The Rock Blogger

The History of Civilization in 5 minutes. This is ‘The Edifice’, a segment from designer/animator Saul Bass’ Oscar winning short “Why Man Creates” (1968).

Night Time. 2008. Written and Directed by Tyson Stewart and Alain Lacoursière

Music by Emilie LeBel.

4 stars

I’m proud to have this exclusive opportunity to show an experimental short which was co-directed by my good friend Tyson Stewart. It’s a moody and mysterious twilight journey, where a dour narrator reminisces over strange women, ghosts, truck drivers and the dreary, rural places they frequent.

While Night Time is almost completely devoid of action and characters, the calm, somnambulist narration provides vivid mental images that slowly glide across these desolate landscapes, bringing you into deep, darkened pools of memory. The somber tones and street lamp halos give these introverted reflections a distinct and unsettling atmosphere, reminding me of a David Lynch film or my own teenage, alcohol-fueled stupors.

The poetic lyricism that lines these dream-like sequences is coupled by the menacing ambient score of Emilie LeBel, who plays haunting drones and synth passages that carefully swell in the shadows. These tracks lend the film an aching gravity, enhancing the wavering and voyeuristic sensations brought on by these images. The lonely shore, the seedy bar and truck stops are shown from detached and distant perspectives, cutting and spinning with free-wheeling angularity.

While the premise and structure of Night Time is simple, low key and strictly minimalist, its images are strangely comforting and human, exploring the darting thoughts and feelings of our seemingly lost and love-lorn guide. With their nuanced sense of mood, timing and setting, this young duo freely showcases their promise and aspirations. I look froward to seeing more work from them.

(As a side note, Night Time is not only a great short, but it is one of the first outside contributions to The Rock Blogger! Thanks Tyson! This looks to be a future trend here on the blog, as I look forward to guest reviews, photos and film submissions like this one. If you are interested in getting your work shown on this site, feel free to email me at goatlemment@hotmail.com).

Velvet Cacoon. Genevieve . 2004. Full Moon Productions . 4.5 stars .

“Nothing matters aside from catharsis. The feeling of catharsis is what true people seek out. The problem is that virtually nobody is true anymore. Politics, religion, stock markets… It are these manmade things which people obsess over that is ruining everything. It is why people are loading up on anti-depressants and therapy sessions. Mankind created this demon of a system and most people are too busy on their cellphones to realize that this demon they feed and fund is the same thing that has ruined them. I can neither help nor save them. Misanthropy is the nautical map of my life. It has brought me true catharsis.”- ‘SGL’ Velvet Cacoon

One of the most mysterious and controversial Black Metal bands to come from the Pacific Northwest, Portland’s Velvet Cacoon play intensely atmospheric music partly inspired by radical environmentalism and the abuse of Dextromethorphan. The duo, known as ‘Josh’ (SGL) and ‘Angela’ (LVG), have been the subject of many bizarre rumors and hoaxes, giving their work an extreme, larger than life mystique. Stories of their asexuality, ‘ecofascist’ political beliefs, accusations of plagiarism, and the creation of their own diesel powered guitar (the ‘diesel harp’) have made the band the subject of heated discussion online and within the metal underground.

Despite the dubious nature of Velvet Cacoon, their sole ‘public’ album Genevieve is certainly a uncompromising masterpiece, possessing a claustrophobic and haunted beauty. The distorted guitar tone that dominates the mix sounds as if it was recorded underwater, adding to the oceanic themes evoked by the tracks “P.S. Nautical” and “Avalon Polo”. The cold and alien sound emitted from these blurred riffs is daunting, making the mystery of its creation ever more compelling. Deep, propulsive drum machine rolls provide the current for these black pools, moving at a constant, unchanging rhythm that palpitates like a terrified heartbeat. Strange, distant vocals whisper and hiss in the shadows, providing a menacing and ghostly presence to the ruminations. The entire experience is enveloping, opening black holes to suck in all light and emotion, leaving you to contemplate the harsh throes of the universe. While Genevieve may initially sound disturbing, it is also a hypnotic and existential listen, instigating deep reflection and wonder long after the bleak ambient closer “Bete Noir” has faded to black.

For its dark, natural (and supernatural) overtones, Genevieve is a rare musical experience that presents emotional and intellectual challenges that will be sure to stick with the attuned listener. Anyone interested in the work of Burzum, Wolves in the Throne Room and Sunn O))) will find much to like here, as Velvet Cacoon shares many aesthetic elements with those acts. I also recommend reading the rare interviews with the band, as they discuss the controversies surrounding their work as well as their esoteric views on drug use, sexuality, the environment and the universe. While some of their views may be odd and provocative, they certainly are intelligently put and make for an interesting read.

Interview with Velvet Cacoon: Chronicles of Choas

Interview with Velvet Cacoon: Full Moon Productions

Avalon Polo

Stalker (1979), directed by Russia’s late Andrei Tarkovsky, is one of the most bizarre and fascinating science fiction films ever made. It concerns a mysterious patch of Soviet countryside known only as “The Zone” which has been decimated by some mysterious happening, and quarantined off by the Communist government. All who venture into there disappear forever. Yet a handful of brave souls, lured by The Zone’s supposed promise of granted wishes and revelations, are led by ‘The Stalker’ into the abyss. The film is incredibly slow and long but possesses a hypnotizing power, as the unreal cinematography, locations, music and pacing fills you with existential dread and longing. The film is so open-ended and perplexing that its almost spiritual.

The following are two stunning clips that feature some of Eduard Artemiev’s haunting minimalist music that sets the tone for the unraveling psychological drama. If anyone knows where I can find the soundtrack for this, it would be greatly appreciated.

Entering the Zone

The Pool Sequence

Click for full image

A spot-on comic from Viruscomix.com that satirizes your average concert goers. Having been next to some of these characters at numerous shows, this made me chuckle. They missed “the really tall asshole that stands in front of you” though.

One of the early animation projects of Trey Parker and Matt Stone, long before South Park.
It’s a rather inspiring little short centered on how one’s life should be played as a free flowing song instead of being driven towards a final, climatic note. Surprisingly powerful stuff.

Some beautiful artwork from psychedelic visionary Alex Grey.

You might recognize some of his work from several Tool album covers, including 2006’s

10, 000 Days.

The Cosmic Christ is a certainly a stirring representation of Jesus, melding spirituality with universalism, illustrating a more modernist and Integral Christian outlook.

“Ask, and it will be given to you; seek, and you will find; knock, and it will be opened to you. For everyone who asks receives, and he who seeks finds, and to him who knocks it will be opened”. Matthew 7:7-8

photo by Damien Van Vroenhoven 2008.

against-grey-walls.mp3

A demo I recorded for The War Upstairs a while ago.

Let me know what you think.

***Update: The War Upstairs now has a Myspace Page* Follow the link above.

image from www.theskyscrapers.org

A shout out to my fellow lycanthropes…
A night of portents and omens, read from karma’s cards…
Anyone see that lunar eclipse last night?

This video, set to Ulver’s “Blinded by Blood”, showcases the haunting work of renowned Swiss artist HR Giger, who’s disturbing bio-mechanical imagery caught worldwide attention after he designed the creatures and sets for the Alien series. The hellish figures and threatening mechanical landscapes match beautifully with Ulver’s ambient and ghostly compositions. Giger remains one of the greatest surrealists, combining science fiction and horror elements in his fantastical visions, inspiring artists across different mediums and revolutionizing the aesthetics of science fiction.