Welcome to anybody visiting one of the most neglected sites in all of webdom. I hesitate to call it a blog, because that would imply that I update it from time to time.
Anyway, I am currently working on a novel, tentatively entitled Section U: The King of the Glampires. Some of you may remember my fiction page having a short story called ‘Glampires’ posted some time ago. To be honest, even to call it a short story is taking the piss, as it was simply something I’d written with no real beginning or end. Or middle.
I was messing about with it a few weeks ago, and actually quite liked it. Although the piece already on the website may or may not make it into the final cut (assuming there is one) I am currently sitting on about 12,000 words worth of story which I am actually quite happy with. It still needs edited etc, but the bones of it are ok.
I’ve had to go back and write a prologue, which I have done a few pages of tonight. I am posting this without editing, checking etc, but if anybody likes it I will be happy to put the next bit up.
Living in Weegieland, I no longer take the Evening News (indeed, I rarely did when I lived in Edinburgh) but I liked this article. Just as well he got to SXSW in the end, and I hope his cold is better!!
Wish I could be there, but can’t wait to see video footage nonetheless.
Can’t say I’m too familiar with Nate Dogg’s wider body of work, but by Christ could that man sing – a brilliant voice. By way of tribute, here’s Scottish indie band The Last Battle’s cover of the simply fucking incredible Regulate, by Warren G and the late Nate Dogg.
Followed, of course, by the timeless (and better) original version.
Before I start, I should make it clear I am biased when it comes to the Twilight Sad. For my money they are the finest band to come out of Scotland for some time – indeed, I cannot think of a better Scottish band since Arab Strap.
Fourteen Autumns and Fifteen Winters was released to critical acclaim in Spring 2007, the band’s first long player and a collection of nine fantastic songs, from the slow build opener ‘Cold Days from the Birdhouse’ to stonewall classic ‘And She Would Darken the Memory’ this was as exciting a debut album as I’d heard for years.
I honestly thought they’d struggle to equal it with the ‘difficult second album’ but one listen of single ‘I Became a Prostitute’ blew all of those fears out of the water. The rest of the album, of course, is equally brilliant.
So what next? I don’t often get excited about new singles / EPs these days, but I genuinely did rush home on Monday 27th to download ‘The Wrong Car’ from itunes. Of course, the excellent video for the title track has had a lot of hits from this particular part of Glasgow since it appeared on youtube, but the quality of sound is never perfect there, is it?
The lyrics, as ever are dark, disturbing and downright fucking tremendous. They’re not going to cheer you up, but it would hardly be The Twilight Sad if they did. The title track is epic, seven minutes and twenty nine seconds of beautifully crafted guitar music. I cannot, honestly, recommend it highly enough.
The second new track, ‘Throw Yourself into the Water Again’ is also mighty fine. With it’s ‘dancing over your grave’ lyrics and squally guitars it’s maybe not quite such a towering achievement as ‘The Wrong Car’ but that is no disgrace. It’s quite immediate, if that makes sense, and will no doubt be responsible for mass moshpits when played live.
The two remixes, ‘The Room’ by Mogwai and ‘Reflections of the Television’ by current tour co-headliners The Errors are very different beasts. Going by the other reviews I’ve read, the former seems to be the most popular, but for me it doesn’t really add anything to the original. The Errors, in my opinion, eclipse this with their almost dancey background music in ‘Reflections of the Television.’ I really like this.
I always look forward to TS acoustic versions. Unfortunately as yet I haven’t been able to get my hands on the Limewire sessions, which displeases me greatly. Anyone who can help, let me know.
Here, we have a reworking of ‘Throw Yourself Into The Water Again,’ followed by ‘I Became a Prostitute.’ Both are great. Many acoustic versions offer nothing new, but because the originals are so heavy, these are like different tracks altogether. Which is how it should be.
Stacks of staples were broken into varying sizes from full stacks about 12cm high down to single staples. These stacks were then stood up and arranged over a period of 40 hours. ShareThis
It Couldn’t Happen Here August 29, 2010 8:16 PM Subscribe
GBHwas a seven-part British television drama written by Alan Bleasdale[previously1][previously2] shown in the summer of 1991 on Channel 4. The protagonists were Michael Murray (played by Robert Lindsay), the Militant Labour leader of a city council in the North of England and Jim Nelson (played by Michael Palin), the headmaster of a school for disturbed children. The series was controversial partly because Murray appeared to be based on Derek Hatton, former Deputy Leader of Liverpool City Council – in an interview in the G.B.H. DVD Bleasdale recounts an accidental meeting with Hatton before the series, who indicates that he has caught wind of Bleasdale’s intentions but does not mind as long as the actor playing him is “handsome”.
Sez Wikipedia: GBH is set in the early 1990s, towards the end of the Thatcher years, when numerous attempts were made by local left-wing councils to get more autonomy (not least in Bleasdale’s home city of Liverpool, see municipal socialism). The plot is the attempt by UK government secret services to discredit and bring down Murray’s leadership. Ideologically this involves a left-wing theorist, Mervyn, who is manipulated by MI5 agent Lou. Meanwhile, another MI5 agent Peter has recruited a gang of thugs, posing as left-wing activists (and later policemen) as agents provocateurs. Each episode reveals more about the convoluted nature of the plot to discredit Murray.
It seems as though all of the original episodes have been uploaded to YouTube. Here are links to the first episode:
