FIFTEEN MINUTE BREAK June 19, 2003
A continuation of Mish mash. It's been a lazy week at the office due to hiatus season at the studio- only snippets of work come in here and there, so there's a lot of time to fart on the internet but I'm focused on getting personal shit done such as my website www.geocities/depositman.com which is under very heavy construction, and after one click, you'll find out why. I've been asking Alan Sinder to help out with downloading some pictures, but everytime I call the big lug, he says he's having a helluva time finding time when to do it. I'm hoping he'll get some preview pages of the new book up this weekend, but I doubt he won't get around to it until San Diego Comic Con rolls along.
In the meantime, my new book designer, Oliver Simonsen got a fantastic coloring job in for a promotion postcard on the Deposit Man that I'll be passing around the con, and coincidentally, almost the entire thing is done in purple- which I explained to him that I write this blog in purple- so somehow our minds did a telepathic circle jerk on this one. I really dig the color scheme he came up for my trenchcoated tough talking tramp kicking transmogrifying tatterbrained ...whatever. I'm running out of adjectives.
Yesterday, I was all aglow about the new Steve Hackett release. One thing about 2003 and since I've got this gig going at the movie studio, I sure have been buying a lot of CDs and not having a lot of time to sit down and give them my individual attention, i.e; not enough repeated listenings and sitting down and try to figure out certain songs on the keyboards. But I'm have been really enthusiatic about the new Hackett album that I just have to cave in for the special edition of which I went into a certain amount of detail in yesterday's entry. Hackett goes into a broad range of styles on this outing, his first studio effort since 1999's Darktown (which the title suggests some ominous gothic flavored tunes...and you'd be right)- and it is certainly a polar opposite in tone from that previous effort. There are somber moments and then there are just some outright shredding moments. There is a Mile Davis/Weather Report influence on The Silk Road, a few solo spanish guitar minuets and a Thomas Dolby cover of The Devil is An Englishman which showcases Steve giving his most finest Satan impression since Vampyre with A Healthy Appetite, a track off his 1992 effort Guitar Noir. But the most stand out track is a guitar/keyboard orchestrated frenzy entitled Mechanical Bride, which guest stars Ian MacDonald, formely of King Crimson and Foreigner. It is a King Crimson homaged delight- going off in several heavy thumping directions at once.
Second behind this release, i'm currently spinning Radiohead's Hail to The Thief, which is another interwoven palette of eclecticness at it's finest. I'm currently gushing over the tracks of A Punchup at A Wedding, Myxomatosis, and A Wolf At the Door.And I'm going to have to continue this tomorrow, because, well, you know....
My Fifteen Minutes are Up,
~
Coat
A continuation of Mish mash. It's been a lazy week at the office due to hiatus season at the studio- only snippets of work come in here and there, so there's a lot of time to fart on the internet but I'm focused on getting personal shit done such as my website www.geocities/depositman.com which is under very heavy construction, and after one click, you'll find out why. I've been asking Alan Sinder to help out with downloading some pictures, but everytime I call the big lug, he says he's having a helluva time finding time when to do it. I'm hoping he'll get some preview pages of the new book up this weekend, but I doubt he won't get around to it until San Diego Comic Con rolls along.
In the meantime, my new book designer, Oliver Simonsen got a fantastic coloring job in for a promotion postcard on the Deposit Man that I'll be passing around the con, and coincidentally, almost the entire thing is done in purple- which I explained to him that I write this blog in purple- so somehow our minds did a telepathic circle jerk on this one. I really dig the color scheme he came up for my trenchcoated tough talking tramp kicking transmogrifying tatterbrained ...whatever. I'm running out of adjectives.
Yesterday, I was all aglow about the new Steve Hackett release. One thing about 2003 and since I've got this gig going at the movie studio, I sure have been buying a lot of CDs and not having a lot of time to sit down and give them my individual attention, i.e; not enough repeated listenings and sitting down and try to figure out certain songs on the keyboards. But I'm have been really enthusiatic about the new Hackett album that I just have to cave in for the special edition of which I went into a certain amount of detail in yesterday's entry. Hackett goes into a broad range of styles on this outing, his first studio effort since 1999's Darktown (which the title suggests some ominous gothic flavored tunes...and you'd be right)- and it is certainly a polar opposite in tone from that previous effort. There are somber moments and then there are just some outright shredding moments. There is a Mile Davis/Weather Report influence on The Silk Road, a few solo spanish guitar minuets and a Thomas Dolby cover of The Devil is An Englishman which showcases Steve giving his most finest Satan impression since Vampyre with A Healthy Appetite, a track off his 1992 effort Guitar Noir. But the most stand out track is a guitar/keyboard orchestrated frenzy entitled Mechanical Bride, which guest stars Ian MacDonald, formely of King Crimson and Foreigner. It is a King Crimson homaged delight- going off in several heavy thumping directions at once.
Second behind this release, i'm currently spinning Radiohead's Hail to The Thief, which is another interwoven palette of eclecticness at it's finest. I'm currently gushing over the tracks of A Punchup at A Wedding, Myxomatosis, and A Wolf At the Door.And I'm going to have to continue this tomorrow, because, well, you know....
My Fifteen Minutes are Up,
~
Coat
posted by Coat @ 5:02 PM
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