The Church - Séance +
1 hour ago
Friday, 31 December 2010
Boney M's Bobby Farrell dies
Seventies disco icon Bobby Farrell, singer and dancer with the chart-topping group Boney M, died aged 61 in a Russian hotel room Thursday while on tour, his agent and investigators said.
The flamboyant performer known for his energetic dance moves "was found dead in his bed," in a hotel room in Saint Petersburg, agent John Seine told AFP by telephone from Heemstede in north Netherlands, adding: "the cause of death is not known."
Seine said Farrell had given a performance in Saint Petersburg on Wednesday, but "they told me that he was not feeling well."
"This morning, he did not wake up."
The Saint Petersburg investigative committee of prosecutors confirmed to AFP that the entertainer was found dead in his bed by an employee of the Ambassador Hotel on Thursday morning.
"There were no signs of a violent death," the committee said, adding: "The investigation continues".
Saint Petersburg news site Fontanka.ru reported that Farrell had come to the Russian city on Wednesday to take part in a corporate event, but reported feeling ill during his performance.
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Woman dials 999 to report snowman theft in Kent
A woman who dialled 999 to report the theft of a snowman from outside her home has been branded "completely irresponsible" by Kent Police.
The force said the woman, from Chatham, thought the incident required their involvement because she used pound coins for eyes and teaspoons for arms.During the call the woman said: "It ain't a nice road but you don't expect someone to nick your snowman."
Kent Police said officers had given her advice on real 999 emergencies.
The force said the call was made at the same time as operators fielded thousands of other phone calls about the heavy snowfall and sub-zero temperatures in the county.
During the conversation she said: "There's been a theft from outside my house.
"I haven't been out to check on him for five hours but I went outside for a fag and he's gone."
When she was asked who had gone, the woman replied: "My snowman. I thought that with it being icy and there not being anybody about, he'd be safe."
She was then asked whether it was an ornament, and answered: "No, a snowman made of snow, I made him myself.
"It ain't a nice road but at the end of the day, you don't expect someone to nick your snowman, you know what I mean?"
The operator then told her she had rung an emergency line and she should not be calling it to report the theft of a snowman.Ch Insp Simon Black said: "This call could have cost someone's life if there was a genuine emergency and they couldn't get through.
"It was completely irresponsible.
"We have spoken to her and advised her what is a 999 call, and this clearly was not."
Audio @'BBC'
REpost: Brion Gysin's illustrations for 'Time' by William S. Burroughs (1965)
William S. Burroughs created his own version of Time magazine in 1965.It included a cover taken from the authentic 'Time' (November 30, 1962) which was then collaged over by Burroughs with a reproduction of a drawing, four drawings by Brion Gysin and twenty-six pages of typescript comprised of cut up texts and various photographs serving as news items.
Time was bootlegged in 1972 by Roy Pennington as an 'Urgency Press Rip Off'.
According to Maynard & Miles, Pennington published this bootleg edition for sale at the Bickershaw Festival.
My late friend Mike Hart (from Compendium Bookshop in Camden Town London) had a copy of this as well as Burrough's 'Mayfair Academy Series More or Less' (also published by 'Urgency Press Rip Off').
I hope that after Mike passed away his amazing collection of books and records found a good home (tho' if his son Stephen is anything like his Father, they will be in safe hands).
Back in the 70's in London I had actually managed to collect most of the original issues of 'Mayfair' from the couple of years or so that contained Burrough's column.
Most (but not all) of them were collected in such anthologies as 'Port of Saints' & 'Exterminator!'
If there is anyone out there who has a copy of either of these and wouldn't mind photo-copying or scanning the contents...well I would be eternally grateful!Full story & scans of 'Time' available at 'Reality Studio' here.
The Julian Assange Investigation - Let's Clear the Air of Misinformation
At the heart of her attack is a repeated claim that we failed to publish exculpatory evidence contained in the police file. Those who have read her piece will have noticed that she does not cite one single example of this missing information. There are two reasons for this. First, she does not know what is in that police file, because she has not read it. Second, if she had, she would know that her claim is simply not true.
The Guardian went out of their way to include exculpatory material, not just from the police file but also from previous comments made by Assange and his lawyers. They also sent Assange's lawyer a list of all the key points and delayed publication for days so that he had a chance to respond. Our story contains literally hundreds of words whose sole purpose is to reflect Assange's position.
Jagger also insists that she has a right to know who leaked the file to the Guardian and says that the leak was part of "an obvious effort to conduct a smear campaign" against Assange. Setting aside for a moment the head-splitting hypocrisy that a supporter of WikiLeaks wants to hunt down the source of a leak, there are two similar problems with this claim. First, Jagger has no idea who leaked that file (and made no attempt to find out). Second, if she did know, she would discover that the source had no intention of smearing Assange in any way.
I am not going to serve up that source's identity to satisfy Jagger's temper. A police file like that gets widely distributed. It happened to make its way quite legitimately into the hands of somebody I have come across in the past. This person has absolutely no connection with the Swedish prosecutor or the Swedish police or any other individual or organization with any kind of antipathy to Assange. The source passed it on, and I got it translated...
Continue reading
Nick Davies @'HuffPo'
Oh dear:
"..the first time I have cut off a source in 34 years as a reporter..."
Radiohead Charity Pay-What-You-Want DVD On BitTorrent
In January 2010, in response to the emerging tragedy from the earthquake in Haiti, Radiohead performed before a limited audience at a charity concert in the United States. Since that performance, footage of the event has been painstakingly compiled by fans and now a twin DVD has been released, endorsed by the band. All proceeds are going to charity and the fastest way of acquiring it? BitTorrent of course.
In 2007, UK band Radiohead went against the grain by offering their latest album to the masses via the Internet in a pay-what-you-want model. Their seventh studio album, combined physical and digital sales went on to break the 3 million copy barrier.Now the band are back supporting a similar but completely altruistic model, this time for a DVD. In January 2010, Radiohead performed at the Haiti Relief concert at the Henry Ford theater in Los Angeles and the event was filmed and its audio recorded, not by the band or show organizers, but by their fans.
Understandably, that footage went on to be scattered far and wide but thanks to the work of three fans – inez, formengr, andrea – the video and audio has been painstakingly collated to make a two DVD set of the event, which was limited on the day to just 1,400 people present. The trio then decided to make the work available on the Internet for the masses, but supported by a great idea to help those in need.
“It was a SPECIAL show with a SPECIAL purpose – to raise badly needed funds for those who lived through the devastation. And it seemed only appropriate that the DVD should carry on some of these goals,” inez explains.
So plan in hand, inez approached Radiohead for their approval and to find out which charity they would like donations to go to. The band chose Oxfam to handle donations on behalf of Haiti.
Normally with a charity product a whole bunch of funds would go to producing a physical product and then getting it delivered all over the world, but with the magic of BitTorrent none of that is necessary. In fact, even the online distribution costs come to almost nothing meaning that every penny goes in the right direction.
Inez has chosen a handful of trackers to distribute the DVD including the signup only Zombtracker and the one the majority of BitTorrent users will recognize, KickassTorrents.
The official Oxfam donation link can be found here.
Please download and give generously.
Enigmax @'Torrent Freak'
Thursday, 30 December 2010
The evanescence of Twitter debates
Rob Beschizza has a very good post on the dynamics of the spat between Wired.com and Glenn Greenwald. For an excellent overview of the fight and what it’s about, I recommend Blake Hounshell. But Rob picks up on something else:
The biggest development in the story today comes from Sean Bonner, who seems to have managed to elicit over Twitter the very information that Wired’s critics have been calling for all along. Wired’s Kevin Poulsen told Bonner in a tweet that “The published logs include the reference to a secure FTP server Lamo discussed with the Times”; when Bonner asked Poulsen for clarification that the reference in question was the only reference in the chat logs, Poulsen said yes.
On top of that, Wired.com editor Evan Hansen told Glenn Greenwald in a public tweet that he had reviewed all of the chat logs and that everything pertaining to Julian Assange or Wikileaks was already public.
Obviously, that single tweet is not going to satisfy Greenwald. But in many ways it does more to address the demands of Wired’s critics than the long and carefully-worded blog post that Hansen and Poulsen put up last night. And Greenwald too has noted — on Twitter, natch — that “it’s amazing how central of a role Twitter now plays in these disputes/debates”.
What we’re seeing here is the professionalization of the blogosphere — Greenwald and Poulsen both get paid to blog, as do I — and the way in which that has led to the less journalistic parts of blogging moving over to the informal and freewheeling venue of Twitter. I was happy to take a small part in this debate over Twitter this morning, for instance, but I’m concentrating on meta-issues here, partly because I’m clearly conflicted: I have a big story in the latest Wired magazine, and might well be appearing on Wired.com’s blogs in future, too. On Twitter, such conflicts don’t seem to matter, or need to be addressed, in the way that they do on a professional blog.
This development is not, in my mind, a good thing. It robs from the blogosphere much of its naturally conversational element, which has largely moved to Twitter. Back in 2004 or so, it was easy to follow debates back and forth between blogs just by clicking on links; now, it’s much harder, and professional blogs are much more likely to link to straight news stories or just break news themselves than they are to link to other bloggers. Discussions and debates on Twitter aren’t archived in the way that they were on blogs, and they’re functionally impossible to search for if you’re more than a few months away from the event.
This particular debate is big and loud enough that bloggers are following it, archiving it, and linking to important tweets. But most Twitter discussions never reach that level, and therefore will disappear in a way that blog discussions never did. At some point, I hope that Twitter will roll out easily navigable and searchable archives of all public Twitter streams. But for the time being, Twitter is a stubbornly evanescent medium, for all its increasing importance.
Felix Salmon @'Reuters'
The AP-style story format now prevalent at Wired.com makes it less bloggy than readers think it is. This establishes a distance between readers and reporters and restores a traditional tone of objectivity to its newswriting. As it is, Wired’s commenters rarely emerge from a state of inchoate, slavering rage, so there’s no incentive for its writers to enter the peanut gallery. And the blog river itself is polished to such a high standard that casual, chatty posts don’t really belong. Without a local venue where writers and readers can engage readers in non-confrontational discussion, it all ends up as bitching on Twitter.The point here is that the fight is not like the blogwars of old, despite the fact that both sides are publishing on blogs. We haven’t seen a lot of back-and-forth on the blogs, and the blog entries that we have seen have been clearly worked at considerable length. Instead, the debate has been raging on Twitter, where it’s much harder for an outsider coming to the subject afresh to follow what’s going on and who’s saying what.
The biggest development in the story today comes from Sean Bonner, who seems to have managed to elicit over Twitter the very information that Wired’s critics have been calling for all along. Wired’s Kevin Poulsen told Bonner in a tweet that “The published logs include the reference to a secure FTP server Lamo discussed with the Times”; when Bonner asked Poulsen for clarification that the reference in question was the only reference in the chat logs, Poulsen said yes.
On top of that, Wired.com editor Evan Hansen told Glenn Greenwald in a public tweet that he had reviewed all of the chat logs and that everything pertaining to Julian Assange or Wikileaks was already public.
Obviously, that single tweet is not going to satisfy Greenwald. But in many ways it does more to address the demands of Wired’s critics than the long and carefully-worded blog post that Hansen and Poulsen put up last night. And Greenwald too has noted — on Twitter, natch — that “it’s amazing how central of a role Twitter now plays in these disputes/debates”.
What we’re seeing here is the professionalization of the blogosphere — Greenwald and Poulsen both get paid to blog, as do I — and the way in which that has led to the less journalistic parts of blogging moving over to the informal and freewheeling venue of Twitter. I was happy to take a small part in this debate over Twitter this morning, for instance, but I’m concentrating on meta-issues here, partly because I’m clearly conflicted: I have a big story in the latest Wired magazine, and might well be appearing on Wired.com’s blogs in future, too. On Twitter, such conflicts don’t seem to matter, or need to be addressed, in the way that they do on a professional blog.
This development is not, in my mind, a good thing. It robs from the blogosphere much of its naturally conversational element, which has largely moved to Twitter. Back in 2004 or so, it was easy to follow debates back and forth between blogs just by clicking on links; now, it’s much harder, and professional blogs are much more likely to link to straight news stories or just break news themselves than they are to link to other bloggers. Discussions and debates on Twitter aren’t archived in the way that they were on blogs, and they’re functionally impossible to search for if you’re more than a few months away from the event.
This particular debate is big and loud enough that bloggers are following it, archiving it, and linking to important tweets. But most Twitter discussions never reach that level, and therefore will disappear in a way that blog discussions never did. At some point, I hope that Twitter will roll out easily navigable and searchable archives of all public Twitter streams. But for the time being, Twitter is a stubbornly evanescent medium, for all its increasing importance.
Felix Salmon @'Reuters'
Former Israeli President Katsav convicted of rape
An Israeli court has convicted former President Moshe Katsav on two counts of rape. Thursday's conviction means Katsav will face a minimum of four years in prison. The verdict marks the climax of a four-and-a-half year saga that has riveted the nation as it watched its top citizen face the most serious charges ever leveled toward an Israeli public official.
The 65-year-old Katsav is also facing charges of lesser sex crimes involving two other former employees. A verdict on those charges is expected later in the day.
Israel's presidency is a largely ceremonial position. But the allegations roiled the country by portraying the man supposed to be Israel's moral compass as a predatory boss who forced himself on female employees.
Katsav resigned in 2007 and was replaced by Shimon Peres.
@'Yahoo'
The Bad Daddy Factor
The fathers weren’t supposed to matter. But in the mid-1960s, pharmacologist Gladys Friedler was making all sorts of strange findings. She discovered that when she gave morphine to female rats, it altered the development of their future offspring — rat pups that hadn’t even been conceived yet. What’s more, even these rats’ grandchildren seemed to have problems. In an effort to understand the unexpected result, she made a fateful decision: She would see what happened when she put male rodents on the opiate. So she shot up the rat daddies with morphine, waited a few days, and then mated them with healthy, drug-free females. Their pups, to Friedler’s utter shock, were profoundly abnormal. They were underweight and chronic late bloomers, missing all their developmental landmarks. “It made no sense,” she recalls today. “I didn’t understand it.”For the next several decades, Friedler tried to understand this finding, ultimately assembling a strong case that morphine, alcohol and other substances could prompt male rodents to father defective offspring. There was only one problem: No one believed her. Colleagues questioned her results — her former adviser urged her to abandon the research — and she struggled to find funding and get her results published. “It didn’t occur to me that you’re not supposed to look at fathers’ roles in birth defects,” Friedler says. “I initially was not aware of the resistance. I was one of the people who was actually naïve enough to work in this field...”
Continue reading
Emily Anthes @'Miller-McCune'
The Twilight Singers - On The Corner
“Whenever you’re here, you’re alive” are the first words sung on Dynamite Steps, the upcoming new album from Greg Dulli’s Twilight Singers collective. That line comes from the opening track, “Last Night in Town.” Commencing a record with that title is a ballsy gambit, but there’s a method to his madness. “Last Night in Town” serves the same function as, say, a flash-forward that might open a film noir classic like Out of the Past, laying out the album’s arc in black and white right from jump. Dynamite Steps is the fifth Twilight Singers album, but the group’s first in five years. The Twilight Singers’ previous release, the acclaimed confessional opus Powder Burns, came out in 2006. Dynamite Steps is clearly the next chapter, a whole new level of catharsis and progress, evocatively cramming all the highs and lows of the maverick singer-songwriter’s past half-decade into unexpected sonic trapdoors. “Last Night in Town” encapsulates that vibe, setting the stage for the emotional thrill ride that’s about to come over the ensuing song cycle. On the one hand, the song is as signature Greg Dulli as it gets: starting with washes of spooky Mellotron, his soulful, confrontational howl rises to a messianic apex over symphonic, maximal layers of sound. It’s pure storytelling, reflecting on the impact of a near-death moment—but when a thick, dancefloor-aimed synth bassline surges through the mix, it’s clear this is a leap into the future, not doomed nostalgia.
Released by: Sub Pop
Release/catalogue number: SP844
Release date: Feb 15, 2011
Indeed, Dynamite Steps explores the thin line between life and death, mortality and immortality, resignation and celebration—that mythical moment when your life flashes before your eyes, drawn out here over the course of eleven songs. The album’s forty-three minutes prove an unflinching odyssey through the dark side, but one that’s ultimately redemptive in its scope and power. Dulli has never attempted anything so ambitious, neither sonically nor confessionally; that he makes it to the other side by the end feels redolent of triumph, but not without dues paid, hides scourged and lessons learned. The second song, “Be Invited,” features the haunting vocal tones of longtime Dulli friend/collaborator Mark Lanegan, adding portent to an already ominous chorus (“There’s something at work here/Chalk circles around your body”); over the song’s lurching country-blues waltz, Nick McCabe—kaleidoscopic guitarist for legendary U.K. group The Verve—adds not so much a guitar part as the hum of a swarm of bees hovering before the sting. The new textures of “Be Invited” pave the way for “Waves,” perhaps the toughest-rocking song Dulli’s ever made, exploring hitherto uncharted oceans of rage rendered as feedback squall; “Step aside while I manipulate,” he commands over shuddering analog synths and chiming, atonal guitars that recall vintage Sonic Youth.
Just as the shock and awe of “Waves” tasers listeners out of their comfort zone, the following quartet of tracks—possibly the greatest achievements in Dulli’s entire career—brings it all back home. Indeed, here are the songs that will make his most die-hard fans get over the fact that there’ll never be an Afghan Whigs reunion. The first, “Get Lucky” proves Dynamite Steps’ emotional crux, a stately piano ballad that looms somewhere between poignant and terrifying. From the dubby rimshot that echoes through its breakdown, “Get Lucky” makes clear we’re in a different dreamland—this is memory processed through regret, the violins swelling until there is literally nowhere left to turn. “I get lucky sometimes” goes the infectious earworm chorus; the accompanying musical thunderclouds, however, make clear that the song’s protagonist is dangerously deluded. The next track, “On the Corner,” could be an antihero rave-up off the Whigs’ revered 1996 opus Black Love, and proves one of Dulli’s best full-on rockers. With its blaxploitation wah-wah solos from Twilight SIngers mainstay guitarist Dave Rosser, catchy “ooh-oohs,” and relentless “I Wanna Be Your Dog” piano line—all driven by a thundering rhythm section, bassist Scott Ford and guest drummer Gene Trautmann (Queens of the Stone Age, Eagles of Death Metal)—“On the Corner” captures Dulli in his prime, regardless of what era it was made in. “Spread your legs/Insert your alibi” he sings here, a line that captures his timeless essence: a turn of phrase both clever and vulgar, its truth hitting home all too painfully. “Gunshots” and “She Was Stolen” follow—two of the most heartrending, epic anthems he’s ever released; as such, “She Was Stolen” proves one of his most impassioned, hopeful vocal performances. Critics talk about the soul influence in the man’s work, and it’s clear here—not in sonic signifiers that obviously evoke R&B per se, but in the sheer will to take a performance as far as it can go, no looking back.
According to the liner notes, Dynamite Steps was “shot on location” at various locales significant to Dulli’s life. You can hear the sense of place emanating up from the grooves: here, the weary nighttime decadence of New Orleans rubs up against the oppressive sunshine of Los Angeles and the desolation of Joshua Tree’s desert vistas. Dynamite Steps is particularly distinguished by its bed of spectral female voices, courtesy British chanteuse Carina Round and return appearances from the likes of Petra Haden, Leta Lucy and Ani DiFranco, the latter of whom duets memorably here on “Blackbird and the Fox.” “Dulli and DiFranco, odd a pairing as they might seem, have actually crossed paths before,” The Village Voice noted recently. “The moody ‘Candy Cane Crawl,’ from 2006’s Powder Burns, is one of the best things he’s ever done. This will very happily remind you of that.” Those female voices provide a necessary counterpoint to The Twilight Singers frontman, serving as a beatific alter ego, a salve to the wounds haunting the words. The songs on Dynamite Steps catch him in the act of pulling the thorns and arrows out of his flesh: once comfortable in this new skin, he’s finally able to aim his crosshairs at the dark storms of human relations with newfound lucidity. That’s clear in the pair of songs that climax the record, “The Beginning of the End” and the title track. The former proves one of the most unashamedly beautiful songs Dulli has ever recorded—a lush, soaring Pink Floyd-meets-Slowdive reverie about someone who’s finally learned to fly, but not how to land. He co-produced “Beginning…” with Steve Nalepa, a veteran of L.A.‘s vital electronica scene that’s home to the likes of Flying Lotus and Nosaj Thing. Nalepa appears throughout Dynamite Steps; that choice indicates both that this is The Twilight Singers’ most forward, electronic-leaning effort since the band’s 2001 debut, Twilight as Played by The Twilight Singers (co-produced by U.K. downtempo iconoclasts Fila Brazillia) and that Dulli’s musical taste remains as edgy, current and eclectic as ever (a recent playlist he put together for TheWorldsBestEver.com sprawls from the likes of Willie Hutch, Junip and Miles Davis to Laetitia Sadier, Jay Electronica, Black Mountain, Glass Candy, Salem, and Gonjasufi). The title track, meanwhile, proves a typically cinematic, cathartic Twilight Singers closer, its lyric reminding us, via Dulli’s personal journey, where we’ve come from, and where we’re going. “I’ll see you at the door/One more time, dear,” he sings as the song reaches its peak; from that, it’s clear this isn’t the last we’ll be hearing from him and the Twilight Singers. If anything, from the evidence on display, this really is just the beginning.
“If you do unto others/You will die by your own hand…”
— The Twilight Singers, “Never Seen No Devil”
Just as the shock and awe of “Waves” tasers listeners out of their comfort zone, the following quartet of tracks—possibly the greatest achievements in Dulli’s entire career—brings it all back home. Indeed, here are the songs that will make his most die-hard fans get over the fact that there’ll never be an Afghan Whigs reunion. The first, “Get Lucky” proves Dynamite Steps’ emotional crux, a stately piano ballad that looms somewhere between poignant and terrifying. From the dubby rimshot that echoes through its breakdown, “Get Lucky” makes clear we’re in a different dreamland—this is memory processed through regret, the violins swelling until there is literally nowhere left to turn. “I get lucky sometimes” goes the infectious earworm chorus; the accompanying musical thunderclouds, however, make clear that the song’s protagonist is dangerously deluded. The next track, “On the Corner,” could be an antihero rave-up off the Whigs’ revered 1996 opus Black Love, and proves one of Dulli’s best full-on rockers. With its blaxploitation wah-wah solos from Twilight SIngers mainstay guitarist Dave Rosser, catchy “ooh-oohs,” and relentless “I Wanna Be Your Dog” piano line—all driven by a thundering rhythm section, bassist Scott Ford and guest drummer Gene Trautmann (Queens of the Stone Age, Eagles of Death Metal)—“On the Corner” captures Dulli in his prime, regardless of what era it was made in. “Spread your legs/Insert your alibi” he sings here, a line that captures his timeless essence: a turn of phrase both clever and vulgar, its truth hitting home all too painfully. “Gunshots” and “She Was Stolen” follow—two of the most heartrending, epic anthems he’s ever released; as such, “She Was Stolen” proves one of his most impassioned, hopeful vocal performances. Critics talk about the soul influence in the man’s work, and it’s clear here—not in sonic signifiers that obviously evoke R&B per se, but in the sheer will to take a performance as far as it can go, no looking back.
According to the liner notes, Dynamite Steps was “shot on location” at various locales significant to Dulli’s life. You can hear the sense of place emanating up from the grooves: here, the weary nighttime decadence of New Orleans rubs up against the oppressive sunshine of Los Angeles and the desolation of Joshua Tree’s desert vistas. Dynamite Steps is particularly distinguished by its bed of spectral female voices, courtesy British chanteuse Carina Round and return appearances from the likes of Petra Haden, Leta Lucy and Ani DiFranco, the latter of whom duets memorably here on “Blackbird and the Fox.” “Dulli and DiFranco, odd a pairing as they might seem, have actually crossed paths before,” The Village Voice noted recently. “The moody ‘Candy Cane Crawl,’ from 2006’s Powder Burns, is one of the best things he’s ever done. This will very happily remind you of that.” Those female voices provide a necessary counterpoint to The Twilight Singers frontman, serving as a beatific alter ego, a salve to the wounds haunting the words. The songs on Dynamite Steps catch him in the act of pulling the thorns and arrows out of his flesh: once comfortable in this new skin, he’s finally able to aim his crosshairs at the dark storms of human relations with newfound lucidity. That’s clear in the pair of songs that climax the record, “The Beginning of the End” and the title track. The former proves one of the most unashamedly beautiful songs Dulli has ever recorded—a lush, soaring Pink Floyd-meets-Slowdive reverie about someone who’s finally learned to fly, but not how to land. He co-produced “Beginning…” with Steve Nalepa, a veteran of L.A.‘s vital electronica scene that’s home to the likes of Flying Lotus and Nosaj Thing. Nalepa appears throughout Dynamite Steps; that choice indicates both that this is The Twilight Singers’ most forward, electronic-leaning effort since the band’s 2001 debut, Twilight as Played by The Twilight Singers (co-produced by U.K. downtempo iconoclasts Fila Brazillia) and that Dulli’s musical taste remains as edgy, current and eclectic as ever (a recent playlist he put together for TheWorldsBestEver.com sprawls from the likes of Willie Hutch, Junip and Miles Davis to Laetitia Sadier, Jay Electronica, Black Mountain, Glass Candy, Salem, and Gonjasufi). The title track, meanwhile, proves a typically cinematic, cathartic Twilight Singers closer, its lyric reminding us, via Dulli’s personal journey, where we’ve come from, and where we’re going. “I’ll see you at the door/One more time, dear,” he sings as the song reaches its peak; from that, it’s clear this isn’t the last we’ll be hearing from him and the Twilight Singers. If anything, from the evidence on display, this really is just the beginning.
“If you do unto others/You will die by your own hand…”
— The Twilight Singers, “Never Seen No Devil”
Release/catalogue number: SP844
Release date: Feb 15, 2011
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