As tends to happen, music cycles back on itself with alarming regularity. In the early 1980s, psychedelia raised its brightly-colored, paisley-swirled head from slumber and awoke to a new wave in Britain (and in the States, but that isn’t what this is about). These weren’t New Romantics, they weren’t post-punks, though you could argue that everything was post-punk at that point. No, they were the New Psychedelics and for a brief glimmer of time, they revived Chelsea boots and Mary Quant skirts and that oh-so-specific sound. To quote New Psychedelic band Firmament and the Elements, “Was it good? Yea, verily.”
Another week, another beloved and peerless musician has left us. In case you’ve been on some sort of Luddite retreat, you’ve heard the news that Prince has passed away at age 57. There are far too many good articles contemplating his death online to list them all here, but you might enjoy this one, in which I ponder what it means to lose our heroes, “The Beautiful Ones U Always Seem 2 Lose.”
Here are two vastly different new releases you might want to check out: Cherry Red Records has released Tiny Tim: The Complete Singles Collection (1966-1970) about which Hanna writes the following:
Hearing a grown man do a believable Shirley Temple imitation is always a beautiful experience, and “Mickey the Monkey,” a song from the perspective of a monkey in a zoo providing his story to the child listener, seems almost a comment on Tiny Tim’s own position as a novelty performer: “While you’re watching me, I am watching you, too / You’re as funny to me as I am to you.”
On a totally different segment of the musical spectrum is Trágame Tierra, the long-awaited follow up to Big Black Delta’s self-titled debut. Why this record isn’t blowing up I cannot imagine. I’ve seen only two other reviews for it, and one of them is the most ghastly and insulting thing imaginable, on a website whose name rhymes with “Consequence of Sound.” Ignore that crap, and just read about how great this album is.
Unicorn Booty’s got some music news for you on this week’s NOW HEAR THIS, including the Afropunk festival lineup and more.
Game of Thrones fans are gearing up for the new season which starts tomorrow and at Everything Is Scary, Tim Ford discusses the most frightening characters on the show. None of them is Cersei Lannister. If vintage sitcoms are more your speed, you can check out the first two episodes of the TV or GTFO podcast, in which our own Sachin Hingoo teams up with Gary Heather to talk about Perfect Strangers and Hulk Hogan’s Thunder in Paradise.
Laury Scarbro has a lot to chew on after Outsiders’ episode 11, while Carol Borden has a lot to say about Scandal, How to Get Away with Murder, and more on the Cultural Gutter.
Movies? You want movies? We got ‘em. Well, we have reviews, at least. Dump those copies of Bride of Re-Animator in the trash, but not before picking up Arrow Video’s glorious new reissue, which Tim Ford assures us is the definitive edition. Sachin reviews a couple of Hot Docs movies, the new ten-part film essay from Werner Herzog, Lo and Behold: Reveries of the Connected World and the more-horrifying-than-an-actual-horror film Tickled. Women In Hollywood has their always-welcome list of women-centric, directed, and written films for the week, including the fantastic High-Rise, which I’ll be reviewing next week.
Unicorn Booty is the best site you’re not reading, unless of course, you are already reading it, in which case, yay! The excellent “A Trans Person Explains What’s Really Behind Transphobic Bathroom Bills” does exactly what the title suggests, but there is oh so much more good stuff in there. There’s also a rundown of why Harriet Tubman should be on the US $20 bill as well as some huge developments in world LGBT politics.
Oh, and if you’re having trouble sleeping at night, by all means, do not read this creepy assessment of H.P. Lovecraft’s uber-creepy short story “The Festival” by Peter Counter on Everything Is Scary.
By Tim Murr
The follow up to 1985’s cult classic comedy gorefest Re-Animator, 1989’s Bride of Re-Animator, was a wild and rollicking film, amping up the craziness and gore with comic book flair. Directed by Brian Yuzna (who also directed the next sequel, Beyond Re-Animator) on a very short time frame, Bride picks up several months after the “Miskatonic Massacre” that ended Re-Animator.
The Death Walks Twice box set from Arrow Films highlights two gialli by director Luciano Ercoli. One is better than the other, but they follow the gialli formula to the letter and are both a lot of fun on a party night where Apples to Apples just won’t cut it.
It is a well-known, scientific fact that Haircut 100’s debut album, Pelican West, is the happiest album that ever existed (I just made that up, but hear me out). It’s full to the brim with sunny melodies, bold bursts of brass, and a weird but genius marriage of tropicalia and funk, with a dash of jazz thrown in. It’s a stunner of a debut, a fully-formed, exactly perfect right out of the gate album. It’s crushing, then, that by the time Haircut 100 returned to the studio to record a followup, the band was in tatters. Lead singer Nick Heyward had one foot out the door on his way to a solo career. Haircut 100 soldiered on, but it just wasn’t the same.
The recent Arrow Video compilation, Nikkatsu Diamond Guys Vol. 1, highlights the kind of films we don’t often think of when it comes to Japanese cinema. These aren’t cheesy monster movies with guys in rubber suits, nor are they fantastic period dramas about dynastic politics and great wars. These three movies are star vehicles, melodramatic potboilers with handsome leading men and damsels in distress.
Mother Nature always gives us humans a little something to be afraid of. Fire ants, hurricanes, just some little nudge to remind us that the links on the food chain are weak and interchangeable. In the late 1970s, the big scare was killer bees, super-aggressive buggers that migrated from Mexico into the United States. They attacked in swarms and wouldn’t stop, even after their prey was dead.
These bees became the subject for a few nature-run-amok movies. None of them were particularly good (see Irwin Allen’s The Swarm for some high-level bad moviemaking), but none of them were quite as earnest or weird as Alfredo Zacarias’s exploitation movie, The Bees.
Mike Nichols’ film from 1967, The Graduate, is a darkly humorous ode to the disenfranchised and distant. It’s also a definitive bad romance. The movie has a lot to say about toxic people and how they can mess up your life. Then again, pretty much everyone in The Graduate is toxic.
Horror fans have known for decades that there is no other movie quite as delightfully crazy banana-pants as Pieces. With the infamous tagline, “You don’t have to go to Texas for a chainsaw massacre,” Pieces honestly attempts to be a straight-ahead horror film. It’s not.
The Mutilator is an oddity in the slasher genre, less for what it is and more for what it is not. If you’re looking for copious amounts of nudity, look elsewhere. There’s not even a lot of bad language. On that level, The Mutilator is more like a live-action Disney movie from the Sixties. You half expect Dean Jones and Don Knotts to show up.