WTF Archives — Post-Punk.com https://post-punk.com/category/wtf/ Your online source of music news and more about Post-Punk, Goth, Industrial, Synth, Shoegaze, and more! Wed, 01 Nov 2023 06:58:19 +0000 en-US hourly 1 https://wordpress.org/?v=6.4.3 https://post-punk.com/wp-content/uploads/2019/12/cropped-postpunkincon-2-32x32.png WTF Archives — Post-Punk.com https://post-punk.com/category/wtf/ 32 32 Lose Your Head in the Surreal New Wave Sci-Fi Cinema of “Geneva Jacuzzi’s Casket” https://post-punk.com/lose-your-head-in-the-surreal-new-wave-cinema-of-geneva-jacuzzis-casket/ Wed, 01 Nov 2023 03:50:22 +0000 https://post-punk.com/?p=64933 You ever get yourself in an altered state – we don’t judge how, exactly – and end up having a nightmarish series of dreams that have no connection to anything…

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You ever get yourself in an altered state – we don’t judge how, exactly – and end up having a nightmarish series of dreams that have no connection to anything else except the images your overblown neurons generate? Well, welcome to Geneva Jacuzzi’s Casket.

There is no narrative, simply a succession of insane, rapid-fire Jungian images, revolving around a loose concept that’s part Blade Runner, part Brazil, part Mombi from Return To Oz.

“Los Angeles 2066AD: The Pleasure-U BioDrone, Kate Shaw’s only assistant, has contracted an undiagnosed mental disease. The BioDrone’s head, inside a reprogramming bag, continuously calls to Kate’s brain with strange visions.”

“When I wrote the original brief for “Geneva Jacuzzi’s Casket,” I told Geneva I wanted this special,” explains director Chris Friend. “Not a typical “music video.” I intended to put the amount of effort and thought into the film that I would have put into making an independent feature. We could make something long-lasting by condensing that thought and effort into a six-minute burst. A film that keeps its secrets and has an undeniable density and subliminal structure that would require repeat viewings and discussions.

The short film – a ‘six-minute futuristic head trip,’ if you will, has made its rounds in multiple screenings, to great acclaim. No one knows what it means, but in a world of overexplaining, sometimes it’s really nice to have a beautiful, bizarre mystery float through.

Happy Halloween!

Geneva initially emerged from the last of the wild beaches in San Diego County; her art form found its direction when she arrived in Los Angeles in 2001. She formed and fronted synth-wave death-disco outfit Bubonic Plague, with members of The Warlocks and The Centimeters. “It was the last era of true weirdness, a scene populated with oddballs, slimers, masochists, sadists, greasers, pyros, witches, hustlers of every kind, danger strangers, cowboys, art dealers, actors, true weirdos, and all the creatures of freakdom,” she says.

For viewers wanting to dive deeper into the world of Geneva Jacuzzi’s Casket, Chris Friend is nearly finished with a 1,200-page graphic novel, four-book cycle, prelude that goes into the character of Kate Shaw and the totalitarian government, The World Wellness Watch. Keep on truckin.

Follow Geneva Jacuzzi:

Follow Chris Friend:

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Bristol’s Dead Space Chamber Music are Wrapped in the Esoteric Fear of the Dark Ages with “Ion” https://post-punk.com/bristols-dead-space-chamber-music-are-wrapped-in-the-esoteric-fear-of-the-dark-ages-with-ion/ Mon, 18 Jul 2022 01:33:22 +0000 https://post-punk.com/?p=51468 Ever wake up and find yourself in a night terror, unable to move or discern what is in front of your eyes and filling your ears? Bristol’s Dead Space Chamber Music captures that…

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Ever wake up and find yourself in a night terror, unable to move or discern what is in front of your eyes and filling your ears?

Bristol’s Dead Space Chamber Music captures that liminal sense of dread and panic, with the chilling, cinematic Ion. DSCM blend dark medieval, neofolk, ritual ambient, and doom in their avant-garde music. The minimalist effort is illustrated with disjointed imagery and nightmarish blurred vision. In the video, the viewer is thrust into a mysterious world where scale is uncertain, centuries collide, and the ground shakes beneath.

The video offers a deeper delve into the visual world of the album through the sequence of three symbolic diorama-style band portraits — rich with secret messages and hidden meanings. The band are seen amongst an array of architectural features, obscure creatures, and fragments of collage, placing them in an exploded, then suspended, alternate form of the original prayer book.

The album is inspired by a medieval devotional ‘book of hours’ created between 1460-1475 on black vellum and handcrafted with silver, gold and turquoise. The book marks The Liturgy of the Hours, or The Office of the Dead: prayers that could carry a soul in need from dusk through to dawn, through the darkest of nights.

Watch below:


Dead Space Chamber Music released their 2nd album, The Black Hours, last December. The album recently got its vinyl release (jointly by the band and Avon Terror Corps).

Order Here

Follow Dead Space Chamber Music:

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“Heaven or Las Vegas?”—Miley Cyrus Covers Cocteau Twins https://post-punk.com/heaven-or-las-vegas-miley-cyrus-covers-cocteau-twins/ Wed, 07 Jul 2021 21:30:40 +0000 https://post-punk.com/?p=41237 “I am gonna sing a song that no one fuckin’ knows—but you will know it after tonight.” – Miley Cyrus No, this is not an Onion article: Miley Cyrus, throwing…

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“I am gonna sing a song that no one fuckin’ knows—but you will know it after tonight.” – Miley Cyrus

No, this is not an Onion article: Miley Cyrus, throwing caution to the wind, did indeed perform the Cocteau Twins’ 1990 dream-pop classic “Heaven or Las Vegas”, the title track from the Scottish band’s sixth studio album, at the 4th of July grand opening for the Las Vegas Resorts World Casino.

The gravel-voiced pop singer, who has been on a roll covering Blondie, Hole, Metallica, Dolly Parton, and Mazzy Star at various performances, gave the ethereal tune her unique Very Metal screech…and a slew of apologies throughout. Twitter critics be damned, she was determined to do a cover, and Cyrus chose a very unorthodox route this time.

“Now I’m gonna do a classic Miley — no, I’m not gonna show my titties are something — but I am gonna sing a song that no one fucking knows,” Cyrus barked at the crowd. “But you will know it after tonight. And I’ve seen the tweets — ‘Stop doing covers’ — but yet, somehow, “Jolene” was requested. So one for me. This song is called Heaven or Las Vegas for obvious reasons.”

…Plenty of people know the track, Miley! Heaven or Las Vegas peaked at #7 in the UK and #99 on the US Billboard 200, giving the Cocteau Twins their most commercially successful release and making their mark on 4AD. The album was included in Rob Morton’s book 1001 Albums You Must Hear Before You Die, and in 2020, Rolling Stone listed it at No. 245 in its list of the 500 Greatest Albums of All Time

After performing a series of hits from her album Paper Hearts, she made good on her word, and even broadened a few horizons in Sin City.

The Cocteau Twins official fan page responded on their social media, “Surprise, surprise!” Heaven or Las Vegas is the title track from Cocteau Twins’ sixth studio album.

Watch the send-up below:

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Danny Elfman Scores The Nightmare Before Election Day With The Terrifying “Happy” https://post-punk.com/danny-elfman-scores-the-nightmare-before-election-day-with-the-terrifying-happy/ Sun, 01 Nov 2020 00:48:38 +0000 https://post-punk.com/?p=33696 “My anesthesiologist is f***ing my psychiatrist/And I feel no pain/cover me with Lidocane/I’m so happy everything’s so great/And the world is an oyster on an appetizer plate.” The veil is…

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“My anesthesiologist is f***ing my psychiatrist/And I feel no pain/cover me with Lidocane/I’m so happy everything’s so great/And the world is an oyster on an appetizer plate.”

The veil is thin, the world’s gone dark and our lauded Crown Prince of Soundtrack Danny Elfman has emerged from the engulfing smog with a manic, dystopian banger. If Nineteen Eighty-Four and Brave New World were tossed in the ether of a half-remembered nightmare, this would be the score. With lyrics like “eye for an eye, tickety-tackity,” you might as well also throw a dusting of A Clockwork Orange in the mix. For the former frontman of Oingo Boingo, this is the first solo release in decades. How appropriate that Elfman unlock the gates of Hell on this high holy night of Samhain. Halloween is, after all, his Big Night.

“I always enjoyed Halloween because it was a night to let loose, to become something or someone else,” Elfman told Rolling Stone. “[Halloween is] a night to celebrate the dead, and ghosts, and monsters of all variety. A night for mutants, zombies, vampires, misfits, and miscreants to celebrate themselves and each other. And aligned with the Mexican holiday Dia de los Muertos, a night to celebrate departed spirits … and for me, a night to laugh in death’s face (and feel safe doing so).”

This song, however, is not Elfman’s calling card variety of the tender sort of minor-key romance of his alter-ego Jack Skellington. Nor is it the funky jam style Boingo bounce of Dead Man’s Party. Happy serves as an exorcism of sorts, wrought from frustration, rage, and resignation to a gloomy fate.

The lyrics best reflect the sardonic spirit of Devo’s Beautiful World, woven together with the classic Elfman spin: a demonic, vaguely klezmer-sounding stomper. The ghoulish face of Big Brother Elfman morphs into horrifying guises as his vocals follow suit: a monotonous insistence on happiness in the wake of true-life horror, to a psychotic thrash metal chorus of demons espousing the empty distractions of Netflix and Minecraft. Choose your poison. Choose your poison.

“I originally wrote ‘Happy’ to perform at Coachella 2020,” Elfman said. “It was written to be an absurd anti-pop song, designed to begin as a very simple pop tune that degrades into something more subversive. The cynical nature of the lyrics echo how I feel about living in a semi-dystopian world turned upside down.”

Elfman played guitars and synthesizers on the track, flanked by drummer Josh Freese (Devo/Vandals/Nine Inch Nails), guitarist Nili Brosh (Dethklok), bassist Stu Brooks (Dub Trio), and additional synth meister Randall Dunn.

After Oingo Boingo’s mid-90s farewell tour, Elfman has denied any hopes of a reunion or even delving outside of his film scoring work. His lone pop solo album, So-Lo, was released thirty-six years ago. But, miracles do happen, and perhaps Elfman felt like the time was right: after all, it’s also the first blue moon in Taurus since the mid-1940s.

Elfman is signed to Anti-Label for solo material, and his planned Coachella appearance was expected to have revealed further possibilities for that…but “no news” for now from the label. For now, Happy will have to do. Fortunately, it’s brilliant, bold, and exactly how one would hope Danny Elfman would interpret the madness of existence during the Trump Years. Are you ready for a real scare?

Stream and download “Happy here.

 

 

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Out Today: Boy Harsher’s Augustus Muller’s “Machine Learning Experiments” Soundtrack https://post-punk.com/out-today-boy-harshers-augustus-mullers-machine-learning-experiments-soundtrack/ Fri, 22 May 2020 20:31:41 +0000 https://post-punk.com/?p=30482 Some things come together in both sound and vision like the proverbial chocolate and peanut butter, and such is certainly the case with Augustus Muller’s of Boy Hasher’s Machine Learning…

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Some things come together in both sound and vision like the proverbial chocolate and peanut butter, and such is certainly the case with Augustus Muller’s of Boy Hasher’s Machine Learning Experiments soundtrack, a project which sees the synth maestro turning his hand at scoring a pair of artistically shot erotic films—or “pornos” if you will—utilizing his sexy synth invocations in such as way that only seems natural.

The collection of sounds in Machine Learning Experiments is culled from Muller’s scores of the two films Orgone Theory and Hydra,  which were a collaboration with Four Chambers, a collective self-described as “magical realism porn”, that pushes the bounds of art and pornographic material.

This work was supposed to be released this past April, but unfortunately due to the Global Pandemic, it had to be delayed for release until today.

Below is a message from Jae and Gus on the matter:

Hi everyone – Today is the official street date for Gus’ ‘Machine Learning Experiments’!

You are probably thinking “I thought the record came out on April 10th??”

Well, that’s partially correct. The record was released digitally on April 10th and can be ordered through our website and Bandcamp. Because most of the indie shops were closed in April due to the C-19 virus, we decided it best to push back the physical release date to May 22nd.

You can still order the record through us (we have the last few copies available on clear green vinyl – limited to 300), black vinyl and CD, BUT these are rough times for record stores, so if you feel comfortable and are able to leave your house, we suggest you supportin’ your local indie retailer and purchase a copy of the white vinyl (exclusive for indie stores, limited to 600). The black vinyl and CD format should be available through them as well.

If you don’t live near a record store or it’s not safe for you to leave your home, there are plenty of online mail-order shops around the world who carry the record.

If you ordered the record through us and you live in the EU you probably have already received your order. In the last couple of weeks we were able to start shipping again to China, Japan, Brazil, Mexico and Canada, but, unfortunately, the restriction in place for Australia and USA. We really hope the restriction will be lifted soon.

If you’ve pre-order the record through us or through an online store and you haven’t received your physical copy yet, you can forward your order confirmation to info@nudeclubrecords.com and we’d be happy to send you a download code of the album.

Thanks so much for your support in these dark times – it means a lot to us!

J+G

Boy Harsher recently released their video for “Electric”, a track taken from ‘Country Girl Uncut’, out now on Nude Club / Ascetic House.

Find both the above release and Augustus Muller’s Machine Learning Experiments at the Nude Club official online store.

Order Here

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Watch The Cure’s Robert Smith Dance a Conga-line at a Funeral Party and more! https://post-punk.com/the-cures-robert-smith-conga-line/ Wed, 20 May 2020 20:03:52 +0000 https://post-punk.com/?p=30382 What a personal disaster… The Cure’s Robert Smith once made a hilarious guest appearance on The Mary Whitehouse Experience—a British topical sketch comedy show produced by the BBC in association with Spitting Image Productions. This…

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What a personal disaster…

The Cure’s Robert Smith once made a hilarious guest appearance on The Mary Whitehouse Experience—a British topical sketch comedy show produced by the BBC in association with Spitting Image Productions.

This BBC comedy show starred David Baddiel, Robert Newman, Hugh Dennis, and Steve Punt, and was named after Mary Whitehouse, a campaigner against what she saw as a decline in television standards and public morality, who became the target of mockery in the UK for her attitudes.

Robert Smith made his cameo on the series’ final episode, which was filmed on the 28th of March, 1992 in London, England. The episode was first Broadcasted the following week on the 6th of April 1992, on BBC 2.

In the first part of the episode, Robert Newman impersonates Robert Smith singing “Rule Britannia”.

In another part of the episode, Robert Newman plays a character who is suffering uncontrollable sarcasm named Ray.

Ray has his trials and tribulations narrated by Dr. Roland Fiske, who explains how Ray’s situation progresses, all the while “ironically” becoming a fan of The Cure.

Following Ray learning Flemish and expressing his sarcasm in this new language, the poor fellow ends up meeting his hero Robert Smith.

Smith approaches Ray, singing “The Sun Has Got His Hat On“, and, upon being mocked about being “lost in a forest”, exclaims: “What a personal disaster”, and in disgust then proceeds to punch Ray in the face.

Again, in another video Rob Newman as Robert Smith sings “Head, Shoulders, Knees and Toes” and “I’m a Little Teapot”.

And in yet another episode, there was also a parody of the Tim Burton film Edward Scissorhands, called Edward Colanderhands.

Edward, played by Rob Newman. has colanders for hands instead of scissors. In one episode he is seen in a sketch helping a housewife to drain vegetables.

He was also present in another Robert Smith sketch where “The Laughing Policeman” is sung. In the audience, he is seen clapping to the beat of the songs—but instead of clapping his hands, he claps his colanders together.

Watch a full episode, featuring an Edward Colanderhands sketch below:

Robert Smith himself appeared once again the following year in a hilarious sketch for Newman and Baddiel in Pieces that is indeed a literal “Funeral Party”—where Smith even puts on a party hat, blows a kazoo, and dances a conga line.

(There is also A parody of Mark Gardener of Ride, and Tim Burgess of The Charlatans from The Mary Whitehouse Experience.)

 

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Anna Nasty Told to Cease and Desist Performing as Olivia Neutron John by Olivia Newton John’s Lawyers https://post-punk.com/anna-nasty-told-to-cease-and-desist-performing-as-olivia-neutron-john-by-olivia-newton-johns-lawyers/ Wed, 09 Oct 2019 00:30:38 +0000 https://www.post-punk.com/?p=25773 Philadelphia based Non-binary avant-garde artist Anna Nasty has been served with a cease and desist regarding Nasty’s use of the Olivia Neutron-John stage moniker, which can be likened to a…

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Philadelphia based Non-binary avant-garde artist Anna Nasty has been served with a cease and desist regarding Nasty’s use of the Olivia Neutron-John stage moniker, which can be likened to a drag parody of the name of singer/actress Olivia Newton-John, who is best known for her role in Grease, and the 1981 pop single “Physical”.

Nasty, who continues to be championed by Henry Rollins, released the self-titled full length earlier this year as ONJ via DC record label Sister Polygon.

The album’s release was followed by a tour with Boy Harsher, and an opening slot for Stereolab at Brooklyn Steel.

Unfortunately, Nasty’s tenure as ONJ came to an end with the performance in Brooklyn.

“The show with Stereolab at Brooklyn Steel was my last show as Olivia Neutron-John. I thought about booking a goodbye show, but I couldn’t have planned a better way to go out.
In July, before the record had even been out for two months, I received a cease & desist from Olivia Newton-John’s legal team. Because I have very limited resources, I was unable to fight it.
I am going to take this as an opportunity to step back and reinvent. Although it has been very difficult and emotional closing this chapter of my life, I’m excited for a new beginning. I’ll be back again, under another name. Thank you again for everything. It’s been such an incredible year.”

If you’re looking for ways to support Nasty, you can still purchase the 12” Olivia Neutron-John release from Sister Polygon.

 

View this post on Instagram

 

The show with Stereolab at Brooklyn Steel was my last show as Olivia Neutron-John. I thought about booking a goodbye show, but I couldn’t have planned a better way to go out. In July, before the record had even been out for two months, I received a cease & desist from Olivia Newton-John’s legal team. Because I have very limited resources, I was unable to fight it. I am going to take this as an opportunity to step back and reinvent. Although it has been very difficult and emotional closing this chapter of my life, I’m excited for a new beginning. I’ll be back again, under another name. Thank you again for everything. It’s been such an incredible year. If you’re looking for ways to support, you can buy the 12” from https://sisterpolygonrecords.bigcartel.com while it’s still around. photo by @lazyastronomer

A post shared by @ olivianeutronjohn on

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David Hasselhoff Covers The Lords of The New Church’s “Open Your Eyes” for New Album Full of Post-Punk Covers https://post-punk.com/david-hasselhoff-covers-the-lords-of-the-new-churchs-open-your-eyes-for-new-album-full-of-post-punk-covers/ Tue, 10 Sep 2019 01:44:59 +0000 https://www.post-punk.com/?p=25099 No, really, you heard that right, David Hasselhoff has released today a video for his cover of The Lords Of The New Church’s classic 1982 single “Open Your Eyes”. The…

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No, really, you heard that right, David Hasselhoff has released today a video for his cover of The Lords Of The New Church’s classic 1982 single “Open Your Eyes”.

The video sees the Hoff crooning the song in front of the classic imagery wall of CRTV’s, as one does, giving an earnest yet camp rendition of the classic post-punk song, while almost winking as he points towards the camera.

Watch the video below:

The song is the title track from The Hoff’s forthcoming album “Open Your Eyes” which is available via Cleopatra Records on September 27th on all formats:

“Marking the 30th anniversary of the fall of the Berlin Wall and the reunification of Germany, Hasselhoff bridges several musical cultures including the UK, Germany, and the US!”

Open Your Eyes, available for pre-order in a special edition red vinyl, also contains David Hasselhoff’s previously announced covers of Echo and The Bunnymen’s “Lip’s Like Sugar”, The Jesus and Mary Chain’s “Head On”, Modern English’s “I Melt With You,” Bowie’s “‘Heroes’” and more, with several guest musicians such James Williamson of The Stooges, and Al Jourgensen of Ministry.

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Nick Cave Condemns Morrissey’s Views but Urges People to Keep Listening to The Smiths https://post-punk.com/nick-cave-condemns-morrisseys-views-but-urges-people-to-keep-listening-to-the-smiths/ Fri, 28 Jun 2019 16:42:07 +0000 https://www.post-punk.com/?p=23919 Nick Cave has urged people to separate Morrissey‘s “regressive” and “dangerous” beliefs from his music, saying it’s important to let Morrissey express his views, and challenge them when necessary. Cave’s statement…

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Nick Cave has urged people to separate Morrissey‘s “regressive” and “dangerous” beliefs from his music, saying it’s important to let Morrissey express his views, and challenge them when necessary.

Cave’s statement via The Red Hand Files, follows Morrissey’s most recent interview with his nephew, where the maligned Mancunian singer said that “everyone prefers his own race”, while exclaiming that Nigel Farage would make a good Prime Minister and that For Britain’s far-right leader, Anne-Marie Waters, is the only politician capable of uniting left-wing and right-wing people in the UK.

Cave, in his lengthy response to a fan,  started by expressing his belief that once a song is out, it ceases to truly belong to the artist:

“Personally, when I write a song and release it to the public, I feel it stops being my song. It has been offered up to my audience and they, if they care to, take possession of that song and become its custodian. The integrity of the song now rests not with the artist, but with the listener.”

Cave then continued, addressing the issue of Morrissey’s art versus his personal beliefs in a manner similar to that of the late Tony Wilson,

“Views and behaviour are separate issues – Morrissey’s political opinion becomes irrelevant. Whatever inanities he may postulate, we cannot overlook the fact that he has written a vast and extraordinary catalogue, which has enhanced the lives of his many fans beyond recognition. This is no small thing. He has created original and distinctive works of unparalleled beauty, that will long outlast his offending political alliances.”

Cave then expressed that he initially felt compelled to comment on the controversy regarding Morrissey’s political views after the question was posed to him by a fan at Nottingham show during his current speaking tour.

“At my recent ‘In Conversation’ event in Nottingham a gentleman put forward an excellent challenge to my views on free speech – he pointed out the perceived racism of Morrissey’s political stance and told how personally wounded he felt by Morrissey’s views on immigration.”

After expressing he wished he had answered the question better, he Cave continues:

“Open debate and conversation are the very structure of civilisation, and in Nottingham it was a privilege to be challenged by this very thoughtful young man. However, even though I was unsatisfied by my own response, I still believe that despite how upsetting Morrissey’s views may be to the marginalised and dispossessed members of society, or anyone else for that matter, he still should have the freedom to express his views, just as others should have the freedom to challenge them – even if just to know in what guise their enemy may appear.”

Continuing on his personal feelings on Morrissey’s work, separate from his personal beliefs, Cave added:

“As a songwriter and someone who believes songs possess extraordinary healing power, I am saddened by the thought that songs by arguably the greatest lyricist of his generation – songs like ‘This Charming Man’, ‘Reel Around the Fountain’ and ‘Last Night I Dreamed Somebody Loved Me’ – are consigned to the moral dustbin by those who feel they have been tainted by his current political posturing. I respect and understand why people respond in this way, but can’t help but feel it is of significant personal loss to them.”

Cave concluded his thoughts on the matter by suggesting that:

“Perhaps it is better to simply let Morrissey have his views, challenge them when and wherever possible, but allow his music to live on, bearing in mind we are all conflicted individuals – messy, flawed and prone to lunacies. We should thank God that there are some among us that create works of beauty beyond anything most of us can barely imagine, even as some of those same people fall prey to regressive and dangerous belief systems.”

Ultimately, as evidenced from previous Red Hand Files entries, Cave’s views on art and free speech seem to mirror that of the oft misattributed Evelyn Beatrice Hall quote that paraphrases Voltaire:

“I don’t agree with what you say but I will defend to the death your right to say it.”

“Conversations With Nick Cave” concludes its tour with two hometown shows at Brighton Dome tonight, June 28th, and tomorrow, June 29th.

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Morrissey Denies Being a Racist Again and Regrets Insulting Robert Smith https://post-punk.com/morrissey-denies-being-a-racist-again-and-regrets-insulting-robert-smith/ Tue, 25 Jun 2019 07:08:38 +0000 https://www.post-punk.com/?p=23789 Stop me if you think you have heard this one before: Morrissey shows his support for right-wing ideologues and political organizations, and then denies being racist in doing so, shifting…

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Stop me if you think you have heard this one before: Morrissey shows his support for right-wing ideologues and political organizations, and then denies being racist in doing so, shifting the blame and calling those who question his actions and statements hypocrites.

This decade’s long controversy has finally come to a head, with  Morrissey’s support for the UK’s “far far right” For Britain party making waves in recent news, with the maligned Mancunian singer wearing a For Britain pin while performing on The Tonight Show, and during his Broadway residency.

Following his statement following those incidents, where he lamented the press’ “contorted interpretation of who and what I am”, Morrissey has enlisted his nephew Sam Esty Raymer, so spin a new interview in an attempt to paint the vulgar picture of Stephen Patrick Morrissey into something more palatable for those struggling to maintain their fandom.

Raymer, known for his work as a photographer, started the interview out with the declaration: “I wanted to interview you myself because I am absolutely sick of reading terrible things about you in the UK press.”

Morrissey then responds, with some baffling incoherency remarking on what makes someone racist, stating:

“If you call someone racist in modern Britain, you are telling them that you have run out of words. You are shutting the debate down and running off. The word is meaningless now. Everyone ultimately prefers their own race … does this make everyone racist? The people who reduce every conversation down to a matter of race could be said to be the most traditionally “racist” because everything in life is NOT exclusively a question of race, so why make it so? Diversity can’t possibly be a strength if everyone has ideas that will never correspond. If borders are such terrible things then why did they ever exist in the first place? Borders bring order. I can’t see how opposing Halal slaughter makes me racist when I’ve objected to ALL forms of animal slaughter all of my life.”

As for For Britain and its leader Anne Marie Waters, Moz continues:

I think Anne Marie Waters is the only British party leader who can unite the left and right. I don’t know any other party leader who even WANTS to do this. The UK is a dangerously hateful place now, and I think we need someone to put a stop to the lunacy and to speak for everyone. I see Anne Marie Waters as this person. She is extremely intelligent, ferociously dedicated to this country, she is very engaging, and also very funny at times.

Morrissey also draws attention to David Bowie’s brief fascination with fascism, for which the late legend had later apologized for:

“Someone made the point the other day about David Bowie’s famous “England would benefit from a fascist government” comment … and his admiration for Hitler … and how Hitler was as stylish as Jagger … and how the UK needed a “complete right-wing leader”. Could you imagine if I’d said THAT! Now, of course, I sat privately with David many times, and he wasn’t remotely fascist… although it has been said that he’d visited Hitler’s bunker. But, how many writers at The Guardian have David Bowie albums? All of them, probably! Hypocrisy?

Obviously a fascist would never have recorded “Lady Stardust” … and a fascist would never have recorded “Wedding Bell Blues”, but, you see, the press choose their targets, and ignore what it suits them to ignore. In a way, that’s the key to modern Britain … only the mentally castrated are eligible for praise and awards. It’s against the law to be intelligent! The dumb have inherited the earth. [laughs] Because of this, British arts are controlled by completely limited possibilities, and the same faces appear everywhere. When you start arguing with The Guardian you feel as if you’re trying to reason with people who are barely toilet-trained. There actually becomes no point.”

Morrissey also continued assailing The Guardian, commenting on why he hasn’t yet pursued legal action against the British newspaper:

“As a so-called entertainer, I have no human rights … apparently… because you put yourself “out there.” If I were a postman I would have won a Harassment Case against The Guardian and been awarded 10 million pounds in damages by now. You might wave The Guardian aside and simply say, well, they’re just loudly ridiculous, but at the same time you must wonder about their legal status and acceptable standards of journalism, and how to distinguish …. if you can … between what is actual news, and what is written with a full intent to cause harm. The Guardian have pestered and relentlessly harassed musicians in my life urging them not to work with me again. Now, this is not journalistic opinion at work, it is hate with the sole intent of making me a public target. In these days of casual knife crime and hurling of acid, you’d expect The Guardian to maintain a certain careful morality. But no. If I suffered physical harm as a direct result of The Guardian’s tyranny, you can imagine cheers and champagne exploding through their offices… it chills the blood. The Guardian fully believes it is a political party.”

The right-wing apologist interview closed out, with something completely from left field, when Morrissey was asked if he has any small regrets:

“Oh, I never make my regrets small … if I can help it. Oh. Umm. Robert Smith. I said some terrible things about him 35 years ago … but I didn’t mean them … I was just being very Grange Hill. It’s great when you can blame everything on Tourette’s syndrome. [laughs]”

Morrissey is then asked if he ever met Smith, who he had been trashing in the press during the early 80s, to which he replied:

Oddly, I was in a pub near Buckingham Palace perhaps ten years ago … and there he was … staring over confrontationally. I take no moral responsibility for whatever I said in 1983 … after all … who does?

You can read the full interview here.

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