Somewhere within the void of Jazz

Hello again,

I apologize for the lack of posts in the past few days, the habit of writing blog posts can be a tough one of to break into, especially when I have been dwelling deep somewhere in the void of jazz. In my life I have attempted many times to open my ears to what some might consider the most pure form of music (I personally do not share this opinion), and recently it has become easier as I find myself inching closer to that realm of music to suit my desires.

A few albums to give you and understanding of what I mean:

Bohren und der Club of Gore - Gore Motel

Okay, so this isn't REALLY jazz, but it's close enough. A dark and winding tunnel of jazz-doom that differs somewhat from the material seen later by this fantastic German group. These guys might be known for soft yet brooding late-night sounds, but this album sounds more like the demented grind-core of David Lynch's seedy backwoods bars.

Check out this slice: https://www.youtube.com/watch?v=klBs5TXTudQ


Poolplayers - Way Below the Surface

This album does indeed dwell somewhere below; not much really seems to be solid on this album, rather a continuous stream of sound being structured and washed away by undercurrents. It took a few attempts before I finally sat down and listened through this, and it was indeed rewarding. The players here seem less to be creating music so much as taking it apart.

A damn fine cup of coffee

Well look at that, barely one post in and we've already entered the darkness of the woods known to some as "the Dweller on the Threshold," or more commonly, the Black Lodge surrounding the woods of Twin Peaks. If you are unaccustomed to the world of Twin Peaks, then I suggest you go to Netflix right now and watch it (or through whatever means you deem necessary) because it is worth it. But no, I will not waste your times with a discussion on the show in general but on the prequel film released a year after the show was taken off the air. To some this film is a let down, and to some it is one of director David Lynch's greatest works--let's not forget the entire female population of Japan. There is also me, who falls somewhere in the middle off the two former sentiments. I viewed the film hoping to understand more of the series' many enigmas and, quite frankly, cosmic holes. What I ended up with was an hour of awesome build up for what I feel was a less than satisfactory ending, but I don't want to ruin or spoil anything for any prospective viewers, as they might love the ending, whilst despising the beginning.

Readers beware, the following MAY contain spoilers, though I try my best to avoid any.

Avert your eyes, David; this is getting serious.

I suppose my main interest in discussing this film is to point out the way in which David Lynch built the film. It doesn't start right off as a dissection of the Laura's history, but rather as a surreal montage of the FBI's role in the murder of Theresa Banks. Now this was my favorite part, because aside from the abundance of cameos (here's looking at you, Bowie), it seems the most Lynchian of the film. I'm not saying that Mr. Lynch is a Barton Fink who can't even seem to write with that Barton-Fink-feeling, rather that the first half contains the most potential, or at least precognition, for the dream logic style that would dominate his later work.

To say that the murder of Theresa Banks was a "dream" that preceded the killing of everybody's favorite homecoming queen is an interesting one, as there is a connection between them that seems to be in the back of the FBI's mind; a blue rose case (I'm afraid I can't tell you about that one). Of course, that isn't likely, because how could such a sweet town like Twin Peaks be connected to something only of nightmares... right?

Well, that may not have said everything I had wanted to say (what was that again?), but I suppose I'll end with the fact that had Mr. Lynch stuck more with the style of the earlier portion of the film I would have been happier. Of course, you dear reader might always disagree, and if so, please tell me why. Until next time.

Entrance

And so it begins;

A vast array of mineral consciousness (as Burroughs once put it). Audio Paralysis, or as some may lovingly call it, The Audio Paralysis, because definite articles seem to imply importance, is most importantly known as the radio show that I, Apollo, currently run and execute. This blog if you will is the latest and quite-possibly-not greatest addition to its franchise. Inside I shall be posting the current interests that reside within the minds of Audio Paralysis Corp., including, but of course not limited to: musings, ramblings, audio lusting, and whatever else might cross my fancy. The most important aspect of this blog will be to give a description of the music played, and perhaps introduce any readers, read skimmers, to the fantastic Great Underground Vaults of my musical knowledge and databases, just be wary of grues.

Without further ado, I welcome thee, weary traveler, to the words of Audio Paralysis.