It seems it’s true. Blabbermouth has confirmed the rumour that Peter Steele, lead singer of Brooklyn band Type O Negative, is dead. It’s a damn sad day for Gothic rock.
Here’s a clip of the very cool Black No1: check out Pete’s amazing voice. Damn.
13 songs, covered darkly
A recent blog post from Mil about Brisbane band The Horse Darkly led to this sweet cover of Suzanne Vega’s Luka, which got me thinking about other neat cover songs. I’ve got a bit of a love-hate relationship with these critters: sometimes they can make you look at a song in a totally different light, sometimes they seem to pay true homage, and other times they just suck.
Here are 13 darkly tinged standouts:
Nine Inch Nails, Dead Souls (Joy Division): if you’re gonna cover JD, you’ve gotta do it with soul, and Trent Reznor amps it up in this whiz cover from The Crow soundtrack.
And the original! (amazing, isn’t it, how majesty can surpass such poor vision and sound…)
Concrete Blonde, Everybody Knows (Leonard Cohen): a gorgeous song gains from Johnette Napolitano’s smoky voice and Jim Mankey’s guitar. See also the band’s cover of Bob Dylan’s Twist of Faith. Johnette offers two superb covers (of The Scientist and All Tomorrow’s Parties) on her solo album, Scarred.
Inkubus Sukkubus, Paint It Black (Rolling Stones): witchy Gothic synth-rock puts a new shade on the Stones’ ode to depression.
The Shroud, Alice (Sisters of Mercy): Goth band covers Goth band, with strings!
Marilyn Manson, Sweet Dreams (Eurythmics): take a great pop song and cast it darkly — it’s a tactic that works well for Manson, who has also done the business on Tainted Love.
Type O Negative, Summer Breeze (Seals and Crofts): another Gothic take on an otherwise breezy little ditty.
Johnny Cash, Hurt (Nine Inch Nails): Cash puts his own crown of shit on the NIN tune. He repeats the dose on Depeche Mode’s Personal Jesus.
Rammstein, Stripped (Depeche Mode): Want to put a Germanic twist on the DM classic? Just add drums and guitars. Loud ones.
Three new things and a touch of regret
First, the good new stuff:
1. Prahran Markets secrets have been revealed thanks to a cool guided tour, and I now know about avocado that doesn’t go brown on exposure to air — not before the salad’s eaten, anyway — and the enticing woodfire smell of smoked garlic and the dizzying array of spuds, including purple ones. I don’t know when, if ever, I was so excited about fresh produce. Product of choice, however, was a blue cheese from Victoria’s Apostle Whey.
2. Ego Likeness have a new album due out any minute now, called Breedless. (Here’s a nice live clip of an older tune, Severine)
3. Spotted in the wild: Brissie writer Will Elliott’s Pilgrims. You might remember Will for his Aurealis-winning debut The Pilot Family Circus and its dastardly clown action.
And now for the regret, though it’s still good news, oh yes! Concrete Blonde, or at least original members Johnette Napolitano and Jim Mankey, are hitting the road to celebrate the 20th anniversary of their album Bloodletting. This was the album that made me fall in love with this group, and it spawned their first gold in the form of Joey — in Australia, mind! Of course, the regret attached to this news is that the band don’t have dates for an Aussie leg on their tour. To celebrate, here’s the title track to Bloodletting: delicious!
Shudder, er, Shutter Island
Shutter Island is director Martin Scorsese’s new baby, and I finally caught it, late in the season, after being enticed by its Gothic whodunit trailer.
The island is an asylum for the violent criminally insane, back in 1954, with the impact of World War II and the Cold War adding undercurrents to what begins as an investigation into an escape and quickly develops into a far deeper, and more complex, mystery.
Leonardo DiCaprio is the investigating Federal Marshall who brings a whole baggage train of issues to the case as he faces off against the head psychologist played by Ben Kingsley.
The acting is uniformly superb, and I’m pleased to be able to vanquish thoughts of the execrable Titanic (just drown, won’t you?) while watching him work.
And Scorsese works up some delightful atmosphere with his bedlam visions.
But the movie falls sadly short of the mark that it could’ve and should’ve reached, and a damn sight sooner than its almost 140-minute running time.
There were a few warning signs that things were going pear-shaped from the get-go: unnecessary info dumps and a strange meeting between two cops, an overwrought score that thankfully settled down as the story progressed, and then the unnecessary expositions mounting up as the increasingly obvious (and slightly dubious) conceit was unveiled. I kept hoping for a further twist in the tail to unravel the conceit, but it wasn’t to be. There was, however, a very enjoyable and rather pointed, I mean poignant, closing scene.
And poor Max Von Sydow was wasted — he’s right up there with Christopher Lee on the list of actors who deserve chunkier roles, in my book — and an entire subplot told in flashback seemed all but irrelevant to the story in hand.
Good, but not great.
Among the trailers was the new ‘reimagining’ of a Nightmare on Elm Street: it looks tasty.
Clarion South, set for 2012
A bit of news from the team at Clarion South, the excellent writers (boot camp) workshop run in Brisbane every two years — it’s been put back a year to 2012. I’ve not had the pleasure of attending myself, but I know a bunch of folks who have (and who’ve taught there), and I’ve seen the stories they’ve produced, and wow: if you can muster the time and the money, it’s a hell of a kickalong. For details, check out the Clarion South website.
Awards news
Good news on two fronts today regarding excellence in Australian fiction.
Firstly, several Australians have made the finalists list for a Hugo, to be awarded at Aussiecon 4 in Melbourne in September:
Jonathan Strahan (best editor, short form), Shaun Tan (best pro artist), Helen Merrick (best related work) and Lezli Robyn (best newcomer, though it’s not strictly a Hugo, the John Campbell is run as an adjunct). See the full list of Hugo finalists here.
Secondly, the Australian Shadows awards have been announced. This year, the award was split across three categories and the finalists presented a solid slice of Aussie horror writing.
The winners were:
Slights by Kaaron Warren (Long Fiction); Grants Pass, ed. Jennifer Brozek & Amanda Pillar (Edited Publication); “Six Suicides” by Deborah Biancotti (Short Fiction). The judges’ reports are available here.
Dr John in Australia
Renowned New Orleans piano man Dr John brought some hoodoo to Melbourne last night.
Playing a packed house at the Corner Hotel, the 69-year-old, backed by the superb Lower 911 on bass (David Barard), drums (Herman “Roscoe” Earnest III) and guitar (Reynard Poche), cast a spell in this sideshow gig ahead of Byron Bay’s East Coast Blues and Roots Festival at the weekend.
John looked resplendent in purple suit and hat. There were skulls on his piano and organ, a little bit of bone-shaking during a voodoo tune, a necklace of what looked like alligator teeth. (Barard, who played a solo support slot, had a Mardi Gras throw hanging from his mic stand.) But the magic was in the music, a parade of swampy R&B/blues/funk/gospel that had many in the crowd moving in time in defiance of a couple of sound glitches.
John looked a little slow on his feet, but the voice was as strong and distinctive as ever, joined in places by the throaty growl of Barard. He has a particularly fetching way of saying “all right”, that Southern accent carrying the charm of New Orleans in two simple words. He didn’t have a lot to say, but when he did, he revealed a dry sense of humour that appealed to the audience, if the shouts, claps and chuckles were an indication.
He played for 90 minutes, with Right Place, Right Time in the mix, and a couple of covers I didn’t recognise but apparently one has been around since “eleventeen years after dog shit”.
The encore saw John return for a version of Let the Good Times Roll, taking up the guitar — he started his career as a guitarist before an injury to his hand saw him turn to the piano — to rock out his farewell.
I still haven’t worked out what the object hanging from his right ear is, or how he manages to keep his glasses attached to the top of his ears. But there’s no doubting the good doctor still has his mojo.
As an aside, I’m not sure the Corner was the ideal venue for this gig. The general admission sweat pen might suit the young’uns who don’t mind pushing up the front once the gig has started, but I felt sorry for the older people in the crowd — and there were plenty of them as you’d expect for a performer of this style and vintage — forced to stand for at least two hours in the hot crush. Being shouldered and having line-of-sight disrupted by latecomers and drink-bearers is, unfortunately, par for the course when you’re surrounded by rock pigs, but you have to wonder how the grandparents enjoyed their not-cheap concert from the floor as the humidity and body odour rose.
The Cult going hot Down Under
If my tickets at the back of the room are any indication, The Cult are selling tickets for their Australian tour hand over fist. Ouch, but yay. I wonder if those empty days after the Sydney and Melbourne gigs might not become second gigs in those cities, if the sales are indeed running that hot…
Meanwhile, I believe Sydney duo The Black Ryder are playing the support. Here’s a lovely clip by them:
Alice in Underland, er, Wonderland
First impressions of Tim Burton’s addition to the Alice in Wonderland canon: it’s pretty darn cool.
A few of us saw it in 3D and agreed the extra dimension was pretty much overkill and at times a little distracting, except for the absolutely stunning end credits.
I have studiously ignored reviews and comments about the movie — I usually do when I know I want to see something, and I’ve managed to stay blissfully ignorant, except for a few comments about the film not being particularly well received (critically), and Johnny Depp’s portrayal of the Mad Hatter being panned.
This isn’t Alice in Wonderland as I remember it, but I’m not a purist; I don’t have much affection for the original story or film versions since. It’s just a fine yarn to me, and so Burton’s monkeying around with it hasn’t raised my hackles. But I can see why it might rub some up the wrong way.
I enjoyed Depp’s very edgy Hatter, and the “almost 20” Alice played with suitable innocuousness by Mia Wasikowska, and Helena Bonham Carter (the bobble-headed Red Queen) is always a delight. The critters were fine, Alan Rickman adding a lovely dourness to the grub, and the Cheshire cat’s coming and going was a lot of fun.
Burton seems to have had a foot in two camps, unable to completely let go his love of the Gothic (eg the whimsical White Queen’s necromantic tendencies (played sweetly by Anne Hathaway)), but still conforming to the fact that this was a Disney film; I’m not sure it straddles both audiences well.
But there are some absolutely gorgeous “sets”: twisted bare trees, soft light through dust and fog, a ruined chess-set battlefield and final battle sequence between a dragon-like Jabberwocky and Alice that was just lovely (the scene reminded me a lot of a striking piece of fantasy art by the wonderful Clyde Caldwell).
I don’t think I needed to see Alice in 3D and I don’t think it’s something I need on my shelf — it skated a little thin for my liking — but I enjoyed it for its darkly tinted escapism, which sometimes is just the ticket.
Also, in the theatre there was a poster for a new Tron movie: not a remake, but a sequel, I’m told. Here’s a trailer for that: it looks flash and the sound, even through my wee PC speakers, sounded pretty hot.
The Cult to tour Australia!
It’s official – 1980s super rockers The Cult are hitting Australia for the first time in 15 years. Ian Astbury and guitarist Billy Duffy are in the swing. I’ve been miffed about missing them in New Orleans by a few days a couple of years back when they were touring their latest album, Born Into This. A highlight of my time at The Courier-Mail was getting to do a phone interview with Astbury, so seeing the band – one of my favourites – is going to be a hoot. Tickets are on sale on March 19!
Here’s a clip of classic single She Sells Sanctuary to get you in the mood for the May tour!