BIL wrote:Strictly casual listener of Al Jourgensen and co, but I love most of Psalm 69. PRAISE JEBUS / GIMME THAT THORAZINE MAN
Psalm 69 was my first encounter with Ministry, but MAYN,
The Land of Rape and Honey, in the days of internet, had really stricken me. Before I knew an opening song of it plays in the
Hardware movie. On that day it was released, the nineteen-nineties were born.
DESTROY IT ALL!!
BIL wrote:Was gonna say I actually have the NBK soundtrack (middle-school NIN phase
), but I can't remember Fork Boy at all.
Come to think of it, the soundtrack seemed to have gained much more popularity, around here, than the movie itself (I for one haven't even seen it to this very day). Same with
Judgement Night and
Strange Days OSTs. Those tell such a story of their time and age! Talking about somewhat economically harsh days here, when a licensed cassette was prized commodity. And, yes, I consider that
NBK OST album valuable, in hindsight, Cowboy Junkies & all.
I plan to re-watch some of Stanley Kubrick films, this time primarily so I can re-evaluate their OSTs. I believe his approach to film music anticipated that of Tarantino's - their cinematographics are tailored TO the music, not the other way 'round, and to most memorable effects.* I.e. even viewers unsure whether they LIKE those films or not - surely REMEMBER much of them vividly.
For instance, last time I watched
2001: A Space Odyssey was maybe a decade ago. Most recently did I purchase a compilation of XXth-Century choral music, and when I heard Ligeti's
Lux Aeterna from it, INSTANTLY did I recognise it as the piece accompanying Black Monolith exposition on the moon surface.
*) I'm reading it was not the case with at least 2001: A Space Odyssey, neither quite was it that way with The Shining. All the more reason to re-watch them!
I mean, rarely would I explore microtonality, sonorism, spectralism etc. around time when I'd watched it! Music this modern could sometimes be heard on the radio at my folks' place, but my interest in it was fledgling at best. And yet it stuck with me for good.
P.S. Iv'e dug out the first two
Life of Agony albums, for the fist time since I've moved.
River Runs Red is a bit much, isn't it? I mean, really. Wrist-slashing and then some. Still, good to have them long-buried CDs handy.
The river runs red and I think I'm dying, oh yeah. You can smell the rusty iron.
I can't quite shake off the marvel at the similiarity between Life of Agony and Type O Negative albums from that period. Just, what the fuck, we're talking pretty strong(?) personalities either way, so, why the similiarities?
Fuck you, and goodbye.
Need I say more?