Will the weird, electronic wonders of Adarkah Ianqu never cease? Do we wish them to? Hell, no, especially when they're as rich as one finds in his latest: beyond the universe.
Its seven tracks beckon one into foreboding, astral planes, but one must determine whether they exist beyond this earth or all within one's anguished brain.
The intro track, "somolence" is a perfect kickoff: a hypnotic lullaby that hisses like a snake, but more beautifully than any reptile could ever hope, while pulling one down a ripe throat, where a smorgasbord of emotional templates await.
"Somolence", in essence, births "chloe" and "nor imagination", with the former acting as a chain-dragging, second tier and the latter, a void into which one can regurgitate one's darkest desires.
One finds, however, that the fruits of one's mad labor are fruitless at the core, for "chica" answers them with a parade of thudding doom. To accentuate this, "social idiots" reminds one of the repetition that halts one's eager expectations, presenting a deadening beat that goes on and on.
Hope comes through "try to think twice", where one combats the mundane mindset of one's humdrum life. Within this sector, all turns razor sharp, but is it escorting one's rise or fall?
One pulls the answer in "tarot 13th card", where one's fate is sealed, depending on how vivid or bleak one wishes it. Either way and from henceforth, the adventure is plotted without any chance of return.
Strap in for Ianque's bizarre blastoff: a trip one will fancy or fear, and maybe if one's lucky, a little of both:
https://adarcahianku.bandcamp.com/album/behind-the-universe?fbclid=IwAR0N2AxrJjJsqieYVL47R6ClKWjj7sEkZqecdsT5dtgfhZGdX5efaOlK1HQ.
On October 2, 1959, one of the most acclaimed, television series of all time premiered on CBS: Rod Serling's "The Twilight Zone".
Serling and his handpicked writers generated a wide range of intriguing topics, often tipped by thought-provoking irony.
Though most recall the twists, the series gained devotees through its projection of humanity and staunch, moral stances, as presented through such episodes as "Walking Distance"; "A Stop at Willoughby"; "Night of the Meek"; "Changing of the Guard": "In Praise of Pip"; "Passage for Trumpet"; "One for the Angels"; "Showdown with Rance McGrew"; "A Nice Place to Visit"; "Time Enough at Last"; "Mr. Bevis"; "Eye of the Beholder", "The Monsters are Due on Maple Street"; "The Shelter"; "The Fever"; "Dust"; "Mr. Denton on Doomsday"; "A Hundred Yards Over the Rim"; "The Dummy"; "The Lonely"; "The Mighty Casey"; ""Where Is Everybody?"; "The After Hours"; "To Serve Man"; "It's a Good Life"; "Last Night of a Jockey"; "Nervous Man in a Four Dollar Room"; "Dead Man's Shoes"; and "The Big, Tall Wish".
Serling's crisp dialogue was also an empowering plus: an ideal springboard for actors to emote. The queue is impressive: Jack Klugman; Jack Warden; Gig Young; James Daley; Art Carney; Ed Wynn; Cliff Robertson; Ivan Dixon; Anne Francis; Burgess Meredith; Orson Bean; Dan Duryea; Martin Landau; Earl Holliman; Donald Pleasence; Everett Sloane; Larry Blyden; Sebastian Cabot; Warren Stevens; Joe Mantel; Mickey Rooney and many more.
"Twlight Zone" is odd and eerie, but more so a place of comfort. The anthology never fails to hit the spot after a long, arduous day. That's because its content, though fanciful about the fringes, embodies everyday life.
Other incarnations have followed Serling's foundation and earned their own loyalty and respect, but the original established a pinnacle that will never be eclipsed. My life is all the better for Serling's brainchild, and there's no doubt that a legion of others hold the same opinion.
You were one of the greats who inspired me to become a ventriloquist, and when I fell short of that goal, you at least gave me a lifelong fondness for puppetry.
My childhood was all the more special because Danny O'Day was by tag-along friend. I also enjoyed watching Danny's pals, Humphrey Higsby and fluffy Farfel to no end.
It took a sharp wit and stiff mouth to pull off what you did, Mr. Nelson, and the joy you offered hit the max, along with plenty of merry memories and even a stretch with the leggy Rockettes.
May you continue to perform with your precious personas upon the cosmic clouds and among the twinkling stars. I, for one, will be looking up to catch your next act:
https://www.youtube.com/watch?v=XAqbC9S6U7w.
You performed among the best of the best: from classic to modern "Star Trek" and within "Mission: Impossible'"s golden foundation.
There was also "The Man from U.N.C.L.E."; "The Streets of San Francisco"; "Kojak"; "Mannix"; "Power Ranger in Space"; and ongoing roles on "General Hospital"; "As the World Turns"' and "The Guiding Light".
Many fans savor your appearances in "The Night God Screamed"; "All About Evil" and "Cool Air": a trio that can't help but chill one to the bone.
You were gracious to the people you worked with, Mr. Donner, and essential to those you taught. Your skillful and amiable aura will never fail to bless, adding to your expanding base of appreciative fans.
You were the living blueprint for any character actor to follow, with a list of varied roles to make one's head spin.
There was good ol' "Spider Baby" (with good ol' Lon Chaney Jr); "Blood Bath"; "The Host"; "Pit Stop"; "Foxy Brown"; "Coffy"; "The Big Bird Cage"; "The Big Doll House"; (all of the latter for director Jack Hill); "Black Mama, White Mama"; "Savage Sisters"; "Beyond Atlantis" (the latter three for Eddie Romero); "THX 1138"; "Diamonds are Forever"; "Galaxy of Terror"; "The Hell with Heroes"; "C.C. and Company"; "The Firebrand"; "It's a Bikini World"; "Beach Ball"; "Point Blank '67"; "Emperor of the North Pole"; "The No Mercy Man"; "The Don is Dead"; "Swashbuckler"; "Return of the World's Greatest Detective"; "Boris and Natasha"; "Death Car on the Freeway"; "Death House"; "Dead Man's Hand"; "Dark Moon Rising"; "Bone Tomahawk"; "Hatchet 3"; "The Aftermath"; "Wizards of the Lost Kingdom II"; "Warlords"; "Creature '11"; "Beware! The Blob"; "Kill Bill, Vol 2"; "Jackie Brown"; "House of the Dead 2"; "Night of the Living Dead 3D"; "Mimesis: Night of the Living Dead"; "Devil in My Ride"; "Wonder Woman '73"; "Brotherhood of Blood"; "Lords of Salem" and "Halloween '07" (the latter two for Rob Zombie).
On television, you were a ongoing presence as Dragos on "Jason of Star Command", but also took time to visit "Buck Rogers in the 25th Century"; "Star Trek"; "Batman '66"; "Automan"; "Get Smart"; "Charlie's Angels"; "The Fall Guy"; "The A-Team"; "MacGyver"; "Gunsmoke"; and for eight, special appearances as eight different villains, "Mission: Impossible".
However, for fans of modern horror, you redefined it all as Captain Spaulding in Rob Zombie's "House of 1000 Corpses"; "The Devil's Rejects"; "3 From Hell"; and "The Haunted World of El Superbeasto", giving us a "clown" who was as dangerous as he was...well (despite the immense carnage), funny.
Your best role (and again, in greasepaint) remains Seymour Smiles in Ward Roberts' "Little Big Top": an underrated gem that demands (re)discovery. (You should have earned an Oscar for that one, if only such matters were done fairly.)
You gave gave an enormity of entertainment for fans to relish, Mr. Haig, and impacted our lives through pathos, fear and just being an all-around, good guy. We'll dearly miss you, my friend, and won't soon forget your giddy and idiosyncratic, one-of-a-kind ways.
Evaporator is a spankin' new, Bearsuit Records' release. It's by Haq, a band that includes the Tokyo duo, N-qia (Nozomi and Takma) and Edinburgh's Harold Nomo. The trio makes some mighty fine music in the strange yet idyllic "Twin Peaks" vein.
The tonality is electronic, but imbued with a hymn-like fertility (thanks to Nozomi's angelic vocals). On the surface, Haq's samples are rendered for breezy wonderment. On closer inspection, they smother the old to propel the new, even if it's aimed at the artificial, creating a sugary fuel for mannequins and androids that wish to dream, even if they lack the know-how.
The title track is carnival and/or circus-like, its notes cranked for a dancing monkey, uncoordinated from the outset, but passing the hat to earn a buck nonetheless. It's robotic, spontaneous and light: a well oiled cog in a complicated machine.
"Cannula Itch" is the begging scratch that follows: a chiming necessity that allows one to see the world through a bright, pink lens. It doesn't matter if the buildings have toppled. The urge to live, enjoy and wander sprinkles the demolished spread, switching day for night and night for day: whatever works to make things right.
"Dustboy Horrorshow" umbrellas the prior entries with a ravenous reminder that the past cannot be erased, only displayed. It, in turn, warms one up for some spiraling "Antics in a Maze" and nifty "Norvell", which beat one down for exasperated rest, but not for long. Haq commands further exploration, which comes through a number of remixes and neo-matches to press one's evaporation.
Evaporator is a prolific program sparked by surrogate senses: an alternate plan to see through and ultimately understand, whether one was spawned from flesh and blood or plastic and steel.
Suckle Haq's subliminal vapor at
https://bearsuitrecords.bandcamp.com/album/evaporator.
