Friday, August 26, 2005


There's a whole bunch of reasons why I prefer Falco's version of "Rock Me, Amadeus" to V/VM's digital exhumation-and-reburial...

(1) Johnny Holzel's coked-up stutter-rap delivery and accent...
(2) That chorus...
(3) Does he really sing "Mungo Cunt"...?
(4) That unexpected femme-vox middle-eight section...
(5) Fabbo 80s Prog-Pop Sub-ZTT production values/Simmonds Toms/gated Linn Snare/digital string-synths/unforgivably-needless sampler abuse/etc

In comparison, V/Vm's version sounds kinda lazy, lame and unimaginative, too easily reproducable. I mean, it's almost the sort of thing I would do, fer Christsake.

Probably, there's nothing actually wrong with it, per's just that it's become too familiar...I don't mean the tracks they've built, but rather the PC-based granulation/sound-erosion software tools and the chop/cut/paste/timestretch techniques that have been applied. It's reached a point for me where a whole raft of electronic music has suddenly become virtually unlistenable because the processes used have become transparent and over-familiar...I no longer hear the track, just the fucking filtering/subtractive synthesis plug-in that [bandnameofyrchoice] used to angle-grind someone else's music down to a raw 2-bit swarf of digi-noise. If I ever hear another Kid606 RnB-Glitch 'bootleg' again, I'll surely puke.

So, don't take this perz'nal, V/VM boyz...

In fact, writing this as I play V/VM's version(s) one last time b4 letting it go (like a shit-stained dove into the pre-Autumn skies of South Somerset), I'm swamped by an inexplicible nostalgia for an era when Digi-noize still sounded fresh and exciting...when hearing Mud or Propaganda or Buggles chain-sawed down into the hard-drive equivalent of tinnittis still gave me a stiffy (or were we just really celebrating our mutant-anorak ability to still recognise sub-frequency snippets of the original source-material...?). It's incredible how quickly this stuff's dated (maybe I'll be sobbing helplessly in 3 years time, wishing I'd never sold this stuff when it suddenly becomes fashionable again, or re-combines in some hitherto unexpected way with Turkish Two-Step Polka). Now I just want some Prog-Pop Glam...I want to hear the Euro-Pop originals again in all their clean, full-bodied, sub-Steve Lipson splendour.

So it's probably for the best that I've just sold V/VM's double-7" on to some eager young lad in Germany. I'm sure he'll treat it with the love, respect and unjaded enthusiasm it probably deserves.

(Thinks: Hmm, there was a Rehberg & Bauer mix on there...maybe I shouldn't have sold it just yet...still, there's no way I'm parting w/ my Pita vinyl: after all, I still cherish fond memories of watching Peter Rehberg play at 12:00 in the morning at ATP 2 years ago, me with a crippling hangover while he played a laptop set that sounded like a jet-engine taking off. There were three of us sad bastards stood right at the front watching him plug-in his Mac: me, some other digital-noise nerd with taped-up glasses, and a third guy who looked suspiciously like Jim O'Rourke...)


"Satan's Six" was a late-era Jack Kirby project ('93?) for Topps, who'd dusted off some unused Kirby Koncepts and dragged in a few of the big names of that era (MacFarlane, Miller, etc) to ink Jack's pages, along with a few Old Skool Kirby stalwarts and Marvel Bullpenners like Mike Royer, Joe Sinnott and so forth.

There's also a kinda Post-Cool Steve Ditko strip: "Wolff & Byrd, Counsellors of the Macabre", which I think someone may have tried to make a film out of, and which was also possibly an influence on Joss Whedon's "Angel" TV show. "Satan's Six" is currently in development as a film (the mind boggles!)...Hmm, I wonder how the title's gonna go down with the current Hard-Christian-Right administration in the States? I suppose it depends on how the film is angled and whether it makes money or not. (They'll almost certainly change it to make it more palatable, in the same way "Hellblazer" became "Constantine"...) I found a blog-spot comment recently from Tony Isabella, who co-wtote the strip with Jack, and he said the comic recieved a lot of fan-mail from priests and church-ministers, who interpreted the comic as primarily being about the redemption of the main characters.

It's not one of Jack's finest moments (mainly spoilt, I think, by the use of un-Kirby-like artists), but I've got a huge soft spot for it, both as a concept and as a piece of Old Skool comic-book art (it's so much more on the mark than any of Alan Moore's recent clumsy attempts at summoning up the Ghost of Comics Past. One of my (many) problems with Moore is that he can't write humourous comics (and his 'serious' work is heavy-handed, pompous, preachy and pretentious)...he's just not fucking funny.) But even in the twilight of his career, Jack was still boosting out more far-out ideas than most writers have in their entire life...

Anyway, a trading-card came with the comic, but it's one of those glossy tinfoil embossed things, so Frightful the demon hasn't scanned very well. The chick is Dezira, a harlot from ancient Babylon (my kinda girl!):