvest will be available on heavy-weight vinyl, CD, and digital formats,…

[collectorscorner]

CC Blogger - New Arrivals @ Collectors Corner : Wednesday 1/6/21

Collectors Corner Parkville - HQ : OPEN for IN STORE SHOPPING with Strong Safety Measures in Place (Hand Sanitizing Stations, Masks Required for All, Social Distancing Required, Limited Capacity, CURBSIDE Pick Up Optional) - According to Baltimore County Guidelines. 1-410-668-3353.

CC Parkville - 2020/2021 STORE HOURS, Sunday 12-6, Mon-Tues 12-7, Wed 9-8, Thurs 11-7, Friday & Saturday 11-8

Collectors Corner - Bel Air Outpost Location : OPEN for IN STORE SHOPPING with Strong Safety Measures in Place (Hand Sanitizing Stations, Masks Required for All, Social Distancing Required, Limited Capacity, CURBSIDE Pick Up Optional) - According to Harford County Guidelines. 1-410-838-1777.

CC Bel Air - 2020/2021 STORE HOURS, Sunday 11-5, Monday/Tuesday - Closed, Wednesday 11-8, Thursday 11-7, Friday/Saturday 11-8

Complete list of items shipping to the stores, some items may be limited in availability. If you see anything you want to purchase on the list and are not a subscription member at Collectors Corner, just contact us and let us know if you want an item held at the stores. email - collectorscornermd@comcast.net

Subscription Membership & Free Membership Card : Collectors Corner's No Obligation (FREE) Membership Card or FREE (In Store) & ONLINE Subscription Membership saves you 10% Off ALL Bagged & Boarded Comic Book Back Issues, Board Games, Graphic Novels, Manga & Special Orders. Plus Never miss a comic again!

Computerized and organized + you can add and cancel titles on your subscription list from home on your own time, or in the store when you pick up your comics at :

Maryland's Coolest Stores! Since 2001.

2 Super Cool & Convenient Locations -

CC PARKVILLE - HEADQUARTERS 7911 Harford Rd Parkville, MD 21234

&

CC BEL AIR - OUTPOST 17 N. Main St. Bel Air, MD 21014

www.collectorscornermd.com

PUBLISHER/TITLE/PRICE

ACONYTE Marvel Legends Of Asgard The Sword Of Surtur Novel SC, $16.95

AFTERSHOCK COMICS Artemis And The Assassin TP, $16.99 Cullen Bunn Library All My Little Demons A Complete Series Omnibus HC, $79.99 Join The Future TP, $16.99 Knock Em Dead #2 (Cover A Andy Clarke), $3.99 Knock Em Dead #2 (Cover B Ray Lago), AR Scout’s Honor #1 (Cover A Andy Clarke), $4.99 Scout’s Honor #1 (Cover B Brent Schoonover), AR

AHOY COMICS Happy Hour #3, $3.99 Wrong Earth Night And Day #1, $3.99

AWA STUDIOS Resistance Reborns #1 (Cover A Rahzzah), $3.99 Resistance Reborns #1 (Cover B Mike Deodato Jr.), $3.99

BOOM! STUDIOS Buffy The Vampire Slayer #21 (Cover A David Lopez), $3.99 Buffy The Vampire Slayer #21 (Cover B Marguerite Sauvage), $3.99 Buffy The Vampire Slayer #21 (Cover C Becca Carey Ring Of Fire Variant), $3.99 Buffy The Vampire Slayer #21 (Cover D David Lopez), AR Klaus The New Adventures Of Santa Claus GN, $17.99 Last Witch #1 (Cover A V.V. Glass), $4.99 Last Witch #1 (Cover B Jorge Corona), $4.99 Last Witch #1 (Cover C Peach Momoko), AR Mighty Morphin #1 (In-Hyuk Lee 3rd Printing Variant Cover), $4.99 Mighty Morphin #2 (Dan Mora 2nd Printing Variant Cover), $4.99

COMIC SHOP NEWS Comic Shop News #1742, AR

DARK HORSE COMICS Atomic Legion TP, $19.99 Harrow County Omnibus Volume 1 TP, $29.99 Savor TP, $14.99

DC COMICS Batman Adventures Robin The Boy Wonder TP, $9.99 Batman The Caped Crusader Volume 5 TP, $17.99 Dark Nights Death Metal #7 (Of 7)(Cover A Greg Capullo & Jonathan Glapion Foil Embossed Variant), $5.99 Dark Nights Death Metal #7 (Of 7)(Cover B David Finch The Batman Who Laughs Variant), AR Dark Nights Death Metal #7 (Of 7)(Cover C Stanley Artgerm Lau The Batman Who Laughs Variant), AR Dark Nights Death Metal #7 (Of 7)(Cover D Jae Lee The Batman Who Laughs Variant), AR Dark Nights Death Metal #7 (Of 7)(Cover E Doug Manhke), AR Dark Nights Death Metal #7 (Of 7)(Cover F Greg Capullo & Jonathan Glapion Black & White Variant), AR Dreaming Waking Hours #6 (Of 12)(Cover A Nick Robles), $3.99 Future State Harley Quinn #1 (Of 2)(Cover A Derrick Chew), $3.99 Future State Harley Quinn #1 (Of 2)(Cover B Gary Frank Card Stock Variant), AR Future State Harley Quinn #1 (Of 2)(Cover C Jenny Frison Wonder Woman 1984 Card Stock Variant), AR Future State Superman Of Metropolis #1 (Of 2)(Cover A John Timms), $5.99 Future State Superman Of Metropolis #1 (Of 2)(Cover B In-Hyuk Lee Card Stock Variant), AR Future State Superman Of Metropolis #1 (Of 2)(Cover C Blank Card Stock Variant), AR Future State Superman Of Metropolis #1 (Of 2)(Cover D Frank Cho Wonder Woman 1984 Card Stock Variant), AR Future State Swamp Thing #1 (Of 2)(Cover A Mike Perkins), $3.99 Future State Swamp Thing #1 (Of 2)(Cover B Dima Ivanov Card Stock Variant), AR Future State The Flash #1 (Of 2)(Cover A Brandon Peterson), $3.99 Future State The Flash #1 (Of 2)(Cover B Kaare Andrews Card Stock Variant), AR Future State The Flash #1 (Of 2)(Cover C Nicola Scott Wonder Woman 1984 Card Stock Variant), AR Future State The Next Batman #1 (Of 4)(Cover A Ladronn), $7.99 Future State The Next Batman #1 (Of 4)(Cover B Jim Lee & Scott Williams Card Stock Variant), AR Future State The Next Batman #1 (Of 4)(Cover C Blank Card Stock Variant), AR Future State The Next Batman #1 (Of 4)(Cover D J. Scott Campbell Wonder Woman 1984 Card Stock Variant), AR Future State Wonder Woman #1 (Of 2)(Cover A Joelle Jones), $3.99 Future State Wonder Woman #1 (Of 2)(Cover B Jenny Frison Card Stock Variant), AR Future State Wonder Woman #1 (Of 2)(Cover C Blank Card Stock Variant), AR Future State Wonder Woman #1 (Of 2)(Cover D Adam Hughes Wonder Woman 1984 Card Stock Variant), AR Generations Shattered #1 (One Shot)(Cover A Ivan Reis & Joe Prado), $9.99 Generations Shattered #1 (One Shot)(Cover B Lee Bermejo Card Stock Variant), AR House Of El Book One The Shadow Threat TP, $16.99 Just Imagine Stan Lee Creating The DC Universe Volume 2 TP (New Edition), $34.99 Wonder Woman By George Perez Volume 5 TP, $34.99

DYNAMITE ENTERTAINMENT Bettie Page #4 (Cover Q Jung-Geun Yoon Virgin Variant), AR Bettie Page #4 (Cover R Kano Virgin Variant), AR Bettie Page #4 (Cover S Joseph Michael Linsner Virgin Variant), AR Mars Attacks Red Sonja #5 (Cover L Arthur Suydam Virgin Variant), AR Red Sonja #22 (Cover Q Jae Lee Virgin Variant), AR Red Sonja #22 (Cover R Joseph Michael Linsner Virgin Variant), AR Sacred Six #5 (Cover Q Jae Lee Virgin Variant), AR Sacred Six #5 (Cover R Lucio Parrillo Virgin Variant), AR Vengeance Of Vampirella #13 (Cover P Lucio Parrillo Virgin Variant), AR Vengeance Of Vampirella #13 (Cover Q Oliver Virgin Variant), AR

GRAPHIC CLASSICS Graphic Classics Volume 1 Edgar Allan Poe’s Tales Of Terror GN, $19.95

IDW PUBLISHING Dungeons And Dragons At The Spine Of The World #3 (Of 4)(Cover A Martin Coccolo), $3.99 Dungeons And Dragons At The Spine Of The World #3 (Of 4)(Cover B Max Davenport Character Sheet Variant), $3.99 Dungeons And Dragons At The Spine Of The World #3 (Of 4)(Cover C Kayla Frazier), AR Marvel Action Avengers Volume 2 #3 (Cover A Butch K. Mapa), $3.99 Marvel Action Avengers Volume 2 #3 (Cover B Ruairi Coleman), AR Marvel Vault Of Heroes Iron Man TP, $17.99 My Little Pony Friendship Is Magic #93 (Cover A Trish Forstner), $3.99 My Little Pony Friendship Is Magic #93 (Cover B JustaSuta), $3.99 My Little Pony Friendship Is Magic #93 (Cover C Konrad Kachel), AR Sleeping Beauties #5 (Of 10)(Cover A Annie Wu), $3.99 Sleeping Beauties #5 (Of 10)(Cover B Jenn Woodall), $3.99 Sleeping Beauties #5 (Of 10)(Cover C Jana Heidersdorf), AR Star Trek Year Five #18 (Cover A Stephen Thompson), $3.99 Star Trek Year Five #18 (Cover B J.J. Lendl), AR Transformers #26 (Cover A Freddie E. Williams II), $3.99 Transformers #26 (Cover B Billie Montfort), $3.99 Transformers #26 (Cover C Alex Milne), AR Usagi Yojimbo #16 (Cover A Stan Sakai), $3.99 Usagi Yojimbo #16 (Cover B Jon Santolouco), AR

IMAGE COMICS Crossover #3 (Cover A Geoff Shaw), $3.99 Crossover #3 (Cover B Todd McFarlane), $3.99 Crossover #3 (Cover C Blank Variant), $3.99 Crossover #3 (Cover D Geoff Shaw Virgin Variant), AR Crossover #3 (Cover E Geoff Shaw Raw Variant), AR Crossover #3 (Cover F Ellipsis Design Variant), AR Crossover #3 (Cover G Todd McFarlane Raw Variant), AR Fire Power By Kirkman And Samnee #7, $3.99 Fire Power By Kirkman And Samnee Volume 2 Home Fire TP, $16.99 Getting It Together #4 (Of 4)(Cover A Jenny Fine), $4.99 Getting It Together #4 (OF 4)(Cover B Sina Grace), $4.99 Inkblot #5, $3.99 Rat Queens #24, $3.99 Savage Dragon Archives Volume 10 TP, $24.99 Unearth #9, $3.99 Walking Dead Deluxe #6 (Cover A David Finch & Dave McCaig), $3.99 Walking Dead Deluxe #6 (Cover B Tony Moore & Dave McCaig), $3.99 Walking Dead Deluxe #6 (Cover C Charlie Adlard & Dave McCaig), $3.99 Walking Dead Deluxe #6 (Cover D Julian Totino Tedesco), $3.99

INSIGHT EDITIONS 100 Greatest Looney Tunes Cartoons HC (New Printing), $24.95

MAD CAVE STUDIOS Honor And Curse #7, $3.99

MANGA CLASSICS Manga Classics Pride And Prejudice SC (New Edition), $19.99

MARVEL COMICS Aero Volume 2 The Mystery Of Madame Huang TP, $17.99 Always An Invader HC (Alex Ross Book Market Cover), $34.99 Always An Invader HC (Skottie Young Direct Market Cover), $34.99 Amazing Spider-Man #56 (Cover A Mark Bagley), $4.99 Amazing Spider-Man #56 (Cover B Philip Tan), AR Amazing Spider-Man #56 (Cover C Mark Bagley Marvel Vs Alien Variant), AR Amazing Spider-Man Epic Collection Volume 7 The Goblin’s Last Stand TP, $39.99 Avengers By Jason Aaron Volume 7 The Age Of Khonshu TP, $19.99 Avengers West Coast Epic Collection Volume 1 How The West Was Won TP, $39.99 Captain America #117 (Facsimile Edition), $3.99 Deadpool Hey It’s Deadpool Marvel Select HC, $24.99 Eternals #1 (Cover A Esad Ribic), $4.99 Eternals #1 (Cover B Alex Ross), AR Eternals #1 (Cover C Peach Momoko), AR Eternals #1 (Cover D Alan Davis), AR Eternals #1 (Cover E Arthur Adams), AR Eternals #1 (Cover F Mahmud Asrar), AR Eternals #1 (Cover G Jen Bartel), AR Eternals #1 (Cover H Boss Logic), AR Eternals #1 (Cover I Russell Dauterman), AR Eternals #1 (Cover J Dave Johnson), AR Eternals #1 (Cover K Jeff Johnson), AR Eternals #1 (Cover L Mike Del Mundo), AR Eternals #1 (Cover M Jenny Frison), AR Eternals #1 (Cover N Rian Gonzales), AR Eternals #1 (Cover O InHyuk Lee), AR Eternals #1 (Cover P J. Scott Campbell), AR Eternals #1 (Cover Q J. Scott Campbell Virgin Variant), AR Eternals #1 (Cover R John Romita Jr. Hidden Gem Variant), AR Eternals #1 (Cover S Jack Kirby Hidden Gem Variant), AR Eternals #1 (Cover T Brian Pelletier Hidden Gem Variant), AR Eternals #1 (Cover U Joe Quesada), AR Eternals #1 (Cover V Khary Randolph), AR Eternals #1 (Cover W Esad Ribic Design Variant), AR Eternals #1 (Cover X Humberto Ramos Launch Variant), AR Eternals #1 (Cover Y Esad Ribic Premiere Variant), AR Eternals #1 (Cover Z Walt Simonson), AR Eternals #1 (Cover ZA Ron Lim), AR Eternals #1 (Cover ZB Otto Schmidt), AR Eternals #1 (Cover ZC Superlog), AR Eternals #1 (Cover ZD Todd Nauck Headshot Variant), AR Eternals #1 (Cover ZE Greg Land), AR Eternals #1 (Cover ZF Takashi Okazaki), AR Eternals #1 (Cover ZG Dan Panosian), AR Eternals #1 (Cover ZH Skottie Young), AR Eternals #1 (Cover ZI Leinil Francis Yu), AR Eternals #1 (Cover ZJ Frank Cho), AR Eternals #1 (Cover ZK Blank Variant), AR Eternals #1 (Cover ZL Kirby Crackle Variant), AR Eternals #1 (Never Die Never Win Edition), AR Eternals By Jack Kirby Monster-Size HC, $125.00 Guardians Of The Galaxy #10 (Cover A Rafael Albuquerque), $3.99 Guardians Of The Galaxy #10 (Cover B Pepe Larraz Marvel Vs Alien Variant), AR Guardians Of The Galaxy By Donny Cates HC, $34.99 Hellions #8, $3.99 Incredible Hulk Epic Collection Volume 5 Who Will Judge The Hulk TP, $39.99 Infinity Crusade Omnibus HC (Ron Lim Book Market Cover), $125.00 Infinity Crusade Omnibus HC (Stephen Platt Direct Market Cover), $125.00 Iron Man #5 (Cover A Alex Ross), $3.99 Iron Man #5 (Cover B Aco), AR Iron Man #5 (Cover C Frank Cho), AR Iron Man #5 (Cover D Jung-Geun Yoon Marvel Vs Alien Variant), AR Juggernaut #5 (Of 5), $3.99 King In Black Return Of The Valkyries #1 (Of 4)(Cover A Mattia De Iulis), $3.99 King In Black Return Of The Valkyries #1 (Of 4)(Cover B Stanley Artgerm Lau), AR King In Black Return Of The Valkyries #1 (Of 4)(Cover C Stanley Artgerm Lau Virgin Variant), AR King In Black Return Of The Valkyries #1 (Of 4)(Cover D Todd Nauck Headshot Variant), AR King In Black Return Of The Valkyries #1 (Of 4)(Cover E TBD Hidden Gem Variant), AR King In Black Return Of The Valkyries #1 (Of 4)(Cover F Phil Noto Profile Variant), AR King In Black Return Of The Valkyries #1 (Of 4)(Cover G Skottie Young), AR King In Black Return Of The Valkyries #1 (Of 4)(Cover H Mattia De Iulis Design Variant), AR M.O.D.O.K. Head Games #2 (Of 4)(Cover A Cully Hamner), $3.99 M.O.D.O.K. Head Games #2 (Of 4)(Cover B David Nakayama), AR Marvel Masterworks Captain America Volume 12 HC (Book Market Edition), $75.00 Marvel Masterworks Captain America Volume 12 HC (Direct Market Variant Edition Volume 298), $75.00 Marvel Previews Volume 5 #7 (January 2021), $1.25 Miles Morales Spider-Man #22 (Cover A Taurin Clarke), $3.99 Miles Morales Spider-Man #22 (Cover B Valerio Schiti Marvel Vs Alien Variant), AR Moon Knight Omnibus Volume 1 HC (Bill Sienkiewicz Direct Market Cover), $125.00 Moon Knight Omnibus Volume 1 HC (David Finch Book Market Cover), $125.00 Rise Of Ultraman #5 (Of 5)(Cover A Jorge Molina), $3.99 Rise Of Ultraman #5 (Of 5)(Cover B Kia Asamiya), AR Rise Of Ultraman #5 (Of 5)(Cover C Photo), AR Savage Sword Of Conan The Original Marvel Years Omnibus Volume 4 HC (Adi Granov Book Market Cover), $125.00 Savage Sword Of Conan The Original Marvel Years Omnibus Volume 4 HC (Earl Noren Direct Market Cover), $125.00 Spider-Woman #8 (Cover A Jung-Geun Yoon), $3.99 Spider-Woman #8 (Cover B Dave Johnson), AR Spider-Woman #8 (Cover C Javier Garron Marvel Vs Alien Variant), AR Star Wars #10 (Cover A Carlo Pagulayan), $3.99 Star Wars #10 (Cover B Terry Dodson), AR Star Wars #10 (Cover C Chris Sprouse Empire Strikes Back Variant), AR Star Wars #10 (Cover D John Tyler Christopher Action Figure Variant), AR Star Wars Darth Vader #7 (Giuseppe Camuncoli 2nd Printing Variant Cover), $3.99 Star Wars The High Republic #1 (Cover A Phil Noto), $3.99 Star Wars The High Republic #1 (Cover B Ario Anindito), AR Star Wars The High Republic #1 (Cover C Sway), AR Star Wars The High Republic #1 (Cover D Stephanie Hans), AR Star Wars The High Republic #1 (Cover E Pascal Blanche & Gonzalo Kenny Concept Art Variant), AR Symbiote Spider-Man King In Black #3 (Of 5)(Cover A Greg Land), $3.99 Symbiote Spider-Man King In Black #3 (Of 5)(Cover B Taurin Clarke), AR Symbiote Spider-Man Marvel Tales #1 (Cover A In-Hyuk Lee), $7.99 Symbiote Spider-Man Marvel Tales #1 (Cover B In-Hyuk Lee Virgin Variant), AR Thor #11 (Cover A Olivier Coipel), $3.99 Thor #11 (Cover B Nic Klein), AR Thor #11 (Cover C Daniel Warren Johnson Marvel Vs Alien Variant), AR Thor #11 (Cover D Todd Nauck Headshot Variant), AR Uncanny X-Men Omnibus Volume 3 HC (New Printing)(Jerome Opena Book Market Cover), $125.00 Uncanny X-Men Omnibus Volume 3 HC (New Printing)(Paul Smith Direct Market Cover), $125.00 Venom #32 (Cover A Iban Coello), $3.99 Venom #32 (Cover B Ryan Stegman), AR Venom #32 (Cover C Ryan Stegman Sketch Variant), AR Venom #32 (Cover D Ryan Brown Marvel Vs Alien Variant), AR Wolverine #7 (Adam Kubert 2nd Printing Variant Cover), $3.99 X-Factor #6, $3.99 X-Men By Chris Claremont And Jim Lee Omnibus Volume 1 HC (Jim Lee Book Market Cover)(New Printing), $125.00 X-Men By Chris Claremont And Jim Lee Omnibus Volume 1 HC (Jim Lee Direct Market Cover)(New Printing), $125.00

ONI PRESS Backtrack #10, $3.99 Dryad #8, $3.99 Vain #4, $3.99

REBELLION / 2000AD 2000 AD August 2020 Prog Pack, $29.96 Fictional Man MMPB, $14.99 Judge Dredd The Complete Case Files Volume 35 TP, $29.99 Judge Dredd Megazine #423, $13.00

SCOUT COMICS Murder Hobo All Inn At The Dragon’s Shaft #1 (Cover B Joseph Schmalke)(not verified by Diamond), AR Ninja Nuns Bad Habits Die Hard #1 (Cover A Jason Copland), $4.99 Ninja Nuns Bad Habits Die Hard #1 (Cover B Liana Kangas), AR North Bend TP, $19.99 Shadow Play TP, $19.99

SCOUT COMICS – SCOOT Sengi And Tembo #1, $1.99

VALIANT ENTERTAINMENT Bloodshot Volume 3 TP, $14.99 Psi-Lords Volume 1 TP, $24.99

GAMES

NECA/WIZKIDS Dungeons And Dragons Icons Realms Demon Lord Orcus Premium Figure, AR Marvel HeroClix X-Men House Of X Play At Home Kit, AR

TOYS - T-SHIRTS & COLLECTIBLES POP Ad Icons Planters Mr Peanut Vinyl Figure, AR POP Animation South Park Faith Cartman Vinyl Figure, AR POP Coke Coca Cola Bottle Can Vinyl Figure, AR POP Games Last Of Us Ellie Vinyl Figure, AR POP Hasbro Stretch Armstrong With Chase Vinyl Figure, AR POP Marvel Zombies Wolverine Glow In The Dark Vinyl Figure, AR POP Movies Blade Runner Pris Vinyl Figure, AR POP Movies Blade Runner Rick Deckard Vinyl Figure, AR POP Movies Blade Runner Roy Batty Vinyl Figure, AR POP Movies Starship Troopers Ace Levy Vinyl Figure, AR POP Movies Starship Troopers Carl Jenkins Vinyl Figure, AR POP Movies Starship Troopers Jean Rasczak Vinyl Figure, AR POP Movies Starship Troopers Rico In Jumpsuit Vinyl Figure, AR POP X-Men Gambit Glow In The Dark Vinyl Figure, AR

[abandonmusic]

Better Way - Produced by Newton Faulkner & Darren Poole

Mixed by Liam Nolan @ Metropolis Studios

Masted by John Davis @ Metropolis Mastering

Written by Newton Faulkner & Toby Faulkner

[nigelgodrichproducer]

Nigel Q&A in The Guardian

https://www.theguardian.com/culture/live/2020/feb/21/nigel-godrich-webchat-ultraista-radiohead-producer

Nigel did a very nice Q&A for The Guardian. Reproduced here for posterity’s sake: 

Q: I saw Atoms for Peace at the Roundhouse [in London]. The lot of you seemed exceptionally into it. How much of a thrill was it to play with Flea? He seemed totally lost in the gig at points. I think Flea is one of the greatest human beings I've ever had the good fortune to spend time with, let alone make music with. He's such a generous player and probably my most rock'n'roll moment is standing on stage staring at his face 6 inches from mine, or when he jumps up on my riser. Massive respect to that guy, and you should read his book. Q: Nowadays, I’m asked to master tracks for Instagram and Spotify as opposed to vinyl and CD. What’s your view about how streaming has affected everything? – John Davis, Metropolis Mastering That's what my book's going to be about... Q: How do you use intuition as a tool in your productions and how do you know when something you are working on is finished? You mentioned Talk Talk and Mark Hollis – he stopped when he thought he could not add anything new. Can you imagine yourself doing something entirely different? Definitely. And it has crossed my mind many times - working more in visuals, videos, even film. But these days the hard thing is finding the time, when you keep getting sucked into exciting things you want to do, and can do. I could definitely write a book and I've enjoyed doing stuff on radio. Q: Is there any track from any artist you’ve worked with that you are particularly proud of? Something that brings back great memories when you listen to it? Sure! How about Diamond Bollocks from Beck's Mutations? Which was just the studio equivalent of sitting in a hot tub drinking champagne with a bunch of your best mates, and two days very well spent I would say. I'll always enjoy listening back to that sonic postcard. Q: Pavement’s Terror Twilight is one of my favourite albums and sounds incredible. But the band broke up soon after it was released and I understand that relationships were strained. Did you enjoy producing that album, and how do you think it holds up to the rest of your work? Yes I love that record actually, it's one of my favourites and I enjoyed making it immensely. It was such an adventure to fly off to America to make a record with people I hadn't met. Maybe there were some internal politics, as there are in any band, but I made friend forever in Stephen and I think I performed my role well: my idea was to make something that stood up straighter and felt like it might reach people who were turned off by the beautiful sloppiness of other Pavement records. I just thought they were such a good band and wanted them to reach a bigger audience. The writing may have been on the wall even before I got there, but I don't think I had any part of that, and I heard they're getting back to play shows, so there's always a happy ending, right? Q: Any chance of another Basement session? I would love to and plan to do more from the basement. Watch some space somewhere, but it was such an enjoyable thing to do and I look back on it as a great archive of those times. For sure it will happen. Q: Where did the artwork for the new Ultraísta album come from? Part of the fun of doing this album with Laura and Joey is the creative elements of all the stuff that isn't music. So for example we do all our own artwork and videos, and the cover is a photo I took of Laura inspired by one of my favourite photographers, Gjon Mili, a Hungarian-American photographer. We also made a lot of video content which is bleeding out into the universe slowly and relates to the album and its theme of colours, and also includes a lot of footage from the London Underground which is a particular obsession of mine. I'm great at dinner parties. Q: How hard is it making an album? How hard is a piece of string? It totally depends on a million factors. The imperative nature of your delivery date, or maybe just whimsical noodlings that can continue for some time. Or it can be really very hard, and you have to coax people who are struggling through a very difficult process. I feel like I've had every version of this. And it can be quite leisurely, eg the Ultraista record, which was what I would call a country club style social bonanza. We could take our time and work on it when we had time, and even though the challenges were there, it was actually quite natural and easy. Q: What do you listen to as you’re trying to fall asleep? I cannot fall asleep with any music playing, at all. I cannot have sex with any music playing at all. I cannot do any other activity, as my brain just tunes into it involuntarily and I'm rendered incapacitated. Q: How much Marmite do you consume? A daily teaspoon. Q: You seem to shy away from technical-oriented discussions. Any reasons for doing so? A lot of bands have noted how quickly you work and that you’re not too precious about the recording process, yet the final result comes off as meticulous. Do you have any insight into how to move fast and capture the energy of the moment? Do you organise the studio and control room in a way that is responsive to any creative situation? The reason is because I think people attach too much weight to equipment and studio trickery when the reality is I consider the most important part of making records is about musical sensibility and communication with those involved, and the notes, and the words. I get very annoyed with people asking me what my favourite microphone is. It doesn't matter. These days I don't even use the expensive ones. One of the reasons why music has become generally worse, and I'm sorry to say that, is that people think about technology more than the actual music they're making. So sue me. To your second question, see the above answer! The recording process is best when fast, because it's then the smallest obstacle to the actual music. That doesn't mean the end result shouldn't be absolutely meticulous and pored over for hours and reconsidered and reframed and sat in different places, whatever, but how far you keep you kick drum from the mic really doesn't matter. Q: Those of us who shelled out for the deluxe edition of A Moon Shaped Pool also received a small length of half-inch tape alleged to have been retrieved from actual Radiohead sessions dating back to Kid A. Were any lost and unreleased gems included as part of this Willy Wonka-like scavenger hunt, or is my piece of tape likely to contain something disappointing, like Colin Greenwood practising a bass run? This is absolutely true. I was staring at mountains of half inch tape reels from the Kid A sessions and felt sad because they were all very soon going to be unplayable useless bits of plastic that would just contaminate the environment. And thought it would maybe be better to send them off to some people who would appreciate them, so as part of the packaging with Stanley Donwood, we realised we have enough tape to wrap each special edition with a small length of it. On each tape is part of an outtake, alternative mix, instrumental, something that would have been thrown away when it became unplayable. It just felt poetic to send it out into the universe. Unfortunately I don't think people truly understand what they have... Q: What was it like working with Roger Waters? Did you consciously avoid “big guitar solos” to negate it sounding like David Gilmour/Pink Floyd. Roger is a fascinating character, really a genius. The whole experience was incredible, being able to watch this guy thinking his way around things, particularly with words and motifs and conceptual ideas. Again one of my rules in that case was there would be no big guitar solos - in the same way as the McCartney thing, I was interested in another musician, and wanted to hear him speak, and hear his musicality. As the usual formula with his solo work seems to be to find some soundalike, and use that Guitar Hero equation, which I feel is lame. So the decision was to use orchestration as a musical foil to the beauty of his simplicity and songwriting which would keep the light and focus on the words he was writing. And keep the focus of the whole work simpler. Q: I would imagine that very few people question Paul McCartney’s methods in the studio. How difficult (or not) was it to say to him, “How about doing it this way?” during the making of Chaos and Creation in the Backyard? Well, that was the entire point! Like I mentioned before, he called me, so I was able to dictate my terms, so to speak. My general appraisal was that I was more interested in him rather than the people around him, so persuading him to play everything was part of the "method" that allowed us to move forward with this work. That worked very well. His charm as a musician is astronomic and undeniable, he's a very intelligent musical person. He was very brave and put up with a lot of crap from me - he could have told me to fuck off at any point, but he really met in the middle to see this experiment through, and I left with even more respect for him than when I went in. Q: Really curious if you like classical music, and if so which pieces? Would you consider doing Big Ears festival [in Tennessee]? Yes, I would not claim to be an aficionado in any respect, but I'm a big fan of Debussy's Preludes, and one of my favourite pieces of music is his Arabesque No 1. I also love Prokofiev in general, and Erik Satie's Gymnopedies really get me going on a Sunday. Q: Is it true that much of The King of Limbs was recorded with the software Max/MSP? If it is true, how much of a hand did you have in programming and using Max/MSP? Jonny Greenwood seems to have taken all the credit … This is basically bollocks. I went to a dinner party 15 years ago and sat next to a Stanford grad who told me about this software, Max/MSP, and took it back to Johnny. He's used it on and off on lots of things, as have I. King of Limbs is made up of everyone throwing pieces of audio together - Johnny used Max/MSP in that case to link up a turnable via a piece of software called Miss Pinky. The result was a huge and gigantic mess that took me about a year and a half to unravel, and then Thom wrote over the top. So there you have it. Q: Thank you for your inspiring work! Do you have a favourite Joni Mitchell album? Joni Mitchell is my favourite human artist of all time, she is incredible. I have to give you a top three. 1. Hejira 2. The Hissing of Summer Lawns 3. For the Roses But would say all of her output between Blue and Mingus is untouchable. She is a unique combination of musical and lyrical talent. She's pretty much the only person I find can write a narrative lyrically that can remain poetic but articulating, communicating, beyond the abstract; it's very specific and very beautiful. And as a musician she dug deep into so many vats of folk and jazz, still managing to spin her incredible voice into the mix. Q: Created an account just for this. I’m a human person who enjoys audio production and engineering a lot. I’m quite shy when it comes to working with other interesting music folk, mainly down to the fact I have no idea how to write a melody. I love sounds and atmospheres, making things sound full and all that great stuff. The question I’m really getting at is: when was the first time you knew you could do this? Did that moment happen at all? And how has your relationship to music evolved? Bit of a belter of a question, but you asked for this so I don’t feel bad. I think I realised, retrospectively, that from an early age I had a fascination for recording. My dad worked at the BBC as a sound man and as a child I was surrounded by the tools of his trade so I always watched enviously and wanted to play with things. When I was very young I asked for a machine to make records, like really young, and he told me in his calm wise way: no I couldn't. But he bought me a cassette machine, so I could go around and record things: the TV, the train set, running water, things that sounded interesting when they were played back. I always aspired when I started recording music in studios, I tried to emulate my heroes, like the Trevor Horns, but found what worked best was going with the things I could do well which were an organic-ness to sound, rather than a clinical shinyness, which I loved to listen to. Making a dark brown soup was more my skill, that making a big fairy cake. I was wise to go with the things I was good at - isn't that the art of life? Q: What compels you to commit to a project? Is it a different circumstance each time? Can you please produce Keane’s next album? Tom Chaplin is a fan, I’m sure you know! Yes definitely, every project is different, but I would say I'm very wary of people's preconceptions and expectations, and generally my first question to them is: what do you think I'm going to do? Just so they don't have some idea that I'm going to repeat something I've done before or make them sound like someone else I've worked with. Generally I can make a fair appraisal of whether I have something valuable to contribute and will generally like what we can do together. I'm not under any illusion that I can improve someone I'm already a fan of so I never approach anyone  – they have to ask me. Q: Are you a night owl? If so, how do you deal with society’s preference for early birds? Do you suffer from insomnia? Hell yes. Nothing great happens before dinner. I have always been like this, I have always leapt out of my bunk bed as a child at 3am to run across and start building something out of a piece of wood, or do a drawing- all creativity happens in my brain at night. I deal with the unfair preference of early birds in society by having chosen a career whereby I get to dictate my hours. I wouldn't dream of starting a working day before lunchtime. Producers start flowing over coffees at dinnertime. I like the isolation at night - there's no background noise, and you can really focus. And also night, it's has a dark cloak of melancholy which makes you connect to something inside, in a way you can't do when the sun is shining. Daytimes are for nice walks in the park - nighttimes are for sitting alone at a laptop. Q: What state are the songs in when you start working with an artist? What is the variant that most changes in the production process? Structure, aesthetics, sound? Love from Argentina! Every single version of the process is different. Sometimes you have everything completely written; siometimes it's a case of building a song from a fragment of audio that's created abstractly, which is the case with Thom's solo work and a lot of Radiohead work. Even if a song is finished you can still improve it with editing and working out what it's strengths and weaknesses are. And also how to present it as an orchestration, or sonically if there's a trick you can use to make it pull you in. I like all versions of this, because they use different parts of your brain, but sometimes it's great to be given amazing songs and a blank slate to make them happen - that hasn't happened for a while! :-) Q: You’ve worked with countless musicians. Do you adapt to their work process, do you propose a process, or is it an exchange? And with Ultraísta, specifically, did you have the same process with the second album [Sister, out in March] as with the first? Did all the time in between the two influence the way you produced an album together? Can’t wait to listen to Sister! There are no rules to methodology, in fact the skill is creating a new method each time that will generate work which will generate output, which then becomes the work. Every time you start with a band that's two guitars, bass and drums you hit the same brick wall, and it's my job to think of a quick fun way to kick the ball out of the pitch, and remain focused enough to catch it when it gets thrown back in again. With Ultraista, what started as an exercise in wordplay and groove construction on the first record this time has become a more refined process and in an effort to make more song like structures. We are all indeed different people from when we made the first things and we're amused by different things, so thus the goalposts move - to keep the metaphor going - and the method changes. Q: Which producers and which records inspired you as a young would-be producer? As a kid, I was obsessed with Regatta de Blanc by the Police, and saw it was produced by Nigel Gray. A lightbulb went off that there was someone called Nigel doing this stuff. In terms of influences, there are ones with mythological status, like George Martin, or Trevor Horn, both of whose work I absolutely love for different reasons. Martin for his inventiveness and creative approach to the technology of the day, ie the new possibilities of multitrack tape, and the use of visual devices like sound effects. Trevor Horn for his obtuseness and skill as making artful pop music using, again, the tech of the day. Which could make bend and shape things to become bigger than real life and make the brain do somersaults. And then more direct practical influences on me such as the people who actually taught me, including Phil Thornalley, John Leckie, Steve Lillywhite, and others. These are people I watched directly and emulated. Q: What is your feeling/relationship with failure? Don’t mean to be a downer, just curious to learn about your journey when overcoming failure. This is a very good question. It also depends on where you're standing. A lot of things could have been better or were small failures, small battles in a larger war. You regard as part of the process moving forward what the end goal is you're trying to succeed. I wouldn't regard any of my work as massive successes as they're all attempts to achieve the unachievable. However, if you're referring to something like the Strokes episode, it wasn't a failure, neither of us walked away hurt from that experience. It was just fascinating. And everything else has been successful, hasn't it?? Q: It’s been a year since the great Mark Hollis passed away. How much of an influence were/are Talk Talk on the Radiohead sound and your work with the band as producer? For me, personally, I was a massive Talk Talk fan and I used to listen to those records endlessly, certainly Laughing Stock and Spirit of Eden. I think they were again things that really plugged into your feelings - our version of a classical symphony that you would start and listen through to the end. Q: Which album has the best atmosphere in its production? I can never get over how rich and ghostly Time Out of Mind by Bob Dylan and Daniel Lanois is. Every record is different and you feel different about every record as time passes, but I think In Rainbows is very evocative due to hte space we recorded it in. All the ambience on that record is real, it comes from the house we recorded it in, so that conjures up a very visual image for me when I think of that record. Also Beck's Sea Change is a very emotional record, evocative, which somehow crystallised perfectly sonically to me, and if I hear any part of it it takes me back to that time. Which I regard as a job well done. It's a conduit to your feelings, which is a goal, it's what you're trying to do. Q: When you’re making a record, do you try to listen to as much other music as possible to spark ideas? Or do you do the opposite – try and isolate any external music to not get thrown off what you set out to make? When I'm working on a project I don't listen to anything else, it's not out of choice, I'm just compelled to be focused on what I'm thinking about, and it stays with me when I leave the studio. I literally don't want to hear anyone else's music!

[conversationsincontemporaryart]

BEN DAVIS Friday, January 11, 2019, 6pm Concordia University Sir George Williams University Alumni Auditorium (H-110) Pavillion Henry F. Hall, 1455 Boul. de Maisonneuve O. https://goo.gl/maps/YkXMyhedwbN2 + + + The Mary-Ann Beckett-Baxter Memorial Lecture + + +                            The Studio Arts visiting artist lecture series is proud to partner with the Musée d’art contemporain de Montréal (MAC) to welcome art critic Ben Davis to the stage.

Admission for all Conversations in Contemporary Art events is free and open to the general public. Seating is first come, first serve. The lectures will be held in English. Tous les événements du programme Conversation in Contemporary Art sont gratuits et ouverts au public. Les sièges sont assignés selon le principe du premier arrivé, premier servi. Les conférences se dérouleront en anglais. -

Modern Myths of the Artist's Life Since Giorgio Vasari’s The Lives of the Most Excellent Painters, Sculptors, and Architects, the place of the artist in society has been inseparable from the myth of the artist’s life. In this lecture, we take a look at the kinds of stories society has told about artists in the last century, and what they tell us about the changing place of art in the contemporary imagination—specifically, through a century’s worth of depictions of artists on film. Starting with the 1934 film The Affairs of Cellini, about the philandering Renaissance goldsmith Benvenuto Cellini, and ranging through John Houston’s florid Toulouse-Lautrec biopic Moulin Rouge (1952), Julian Schnabel’s knowing Basquiat (1996), and Julie Taymor’s steamy Frida (2002), we’ll look at the evolution of the artist on film, and how certain archetypal conflicts and character traits recur and shift emphasis. In some ways, it is this repeating myth, more even than the art to which it is attached, that society needs from its artists. Its evolution and mutation tells us a lot about how visual art persists into the present. Bio Ben Davis is an art critic living and working in New York City. He is the author of 9.5 Theses on Art and Class (Haymarket, 2013) and currently National Art Critic for artnet News. He was an editor of The Elements of Architecture (Taschen, 2018). Recent essays have appeared in the books Public Servants: Art and the Crisis of the Common Good (MIT Press, 2016) and The Future of Public Space (Metropolis, 2018). His writings have been featured in Adbusters, The Brooklyn Rail, e-Flux Journal, Frieze, New York, The New York Times, Slate, The Village Voice, and many other venues. +

Mythes modernes de la vie d’artiste Depuis Les vies des meilleurs peintres, sculpteurs et architectes de Giorgio Vasari, la place de l’artiste dans la société s’avère indissociable du mythe de sa vie. La conférence abordera le type de récits qu’a livré la société sur l’artiste au siècle dernier, et ce que ceux-ci révèlent quant au rôle changeant de l’art dans l’imagination contemporaine – notamment à travers un siècle de représentations de l’artiste au cinéma. Depuis Les amours de Cellini (1934), au sujet de l’orfèvre séducteur de la Renaissance Benvenuto Cellini, jusqu’au sulfureux Frida (2002) de Julie Taymor en passant par le film biographique chargé de John Huston sur Toulouse-Lautrec, Moulin Rouge (1952), et le Basquiat (1996) éclairé de Julian Schnabel, on examinera l’évolution de l’artiste au cinéma ainsi que la manière dont certains conflits et traits de caractère archétypaux réapparaissent et apportent une nouvelle perspective. D’une certaine façon, c’est ce mythe répété, plus encore que l’art auquel il se rapporte, que la société exige de ses artistes. Son évolution et sa mutation expliquent avec éloquence la pérennité de l’art visuel au temps présent. Biographie Ben Davis est un critique d’art qui vit et travaille à New York. Auteur de 9.5 Theses on Art and Class (Haymarket, 2013), il est actuellement critique d’art national pour artnet News. Directeur de publication de The Elements of Architecture (Taschen, 2018), il a également fait paraître de récents essais dans les ouvrages Public Servants: Art and the Crisis of the Common Good (MIT Press, 2016) et The Future of Public Space (Metropolis, 2018). Ses écrits ont figuré dans Adbusters, The Brooklyn Rail, e-Flux Journal, Frieze, New York, The New York Times, Slate, The Village Voice et nombre d’autres publications.

-

Related Links: Ben Davis Musée d’art contemporain de Montréal (MAC) The Department of Studio Arts

[shemakesmusic-uk]

This segment features artists who have submitted their tracks/videos to She Makes Music. If you would like to be featured here then please send an e-mail to shemakesmusic@hotmail.com. We look forward to hearing from you!

Zoe Blaire

Zoe Blaire is a singer-songwriter, model and teen boss. The triple-threat just released her debut single ‘Days Like These’ produced by a Grammy Award Winner and inspired by the pandemic and the new darkness that it created: Love, loss, loneliness, depression and self-image. Besides her new music launch, the 14-year old has been busy shooting national commercials and running her own beauty line. She is definitely one to watch! Listen to ‘Days Like These’ below.

Joules Rio

Joules Rio is a singer-songwriter based on the beautiful coast of Florida at Cocoa Beach. Her eclectic style has been called "retro music from the future". She creates her unique sound on bass guitar, keyboards, and with a strong but sensual vocal style. Joules Rio’s limitless style is not bound to one genre or category. Each song tells its own story. Some are rocking hard, others are dancing and shimmering. Latest single ‘I Love My Body’, is “a trap/pop/rock hybrid about the joyous human experience!” Listen below.

Joules Rio · I LOVE MY BODY

CHAMIE

Brand new Los Angeles based CHAMIE, the collaboration of husband and wife team Jes Marie and Joe Sobalo Jr, are hot out of the studio with their single, ‘Attitude’. An electropop anthem featuring driving beats, funky synthesizers, and ultra confident female vocals, ‘Attitude’ is a fresh new sound on the dance/pop music scene. CHAMIE is versatile and can shift their vibe from everything from indie pop to tropical reggae with ease and confidence. Electronic beats, fuzz bass, and rhythmic guitars are the bedrock of their music, combining with unique, eclectic synths that provide the ‘ear candy’ CHAMIE is quickly becoming known for. Listen to ‘Attitude’ below.

Stephanie Heitz

Stephanie Heitz is a singer-songwriter from the Midwest US. She released her debut EP, Dark to Light in 2019 after traveling through a very difficult season. She's been consistently releasing singles ever since as an independent artist. Stephanie has an unmistakable R&B style. Her music tells the story of personal life experiences with lyrics that are vulnerable, raw, and relatable. She's been enjoying collaborating with musicians from around the globe, and has plans to release lots of new music in 2021. Stephanie's latest single, ‘Grace’ challenges the listener to ponder a very important question. Her greatest goal with songwriting is to encourage others to know they're not alone in their struggles. Listen below.

Jamythyst

Jamythyst is a new DIY ElectroPop artist. Her music is '90s-inspired pop infused with R&B, Freestyle, and House. She is the sole writer, producer, and performer — spending days and nights creating alone in her basement studio. She has been described as "Paula Abdul meets Nine Inch Nails”. Her new single ‘Melt My Face’ is an ode to '90s dance pop — and that feeling you get when the DJ plays a song that melts your face no matter what kinda mood you're in. Listen below.

Moodbay

Moodbay are an electro-pop duo that likes to explore various sonic landscapes from vintage disco grooves, lo-fi hip-hop textures to moody layers of analogue synth. They are vocalist-songwriter Anna Stephens and producer-songwriter Alfie Cattell. Latest single ‘Psycho’ is “a tug of war between two people,”explain the duo. “It's a love-hate situation, and each feels misunderstood by the other. The theme of good and evil is apparent throughout. Yet though actions are irreversible, there's always hope for change. Someone can turn those actions around by becoming a better version of themselves. And the last thing they want is to be called 'crazy' because that would be discouraging! As the lyric goes: ‘just call me by my name’... “This is a dreamy layered synth-pop track that doesn't mess about and is brimming with emotion. The delicate piano in the verses contrast well with the thick powerful choruses that soar with interweaving vocals and synth lines. The production is warm and full-bodied but never over-bearing. Listen below.

Moodbay · Psycho

Elizabeth Karly

Elizabeth Karly has been writing poetry since she was 15 years old. When she was young she would sing constantly and dream about putting on big concerts with crowds singing back to her. During the pandemic, she finally began to work on music. “I started out with no equipment at all; just my phone and a cheap pair of earbuds,” she says. “It took me months, but I finally completed my first song: ‘Your Party’! It was recorded in the back of my car, still just using a phone and earbuds. She continues: "’Your Party’ It is a fun, indie pop song about pressures felt when confronted by toxic people, and just the lies and secrecy within unhealthy relationships.” Listen below.

Jess McAllister

The music of Exeter-based Jess McAllister spans from free-spirited, nostalgic folk, through to rhythmic, gutsy blues, rock and pop. Switching effortlessly on stage between electric guitar, banjo and piano, she blends her honey-dipped vocals and her craft of songwriting with live performances filled with spontaneity, passion and pure heart. Her new single 'The Bushiest of Beards' is a fun revenge story, stemming from when a man with a beard bullied her for a prolonged period of her life, stripping her of all self esteem. It is a song for anyone who had been made to feel unworthy, and although the anti-bullying nature of the track is deadly serious though, the song uplifts with humour and joy. Listen below.

Jess McAllister · The Bushiest Of Beards - Explicit Version

Gabrielle Ornate

Gabrielle Ornate crafts bohemian pop/rock tracks for the modern world. Ethereal lyrics with an empowered edge meet walls of epic synthesisers, adorned with riffing guitar and bass, in a kaleidoscopic sound world. Think Imogen Heap and Bat For Lashes meet Kate Bush and Joni Mitchell. Gabrielle’s debut single, ‘The March of the Caterpillars’, mastered by John Davis at Metropolis Studios, is a fable about respecting one’s roots; blossoming the connection between worlds. As life continually evolves, like how a caterpillar transitions into a butterfly, one must not forget the genesis of their journey. Listen below.

Gabrielle Ornate · The March of the Caterpillars

Pretty Preachers Club

Pretty Preachers Club are a bedroom-pop-style emerging duo from Glasgow. Their debut EP Going Nowhere Fast was well received. Their second EP Romance and Adolescence is an experimental step up from their previous releases, a compilation of classical, indie pop, folk and 80s synth. The pair have previously stated in a number of interviews that their main influences are indie artists such as Pheobe Bridgers, Beabadoobee, LANY, Pale Waves, The 1975 and Sports Team. ‘Just Tell People How You Feel’ is their new single. Hannah says of the release: “The lyrics in this song are almost a dream-like scenario of ideal love. It’s a reminder to myself to try and not hold your feelings back, cause what’s the point? It’s almost a goal to myself to fully be able to relate to every lyric in this song... not quite there yet.” Listen below.

[soundchannel]

【入荷情報】クラムボン、D.A.N.、福居良などなど！

こんばんわ！！

今日も過ごしやすい気温でしたね！！

ほっこり行きましょう！！！

どーーーーーーーーーんん！！！！

クラムボン / はなれ ばなれ / パンと蜜をめしあがれ【レコード / POPS】

クラムボン、メジャーデビュー20周年にワーナーよりリリースした初期作品のアナログ発売！！

原田郁子のヴォーカリストとしての能力の高さに最も重きを置いて「うたもの」としての可能性を追求したメジャーデビューシングルの「はなれ ばなれ」と普遍性のある「うた」とアップトゥデイトなバンド形態の融合を追求し続けた2ndシングル「パンと蜜をめしあがれ」のカップリング！

http://soundchannel.shop-pro.jp/?pid=141685694

D.A.N. / Sonatine -2LP-【レコード / POPS】

D.A.N.の2ndアルバム『Sonatine』が2枚組のアナログ12インチ盤でリリース！！！

2018年7月、2年ぶりにリリースされロングセールスを続けるD.A.N.の2ndアルバム『Sonatine』が2枚組のアナログ12インチ盤でリリース！London,UKのMetropolis Studiosで再マスタリングを行い、音質に拘り抜いた名盤がクリアヴァイナル仕様でアナログ化。今作のマスタリング・エンジニアには、The xx、Gorillaz、FKA Twigs、DUA LIPA、Lana Del Rey、Led Zeppelinなどを手掛けるJohn Davisが担当。

http://soundchannel.shop-pro.jp/?pid=140975278

福居良 / Scenery -LP-【レコード / JAZZ】

福居良が76年トリオ・レコードに残した伝説のファースト・アルバム『Scenery』がリプレス！

北海道が生んだ名ピアニスト、福居良。その瑞々しく繊細なプレイは多くのリスナーを魅了し、ファースト・アルバムである本作『Scenery』は世界的にも高く評価されるようになった。22 歳でピアノを始めた福居が本作を録音したのは28 歳のとき。若き日のひたむきな演奏が聴く者の感情を心地良く揺さ振ってくる。闊歩するように大らかにスウィングする「It Could Happen To You」、爽快で歓びに満ちた「Early Summer」、晩秋の夜気を含んだような「Scenery」。福居の資質に溶け込んだ、スケールの大きさと機微を兼ね備えた“北海道的情感”が心地良い。萌える緑、眩い清流、澄明な空、音もなく落ちる雪・・・。ここには、福居良が紡いだ美しき風景＝シーナリィが永遠に息づいている。

http://soundchannel.shop-pro.jp/?pid=142097503

★商品に関してのご質問お問い合わせなどお気軽にご連絡ください★

SOUND CHANNEL MUSIC STORE

岩手県盛岡市菜園2-1-9 102

営業時間 : 12:00~20:00

TEL : 019-601-6723

SOUND CHANNEL HP : http://sound-ch.jp/

WEB SHOP : http://soundchannel.shop-pro.jp/

Blog : http://soundchannel.tumblr.com/

Facebook : https://www.facebook.com/soundchannelmusicstore

Twitter : https://twitter.com/sound_channel

instagram : http://instagram.com/soundchannel_musicstore/

(WEB SHOPお問い合わせよりお気軽にご連絡ください)

[solplparty]

[M/V] Samui (사뮈) - There Is Always More Than One (마음은 언제나 여러 개가 있지) https://youtu.be/DLKGZrOcmdA Artist : Samui Album Title : There Is Always More Than One Release Date : 2018.10.31 Genre : Rock [Listen here] Apple Music - https://goo.gl/FLCoVJ Melon - https://goo.gl/L1S1jZ Naver Music - https://goo.gl/pQEUxR Mnet - https://goo.gl/5jqyx1 Bugs - https://goo.gl/x4yWHZ Genie - https://goo.gl/D5dLVP ■ Mirrorball Music http://mirrorballmusic.co.kr/ https://www.facebook.com/mirrorballmusic https://twitter.com/mirrorballmusic In the dead of an indescribable night, the dawn was silently soaking into it. The stacks of vain words started to resemble one another but there had always been more than one heart. And they had always been true. - 사뮈의 새로운 EP [마음은 언제나 여러 개가 있지] 설명할 수 없던 깊은 밤과 소리없이 스며든 새벽. 이 곳에 쌓인 후회의 말들은 서로 닮아갔지만 마음은 언제나 여러 개였습니다. 그리고 모두 진심이었습니다. [Credits] V & G 사뮈 Guitar 유동혁 Bass 배상언 Drums 황영준 Produced by 사뮈, 배상언 Written & Composed by 사뮈 Arranged by 사뮈, 배상언, 유동혁, 황영준 Instruments recorded by 배상언 @meteoroom, 천학주 @Mushroom recording studio, 신재민 @Philo’s planet Vocal recorded by 배상언 @meteoroom Mixed by 배상언 @meteoroom Masterd by John Davis @Metropolis studio Album designed by 김 에테르 A film by Iwa ■ More about Samui https://www.instagram.com/3amui https://www.youtube.com/channel/UC6PtJ9oSgQTXeT-ePEOtgKw/feed https://www.facebook.com/samuiiiii https://blog.naver.com/samuiii https://www.soundcloud.com/samuiii 미러볼 뮤직 - Mirrorball Music

[fyeahcindie]

Epic sound to match their epic name: Pilots In The Sky And On The Sea 旅人

Voc/Synth-Maggie, Gtr-Ann, Bass-Ben, Drums-Pan

“這支新單曲MV，獻給那些努力活在系統外的人們，願我們都能找到在這社會存續的方式。

特別感謝；我們的製作人 Yuchain Wang，很慶幸有位像這樣只會說真話的良師，每每錄完音都能收穫良多。感謝心思細膩又可愛的導演 Chacha Lin，陪著我們上山下海到處闖。感謝兩位美麗的演出者，陶藝家Phoebe Ken 耳邊，與花藝家 戴菊，她們獨特的內在給予我們許多的靈感。最後也感謝看完的你們。”

六月演出 06.11 Revolver w/ Ruby Fatale 鹿比 ∞ 吠陀 06.24 The Mercury 水星酒館 w/ Troy Lin - Recorded, mixed & produced by Yuchain Wang at Rooftop. Mastered by John Davis, Metropolis Studios, London, UK.

This new song MV is dedicated to those who strive to live outside the system, and may we all find the way to live in this society.

Special thanks; our producer, Yuchain Wang, is glad to have a good teacher who can only say the truth, and all the music has been able to gain a lot. Thanks for the delicate and lovely director Chacha Lin, with us going to the mountains to the sea. Thanks to the two beautiful performers, the potters, Phoebe Ken 耳邊, and the spend they are unique in giving us a lot of inspiration. Finally, thanks for the end of the day.

------

So good to have this band back, I’m very pleased!!   By the way Yuchain (Green!Eyes) also produced their 2014 ep, Half​-​naked journey; please go listen/purchase at bandcamp. Only $3 bucks, waaaa so inexpensive! (Seriously, I’ve listened to it many times, that was money well spent.)   =D

[dieselfunkshow]

SHOWDOWN IN DC  

The Dieselfunk Crew is GLOGGING The Inauguration of Donald Trump on Friday. 

In Our Mission to show ALL sides of this American Experiment, we endeavor to keep things Equal...because we know EQUALITY is what moves AMERICA FORWARD, Thusly, The Dieselfunk Crew will be GLOGGING...

THE WOMEN’S MARCH ON WASHINGTON on Saturday

BE THERE!!!

[eildotcom]

Did You Miss This In The '90s? The Beloved's Happiness Double Vinyl 180gm LP Reissue In Now

Happiness… is The Beloved…  2020 UK/EU limited edition 10-track Double LP pressed on 180 Gram Heavyweight Vinyl, the debut studio album, and second album overall, by the English electronic group originally released in 1990. Remastered from the original analogue studio masters by John Davis at Metropolis Studios, and has a significantly louder and clearer audio than the original release. The vinyl…

[collectorscorner]

CC Blogger - New Arrivals @ Collectors Corner : Wednesday 6/17/20

CC Blogger - New Arrivals @ Collectors Corner : Wednesday 6/17/20 Collectors Corner Parkville - HQ : IN STORE SHOPPING Resumed on Friday May 22nd with Strong Safety Measures in Place (Hand Sanitizing Stations, Masks Required for All, Social Distancing Required, Limited Capacity, CURBSIDE Pick Up Optional) - According to Baltimore County Guidelines. 1-410-668-3353. CC Parkville - NEW 2020 STORE HOURS as of JUNE Sunday 12-6, Mon-Tues 12-7, Wed 9-8, Thurs 11-7, Friday & Saturday 11-8 Collectors Corner - Bel Air Outpost Location : IN STORE SHOPPING Resumed on Friday May 15th with Strong Safety Measures in Place (Hand Sanitizing Stations, Masks Required for All, Social Distancing Required, Limited Capacity, CURBSIDE Pick Up Optional) - According to Harford County Guidelines. 1-410-838-1777. CC Bel Air -NEW 2020 STORE HOURS as of JUNE Sunday 11-5, Monday/Tuesday - Closed, Wednesday 11-8, Thursday 11-7, Friday/Saturday 11-8 Complete list of items shipping to the stores, some items may be limited in availability. If you see anything you want to purchase on the list and are not a subscription member at Collectors Corner, just contact us and let us know if you want an item held at the stores. email - collectorscornermd@comcast.net Subscription Membership & Free Membership Card : Collectors Corner's No Obligation (FREE) Membership Card or FREE (In Store) & ONLINE Subscription Membership saves you 10% Off ALL Bagged & Boarded Comic Book Back Issues, Board Games, Graphic Novels, Manga & Special Orders. Plus Never miss a comic again! Computerized and organized + you can add and cancel titles on your subscription list from home on your own time, or in the store when you pick up your comics at : Maryland's Coolest Stores! Since 2001. 2 Super Cool & Convenient Locations - CC PARKVILLE - HEADQUARTERS 7911 Harford Rd Parkville, MD 21234 & CC BEL AIR - OUTPOST 17 N. Main St. Bel Air, MD 21014 www.collectorscornermd.com PUBLISHER/TITLE/PRICE AFTERSHOCK COMICS You Are Obsolete TP, $16.99 ARCHIE COMIC PUBLICATIONS B & V Friends Jumbo Comics Digest #280, $7.99 Vampironica New Blood #4 (Of 4)(Cover A Audrey Mok), $3.99 Vampironica New Blood #4 (Of 4)(Cover B Vic Malhotra), $3.99 Vampironica New Blood #4 (Of 4)(Cover C Lisa Sterle), $3.99 AWA STUDIOS Hotell #2 (Of 4), $3.99 Resistance #2 (Of 6), $3.99 BOOM! STUDIOS Bill And Ted Trade Paperback Gift Box Set, $39.99 Buffy The Vampire Slayer Volume 3 TP, $14.99 Firefly #16 (Cover A Marc Aspinall), $3.99 Firefly #16 (Cover B George Kambadais), $3.99 Firefly #16 (Cover C Daniel Warren Johnson), AR Lumberjanes Campfire Songs TP, $14.99 Mighty Morphin Power Rangers Teenage Mutant Ninja Turtles #5 (Of 5)(Cover A Dan Mora), $3.99 Mighty Morphin Power Rangers Teenage Mutant Ninja Turtles #5 (Of 5)(Cover B Goni Montes Leonardo Black Helmet Variant), $3.99 Mighty Morphin Power Rangers Teenage Mutant Ninja Turtles #5 (Of 5)(Cover C Goni Montes Raphael Black Helmet Variant), $3.99 Mighty Morphin Power Rangers Teenage Mutant Ninja Turtles #5 (Of 5)(Cover D Goni Montes Michaelangelo Black Helmet Variant), $3.99 Mighty Morphin Power Rangers Teenage Mutant Ninja Turtles #5 (Of 5)(Cover E Goni Montes Donatello Black Helmet Variant), $3.99 Steven Universe Volume 5 Crystal Clean GN, $14.99 Wynd #1 (Cover A Michael Dialynas), $4.99 Wynd #1 (Cover B Dan Mora), AR Wynd #1 (Cover C Peach Momoko), AR Wynd #1 (Cover D Dan Mora One Per Store Variant), AR CINESTATE FANGORIA Fangoria Volume 2 #7, $19.79 COMIC SHOP NEWS Comic Shop News #1713, AR DARK HORSE COMICS Against Hope TP, $19.99 Art Of Wolfenstein Youngblood HC, $49.99 Avatar The Last Airbender Imbalance Library Edition HC, $39.99 Bandette Volume 1 Presto TP (Second Edition), $14.99 Disney Frozen And Frozen 2 The Story Of The Movies In Comics HC, $14.99 Disney PIXAR The Incredibles And The Incredibles 2The Story Of The Movies In Comics HC, $14.99 Disney The Little Mermaid TP, $12.99 EC Archives War Against Crime Volume 2 HC, $49.99 Finder Chase The Lady TP, $24.99 Invisible Kingdom Volume 2 Edge Of Everything TP, $19.99 Minecraft Volume 2 Wither Without You TP, $10.99 Neil Gaiman Library Edition Volume 1 HC, $49.99 Panorama TP, $19.99 Plants Vs Zombies Volume 16 The Garden Path HC, $10.99 Unfinished Business HC, $19.99 DC COMICS Aquaman Giant #4, $4.99 Batgirl Volume 7 Oracle Rising TP, $19.99 Batman And The Outsiders #13 (Cover A Tyler Kirkham), $3.99 Batman And The Outsiders #13 (Cover B Michael Golden), AR Catwoman Volume 3 Friend Or Foe TP, $16.99 Daphne Byrne #5 (Of 6)(Cover A Piotr Jablonski), $3.99 Daphne Byrne #5 (Of 6)(Cover B Sebastian Fiumara), AR Dark Nights Death Metal #1 (Of 7)(Cover A Greg Capullo & Jonathan Glapion), $4.99 Dark Nights Death Metal #1 (Of 7)(Cover B David Finch Batman Variant), AR Dark Nights Death Metal #1 (Of 7)(Cover C Francesco Mattina Superman Variant), AR Dark Nights Death Metal #1 (Of 7)(Cover D Stanley Artgerm Lau Wonder Woman Variant), AR Dark Nights Death Metal #1 (Of 7)(Cover E Greg Capullo & Jonathan Glapion), AR Dark Nights Death Metal #1 (Of 7)(Cover F Greg Capullo & Jonathan Glapion Midnight Party Variant), AR Dark Nights Death Metal #1 (Of 7)(Cover G Black Blank Variant), AR Dark Nights Death Metal #1 (Of 7)(Cover H Doug Mahnke), AR DC Comics The Astonishing Art Of Amanda Conner HC, $39.99 Detective Comics #475 (Facsimile Edition), $3.99 Dial H For Hero Volume 2 New Heroes Of Metropolis TP, $16.99 Doomsday Clock Part 2 HC (Slipcase Edition)(verified by DC but not Diamond), $24.99 Event Leviathan Checkmate #1 (Of 6)(Cover A Alex Maleev), $3.99 Event Leviathan Checkmate #1 (Of 6)(Cover B Bryan Hitch), AR Flash Annual #3, $4.99 Flash Volume 12 Death And The Speed Force TP, $17.99 Green Lantern Season Two #4 (Of 12)(Cover A Liam Sharp), $3.99 Green Lantern Season Two #4 (Of 12)(Cover B Matteo Scalera), AR Hawkman #24 (Cover A Bryan Hitch), $3.99 Hawkman #24 (Cover B Gerardo Zaffino), AR Joker The Deluxe Edition HC, $34.99 MAD Magazine #14, $5.99 Metal Men #7 (Of 12)(Cover A Shane Davis & Michelle Delecki), $3.99 Metal Men #7 (Of 12)(Cover B Brian Bolland), AR Nightwing Annual #3, $4.99 Question The Deaths Of Vic Sage #3 (Of 4)(Cover A Denys Cowan & Bill Sienkiewicz), $6.99 Question The Deaths Of Vic Sage #3 (Of 4)(Cover B Howard Chaykin), AR Strange Adventures #2 (Of 12)(Cover A Mitch Gerads), $4.99 Strange Adventures #2 (Of 12)(Cover B Evan Doc Shaner), AR Superman #22 (Cover A Ivan Reis & Joe Prado), $3.99 Superman #22 (Cover B Bryan Hitch), AR Wonder Woman #757 (Cover A Robson Rocha & Danny Miki), $3.99 Wonder Woman #757 (Cover B Olivier Coipel Card Stock Variant), AR Wonder Woman Dead Earth #3 (Of 4)(Cover A Daniel Warren Johnson), $6.99 Wonder Woman Dead Earth #3 (Of 4)(Cover B Daniel Warren Johnson), AR Year Of The Villain Hell Arisen TP, $16.99 You Brought Me The Ocean TP, $16.99 Young Justice #15 (Cover A John Timms), $3.99 Young Justice #15 (Cover B Ben Caldwell), AR DYNAMITE ENTERTAINMENT Death To The Army Of Darkness #3 (Cover A Ben Oliver), $3.99 Death To The Army Of Darkness #3 (Cover B Sergio Davila), $3.99 Death To The Army Of Darkness #3 (Cover C Mirka Andolfo), $3.99 Death To The Army Of Darkness #3 (Cover D Adam Gorham Todd McFarlane Homage Variant), $3.99 Death To The Army Of Darkness #3 (Cover E Mirka Andolfo Black & White Variant), AR Death-Defying 'Devil #5 (Cover I In-Hyuk Lee Virgin Variant), AR Death-Defying 'Devil #5 (Cover J Riccardo Federici Virgin Variant), AR Dejah Thoris #5 (Cover R Parrillo Virgin Variant), AR Dejah Thoris #5 (Cover S Preissler Virgin Variant), AR Dejah Thoris #5 (Cover T Joseph Michael Linsner Virgin Variant), AR George R.R. Martin's A Clash Of Kings #4 (Cover A Mike S. Miller), $3.99 George R.R. Martin's A Clash Of Kings #4 (Cover B Mel Rubi), $3.99 George R.R. Martin's A Clash Of Kings #4 (Cover C Mel Rubi Virgin Variant), AR James Bond #5 (Cover G Afua Richardson Virgin Variant), AR Killing Red Sonja #2 (Cover A Christian Ward), $3.99 Killing Red Sonja #2 (Cover B Adam Gorham Todd McFarlane Homage Variant), $3.99 Killing Red Sonja #2 (Cover C Roberto Castro Bonus Variant), AR Killing Red Sonja #2 (Cover D Roberto Castro Black & White Variant), AR Killing Red Sonja #2 (Cover E Christian Ward Grayscale Variant), AR Killing Red Sonja #2 (Cover F Roberto Castro Virgin Variant), AR Killing Red Sonja #2 (Cover G Roberto Castro Black & White Virgin Variant), AR Kirby Genesis Definitive Edition HC (With Slipcase), $95.00 Red Sonja Age Of Chaos #4 (Cover A Lucio Parillo), $3.99 Red Sonja Age Of Chaos #4 (Cover A Lucio Parillo)(CGC Graded Edition), AR Red Sonja Age Of Chaos #4 (Cover B Alan Quah), $3.99 Red Sonja Age Of Chaos #4 (Cover C Ale Garza), $3.99 Red Sonja Age Of Chaos #4 (Cover D Derrick Chew), $3.99 Red Sonja Age Of Chaos #4 (Cover E Vanta Black Cosplay Variant), $3.99 Red Sonja Birth Of The She-Devil TP, $17.99 Vampirella Red Sonja #8 (Cover R Jae Lee Virgin Variant), AR Vampirella Red Sonja #8 (Cover S Jung-Geun Yoon Virgin Variant), AR Vampirella Red Sonja #8 (Cover T Adam Gorham Todd McFarlane Homage Virgin Variant), AR Vengeance Of Vampirella #8 (Cover A Lucio Parillo), $3.99 Vengeance Of Vampirella #8 (Cover B Ben Oliver), $3.99 Vengeance Of Vampirella #8 (Cover C Stephen Segovia), $3.99 Vengeance Of Vampirella #8 (Cover D Teena Titan Cosplay Variant), $3.99 IDW PUBLISHING Crow Lethe #1 (Of 3)(Peach Momoko 2nd Printing Variant Cover), AR Crow Lethe #2 (Of 3)(Cover A Peach Momoko), $3.99 Crow Lethe #2 (Of 3)(Cover B Tim Seeley), $3.99 Crow Lethe #2 (Of 3)(Cover C Tim Seeley Black & White Variant), AR Dave Cockrum's X-Men Artifact Edition HC, $125.00 Dying Is Easy #5 (Of 5)(Cover A Martin Simmonds), $4.99 Dying Is Easy #5 (Of 5)(Cover B Gabriel Rodriguez), $4.99 Dying Is Easy #5 (Of 5)(Cover C Gabriel Rodriguez Black & White Variant), AR Dying Is Easy #5 (Of 5)(Cover DMartin Simmonds Character Design Wraparound Variant), AR G.I. Joe A Real American Hero #272 (Cover A Netho Diaz), $3.99 G.I. Joe A Real American Hero #272 (Cover B Jamie Sullivan), $3.99 G.I. Joe A Real American Hero #272 (Cover C John Royle), AR Lab Volume 1 GN, $19.99 Tiananmen 1989 Our Shattered Hopes HC, $19.99 Transformers #20 (Cover A Ed Pirrie), $3.99 Transformers #20 (Cover B Jack Lawrence), $3.99 Transformers #20 (Cover C Billie Montfort & Blacky Shepherd), AR Transformers The IDW Collection Phase Two Volume 11 HC, $59.99 Uncle Scrooge #56 (Cover A Marco Gervasio), $4.99 Uncle Scrooge #56 (Cover B Marco Mazzarello), AR Walter Simonson's The Mighty Thor Artisan Edition HC, $49.99 IMAGE COMICS After Realm #2, $5.99 Birthright #44, $3.99 Deadly Class Volume 9 Bone Machine TP, $16.99 Family Tree #6, $3.99 Gideon Falls #22 (Cover A Andrea Sorrentino & Dave Stewart), $3.99 Gideon Falls #22 (Cover B Jeffrey Alan Love), $3.99 Gideon Falls Volume 4 The Pentoculus TP, $16.99 Hardcore Reloaded #5 (Of 5), $3.99 Heart Attack #6, $3.99 Ludocrats #2 (Of 5)(Cover A Jeff Stokely), $3.99 Ludocrats #2 (Of 5)(Cover B Kris Anka), $3.99 Man Among Ye #1 (Cover A Craig Cermak), $3.99 Man Among Ye #1 (Cover B Stjepan Sejic), $3.99 Moonshine #18, $3.99 Moonshine Volume 3 Rue Le Jour TP, $16.99 Perdy Volume 2 HC, $24.99 Savage Dragon #249, $3.99 MARVEL COMICS Conan The Book Of Thoth And Other Stories TP, $24.99 Daredevil By Chip Zdarsky Volume 3 Through Hell TP, $15.99 Dawn Of X Volume 5 TP, $17.99 Iron Man Epic Collection Volume 17 War Machine TP, $39.99 Marvel Masterworks The Avengers Volume 20 HC (Book Market Edition), $75.00 Marvel Masterworks The Avengers Volume 20 HC (Direct Market Variant Edition Volume 289), $75.00 Silver Surfer Omnibus Volume 1 HC (New Printing)(Esad Ribic Direct Market Cover), $100.00 Silver Surfer Omnibus Volume 1 HC (New Printing)(John Buscema Book Market Cover), $100.00 Star Wars Age Of Rebellion HC, $34.99 Unbeatable Squirrel Girl Big Squirrels Don't Cry TP, $12.99 ONI PRESS Invader Zim Quarterly #1 (Cover A Aaron Alexovich), $5.99 Invader Zim Quarterly #1 (Cover B Aaron Alexovich), $5.99 Invader Zim Volume 9 TP, $19.99 Kaijumax Season Five #3, $3.99 Savage Beard Of She Dwarf GN, $19.99 Tea Dragon Society GN, $9.99 SCOUT COMICS White Ash #4, $3.99 VIZ MEDIA Pokemon Adventures Collector's Edition Volume 1 TP, $17.99 ZENESCOPE ENTERTAINMENT Red Agent Island Of Dr. Moreau #5 (Of 5)(Cover A Geebo Vigonte), $3.99 Red Agent Island Of Dr. Moreau #5 (Of 5)(Cover B Igor Vitorino), $3.99

[desertislandcloud]

‘The Information Age’ is a sarcastic salute to the often oppressive nature of social media, and how it distracts and divides us as quickly as it informs and connects. 

Channelling the grit and bratty energy of spiritual forbears like Patti Smith, early PJ Harvey and Juliette and the Licks ‘The Information Age’ captures the claustrophobia of low self-esteem. In a world where our self-worth is being buffeted daily by a relentless barrage of content, the song examines the consequences of our internet addictions on our personal wellbeing. In the clash of its drums, the protean guitar lines and in Deva St. John’s angsty lo-fi vocals, she restores a sense of what it means to be human under the dehumanising glow of the LCD screens all around us. ‘The Information Age’ was recorded with Clem Cherry at London’s Eastcote Studios and mastered with John Davis at Metropolis.

Born in London to American parents and raised in Berkshire, Deva St. John’s sound is a bridge between the soundscapes of British and American pop culture. A peerless vocalist and authentic lyricist, her boozy lo-fi alt-rock production and gnarly vocals reveal an artist who channels her sensitivities into songs that peer under the veneer of modern life to express something fundamentally timeless, a yearning dissatisfaction; rock n’ roll in its purest form. ‘The Information Age’ will be Deva St. John’s third single since her debut release ‘Afterlife’ last October 2018. 

In the year since, Deva exploded onto the London gig circuit, spending the summer refining her performing nous in front of a steady growing audience. Having most recently performed for Sofar Sounds at the end of August, with a Youth Music award nomination to look forward to this month, and a headline BBC Introducing show in November, Deva St. John is one of the country’s surest rising stars, and she won’t slow down for a minute.

LInks IG: https://bit.ly/2lWezcv FB: https://bit.ly/2lDh1EHTW: https://bit.ly/2lCig74 PATREON: https://bit.ly/2ne8nxc

[silverscreenclassics2016]

by Paul Batters

Recently, Harrison Ford made an interesting declaration regarding one of his most iconic characters, which is also part of one cinema’s most financially successful franchises – Indiana Jones. Famously close-mouthed about previous roles, the actor made the comment in anticipation of the Disney announcement that a 5th instalment of the Indiana Jones franchise would be released in July 2021. Basically, Ford claimed the role as permanently his, stating:

‘Nobody else is gonna be Indiana Jones! Don’t you get it? I’m Indiana Jones. When I’m gone, he’s gone…’

Whether this declaration is tongue-in-cheek or serious, I cannot ascertain nor does it particularly matter for the purpose of this article. The vast majority of fans would probably agree with Ford, as Indiana Jones is one of cinema’s most loved action heroes. (If his friend George Lucas is anything to go by, there is little to be held sacred in remaking or re-hashing films. Star Wars, anyone?)

But it does raise an interesting question – are there screen characters which should never be re-visited?

It’s also a polarising question and one which probably raises another more divisive question – should classic films be re-made? Cinema is certainly in a strange place at the moment, and there have been consistent attacks on the state of film-making with criticism aimed at the lack of creativity, the focus on special effects and CGI and particularly the obsession on re-makes. The Marvel and DC domination has been discussed ad nauseam and the recent Godzilla movie speaks to this issue as well. (What’s the current tally of Godzilla movies since the 1954 original?)

The criticisms are not unfounded, and this reviewer certainly agrees with the aforementioned sentiments regarding cinema’s current sins. However, are these problems simply a contemporary phenomenon? Or has Hollywood been re-making films and re-casting iconic roles since its’ earliest days? 

Indeed, the ‘re-make’ has been a part of entertainment that goes back to ancient times. Initially, the ancient Greeks, who created the concept of drama, would see performances only the once and their plays were unique, one-off experiences. However, over time, those plays were performed again and again, particularly during the Hellenistic period. It was also meant that those plays stayed alive and they are still with us today. Consider the plays of Shakespeare. They have been performed, interpreted and even changed (depending on context) since Elizabethan times. King Lear has been interpreted through a whole range of approaches from a medieval Japan context to one set with 1950s Eastern Bloc /Cold War aesthetics! The richness of these stories in language, theme, character and emotion are still alive because they have been performed for hundreds of years. And of course, the Bard’s stories have been interpreted for the screen. Think Olivier’s 1945 film version of Henry V, which is often considered one of the finest screen interpretations of the play. Does this become the one and only version, never to be remade? What of Baz Lurhman’s Romeo And Juliet (1995)? It is not the first nor will it be the last telling of the tragic story of two star-crossed lovers.

The truth is that some of our most loved, revered and celebrated films are remakes, whether we realise it or not. We often chide Hollywood for remaking films within only a few years of each other but actually it’s been a practice since the silent days. By the time, Dr Jekyll And Mr Hyde was made in 1932 at Paramount, the story had been filmed at least 8 times, with three versions being made in one year! (1920 to be precise, two in the U.S and one in Germany).  John Barrymore’s 1920 turn as the infamous dual personality was a benchmark performance but March as the doomed doctor is perhaps the most superb in sound film history, with even the great Spencer Tracy unable to reach audiences in the 1941 version with Ingrid Bergman.

The same is true for quite a number of films based on classic literature such as A Tale Of Two Cities, Treasure Island, The Three Musketeers and A Christmas Carol – all being filmed numerous times. By the 1935 MGM version, David Copperfield had been made 3 times. The story of Oliver Twist was on its’ 8thversion in the loved 1968 musical Oliver!(with the film being made 6 times during the silent era!).  William Wyler’s Ben Hur is often cited as the greatest epic ever made and a standard by which other ‘big films’ are measured. Yet it too is a remake of the 1925 silent epic starring Roman Navarro and Francis X. Bushman. (Ironically, the recent remake of Ben Hur was critically panned and financially an unmitigated disaster).

Interestingly enough, Cecil B. deMille is an example of a director who revisited earlier films he had made and gave them a new perspective. The Squaw Man (1914) would be remade two more times in 1918 and 1931! Of all the films he made, his most celebrated, known and loved is his final film, The Ten Commandments (1956), a far superior remake of his own 1923 silent version. In this case, the original is not the best. The 1956 version is the quintessential epic tale, resplendent in Technicolor, with all the kitsch, pageantry and excitement of Biblical proportions that are synonymous with deMille and the epic film.

But not only have epics and tales from classic literature been remade to great or greater success. Contemporary stories have been revisited as well. In the world of film noir, one film which justifiably makes every top five list was on its third remake when it was redone by John Huston. The Maltese Falcon (1941) remains one of the greatest films ever made, far out-pacing it’s prior two incarnations which would have become little more than a footnote in cinema history. The previous 1931 same-titled version starring Ricardo Cortez and Bebe Daniels is a little stilted, whilst its’ 1936 remake, Satan Met A Lady, starring William Warren and Bette Davis feels more like a typical Warner Bros. programmer and was even considered by critics at the time, such as Bosley Crowther, as ‘inferior to the original’. Neither are remarkable and again, the original is not the best. Huston’s version of the Dashiell Hammett pulp fiction novel, would help to create the tropes and cinematic expression for film noir, and Bogart’s performance as private eye, Sam Spade has become legendary and would make him a star.

Unfortunately, there is sometimes an element of exploitation that comes with the remake. But Hollywood is a business and driven by profit. If an audience responds, then it the film is deemed a success. The horror genre is one where the remake is a constant, driven by the profit margin rather than artistic merit. That has certainly been the impression felt with Universal’s recent attempt at ‘re-booting’ the classic Universal monsters with disastrous results. (This writer feels that Universal was making an attempt to trash its’ legacy!) The classic monsters were first seen in monochrome but would be remade in the 1950s and 1960s in Britain by Hammer Studios, complete with full-blown colour, gore and sex. Exploitive? Perhaps. Yet audiences saw a new interpretation of the undead Transylvanian count – from a dream-like, hypnotic and slow-speaking Lugosi to an animalistic and vivid Christopher Lee, complete with bloodied fangs. Horror fans often find it difficult to choose, with the character of Dracula ‘belonging’ to both actors. Yet Lee would be less successful with the Frankenstein monster, as would many who preceded and followed Lee, and the monster has been firmly associated with the brilliant performance of Boris Karloff in the original 1932 film and its’ two sequels. Still, the Hammer remakes resonated with audiences, offering something new and exciting.

Yet there are characters that belong to certain actors and actresses and their ownership of those performances are complete. It is impossible to think of anyone else but Vivien Leigh as Scarlett O’Hara or for that matter, Clark Gable as Rhett Butler. And of course, Gone With The Wind is a film that no-one would dare remake. The same could be said for Casablanca,again a film with iconic performances from Bogart and Ingrid Bergman, a song that had stood the test of time in its’ poignant definition of love and of course some of cinema’s most famous lines. How could it be remade? The story of Robin Hood has been told numerous times, with mixed results and mixed reviews. Arguably, the role was firmly identified with Douglas Fairbanks Snr, one of the great silent stars, after his 1922 film was a huge hit; until Warner Bros. remade the film in full colour in 1938, with Errol Flynn. A natural for the role, Flynn has owned the role since, despite numerous A-listers taking on the role over the decades.

There are countless other roles and films which, if recast or remade, would results in loud cries of protest. And perhaps rightfully so. Could The Wizard Of Oz be remade? (Actually, it, too is a remake!) How about Edward G. Robinson as ‘Little’ Caesar Bandello? Imagine a ‘reboot’ of Chaplin’s work. Or Hitchcock’s films. (It’s been done!) Singin’ In The Rain? Double Indemnity? The Godfather? Metropolis? Duck Soup? Some Like It Hot?

In the end, a remake will work or fail if it resonates with the audience. For better or for worse, that’s the lowest common denominator that determines a film’s eventual worth andif it will stand the test of time. For silent films (and indeed even some sound films from the golden years of Hollywood), this has proved difficult. Aside from cinephiles and classic film lovers, silent films find difficulty in gaining traction in a mainstream market and for audiences not exposed to silent film. Additionally, we have audiences trained to expect blockbuster films over-cooked with CGI and action every 30 seconds. A silent film, without sound, colour and very different contexts finds it difficult to gain a foothold.

But all the technological advancements in the world cannot replicate, re-design or replace the impact of story.

It takes a fair amount of courage and risk when a remake is given the green light. It means big shoes to fill and an attempt to draw out a performance from under the giant shadow of its’ predecessor. Cinematic history shows that it does happen. But there are films that are like classic works of art. Can a work by Monet or Dali be redone? Should a piece of music by Mozart or Brahms be re-written? And the importance of textual integrity cannot be over-stated either. The recent tragedy of the near destruction of Notre Dame Cathedral in Paris, will see deep discussion and debate on how to ‘remake’ what has been lost or damaged. Will it be in keeping with the historic and architectural integrity of the building? Will it be true to the cathedral’s past whilst reflecting the modern era (or does it have to)? And how will people react in the present and in the future to any change or lack of change?

The remaking of classic film shares a similar dilemma.

There are advantages to classic films being remade. It sounds almost unthinkable but Nosferatu (1922) would be successfully remade by Werner Herzog (in an English AND German version!) in 1979 with the famed Klaus Kinski in the title role, to great critical and commercial success. It is an impressive film, with stunning visuals, incredibly deep pathos and emotion, and Kinski is outstanding as the vampire. As a result, it also brought new interest in the original 1922 film. If remakes can arouse interest, educate audiences and broaden the experience of cinema, whilst offering a new and exciting perspective/interpretation, then it serves a great purpose.

But just because classic films can be remade, does not mean that they shouldbe. As already mentioned, Universal came close to trashing their own legacy with the attempted (and hopefully permanently aborted) reboot of the classic horror monsters, which felt watching someone take fluorescent spray cans to the Sistine Chapel. But as audiences, we do need to set aside prejudged notions and allow for new interpretations of stories. This is what provides a richness to cinema and art. Multiple and contemporary readings offer greater insights and new interpretations offer inclusivity to modern and future audiences – and there is great value in that prospect.

But new is not enough. ‘New’ for the sake of ‘new’ does not do justice to a work of art. Nor does new mean better. What is also important to recognise is that masterpieces do not and cannot be replicated. Nor do they need to be. We can already enjoy what exists, revisit them time and time again and walk away re-spirited, revitalised and emotionally moved.

Paul Batters teaches secondary school History in the Illawarra region and also lectures at the University Of Wollongong. In a previous life, he was involved in community radio and independent publications. Looking to a career in writing, Paul also has a passion for film history.

To remake or not to remake? The question on rebooting classic film. by Paul Batters Recently, Harrison Ford made an interesting declaration regarding one of his most iconic characters, which is also part of one cinema’s most financially successful franchises – Indiana Jones.