Niklas's thoughts

Here's a book: Wild at Heart.

Yes, it's the book on which David Lynch based his film.

Nicolas Cage and Laura Dern in Wild at Heart, the film, as Sailor and Lula, respectively.

The book is much more than the film; they complement each other. I've read half of the book; it's a very quick read. The language is swift, simple, without darlings. Although, I must confess, there's so much heat from the book in the form of attraction, humour, The Inevitable (à la God)...it's great, so far.

Here are some quotes from the book, and may people buy shitloads of books off Barry Gifford, the wonderful author, because he deserves all the best.

The world is really wild at heart and weird on top, Lula thought. Anyway, Sailor was out now and he was still the best kisser she’d ever known, and what Mrs. Marietta Pace Fortune didn’t find out about wasn’t about to hurt her, was it?

***

“My daddy was livin’ with his mama when he died,” said Sailor.

“Did you know that?” Lula shook her head.

“I surely did not,” she said.

“What were the circumstances?”

“He was broke, as usual,” Sailor said. “My mama was already dead by then from the lung cancer.”

“What brand did she smoke?” asked Lula.

“Camels. Same as me.”

***

“I’d stand by you, Sailor,” Lula said. “If you were an embezzler.”

“Hell, peanut,” Sailor said, “you stuck with me after I’d planted Bob Ray Lemon. A man can’t ask for more than that.”

Lula pulled Sailor over to her and kissed him soft on the mouth.

“You move me, Sailor, you really do,” she said. “You mark me the deepest.”

Sailor pulled down the sheet, exposing Lula’s breasts.

“You’re perfect for me, too,” he said.

***

“Sailor?”

“Honey?”

“Ever imagine what it'd be like to get eaten alive by a wild beast?”

“Mean a tiger?”

“Yeah. Sometimes I think it'd be the biggest thrill?”

Sailor laughed. “It better be, darlin', 'cause it'd be the last.”

“Ripped apart by a gorilla, maybe,” said Lula.

“How about bein' squeezed to death by a python?”

Lula shook her head. “I don't think so. That might be way too slow? And you'd feel your ribs crackin' and insides oozin' out. I'd rather get grabbed sudden and pulled apart quick by a real powerful animal.”

“Lula, sometimes I gotta admit you come up with some weird thoughts.”

“Anythin' interestin' in the world come out of somebody's weird thoughts, Sailor. Couldn't have been no simple soul dreamed up voodoo, for an instance.”

“Voodoo?”

“Sure. How else you explain stickin' pins in dolls to make a person squirm or have a heart attack? Or cookin' someone's fingernail clippin's to make 'em vomit till they ain't got nothin' left inside and drop dead. You tell me, Sailor, who could come up with shit like that ain't super weird?”

“You got me, peanut.”

“You certain?”

“I ain't never met anyone come close to you, sugar.”

Lula rolled over on top of Sailor.

“Take a bite of Lula,” she said.

#book #reading #BarryGifford

When The Bluetones came in 199something, I really loved their singles. 'Slight Return', what a song.

I recently read an article about how the band made 'Slight Return'. I remember that time. It made me listen to The Bluetones again. They've got a new album out.

I also remember first reading Anna Wharton's words; she's Mark Morriss' ex wife. Morriss is the singer in The Bluetones.

Wharton accused Morriss of “telling people that I am crazy, and lying about me”, “gaslighting women to believe what he wanted them to, convincing them not to put the dots together and realise what a narcissistic, pathological liar and serial predator he is”. She claimed that he also told his mother that she tricked him into the pregnancy and lied that she was bipolar.

The quote is from this article in The Guardian. Wharton also wrote a lot about Morriss, for example, this post, which is available in its entirety here.

On the youtube page of the video at the top of this page, the description is:

After a 14 year hiatus from writing and recording (due to one thing or another) The Bluetones release their first single in ages, Drive Thru.

The 'due to one thing or another' sounds ominous in light of what Wharton called out.

Regardless. Regardless?

I still struggle with separating artists from their art.

I'm listening to Atlas, the new Bluetones album. The first track is the first single, the video I've embedded on this page. It's got fuzzy production, unlike the band's first albums.

I must say, I always loved the lead guitarist. There are so many things he's done on their first album – oh, wait, I need to list a couple more brilliant songs:

They do carry a lot of lovely tracks. It's not unfair to compare them with The Stone Roses; I must confess I didn't make that connection until today when someone else connected the dots: it makes perfect sense, although Bluetones are far more put-together and English in a Blur-in-1992 way. The guitars are a lodestar where Bluetones are concerned. There's also a fair amount of nerdy organ thrown in at times.

I've never ever thought of The Bluetones as a sexual band, but I guess someone like Morriss would hide behind that.

This is a wonderfully sweet song, at least the chorus; then again, it turns a bit sour as I think of what Morriss may have done.

May. I don't know. I don't know him. By the sounds of his voice and that of Wharton, though, I think she's most likely telling the truth about most things on how Morriss abused her in many different ways. Even half of what she's said should send him to therapy for a very long time.

At the very least, I can't help but wonder what the rest of the band thinks about him and his actions. Even if they'd loathe the man, I guess they would still go on tour with him and release new music, possibly because they'd need the money.

On the other hand, is that worth the effort?

I struggle with myself. I've written about this many times: I used to love and adore Morrissey, before I knew he was a xenophobe, racist, nationalist, islamophobe, and supporter of extreme far-right movements. I should have known better. Cornershop warned us.

The new Bluetones album is OK but I can't see myself listening to it more than once. I can't remember any songs bar the first one; that says more about myself than the band. I laud musicians these days, it's really hard work, forcing them on tour far more than they should be travelling. On the other hand, to paraphrase Daniel Radcliffe's father, at least they're not coal miners.

I can't help but feel a little dirty when I think about The Bluetones, when I'm able to not only focus on the music. I think I might throw myself back to a time before I heard about Morriss' terrible actions and inactions.

I think of Gene, another 1990s band. Beautiful lyrics, wonderfully melodic guitar lines, very The Smiths-like. No britpop go-Blighty bullshit. Martin Rossiter, the singer, stood up and spoke out in a beautiful article named Why Morrissey Is Dead To Me. That's balls.

The Gene song 'You'll Never Walk Again' is wonderful. It makes me think of the person who means the most to me: my wife. The guitars somehow matches her countless wonderful expressions.

We're giving the world The kick it requires And if you can't see why Look into my eyes

'cause with you on my side/no, the feeling's not gone

#music #MusicTips #IndieRock #abuse

I want it to be better, but I also want to code. And I can't code with GitHub anymore. I'm sorry. After 18 years, I've got to go. I'd love to come back one day, but this will have to be predicated on real results and improvements, not words and promises.

—Mitchell Hashimoto, Ghostty

- GitHub has been losing focus on being a good code management platform, and has instead been focused on pushing AI tooling in ways that I believe could be counterproductive, and a general hindrance to open source maintainership. - I was unable to make changes to our website repository due to (Git-LFS) activity limits which could be consumed by any public person/actor (and therefore were completely out of our control). - Codeberg, a non-profit community-led organization that’s providing a service using an open source solution, is much more aligned to the values that we want to support and portray in BookStack relative to Microsoft (GitHub’s owner).

—Dan Brown, BookStack

The tangible one that tipped me to finally move: **I'm upset about GitHub Copilot.** It's fairly well known that Copilot can reproduce significant pieces of open-source code, stripped of their license. I'm moving to make it a **little bit harder** to have Copilot train on my code. This is perhaps a futile protest, but it's what I can do an individual. Writing about this is another aspect of what I can do.

—Nicole Tietz-Sokolskaya

The short version: GitHub is owned by Microsoft. Microsoft uses code hosted on GitHub to train AI models, including GitHub Copilot. I did not consent to my code being used this way. Neither did millions of other developers whose work now powers a $19/month subscription service.

—VintageTechie

Auf Wiedersehen, GitHub

—Thomas Dohmke, former CEO of GitHub

#ArtificialIntelligence #microsoft #code #programmers #microsoft

The Cramps are one of my favourite bands. Their debut album, Songs the Lord Taught Us, is excellent and influenced a million bands. It was produced by Alex Chilton, one of the main persons behind Big Star.

The Cramps ceased when Lux Interior, the singer, died.

Now, legendary Ian Mackaye and Henry Rollins help to bring out Gravest Gravy, a collection of previously-unreleased tracks recorded in 1977.

In Rollins' own words:

In October 1977, the Cramps, who were at that time, Lux Interior on vocals, Poison Ivy on guitar, Bryan Gregory on guitar, and Nick Knox on drums, ventured into Ardent Studios with the extraordinarily talented musician and producer, Alex Chilton. These sessions were responsible for the first two Vengeance Records releases, both permanently disfiguring the music world in 1978.

'Surfin' Bird' / 'The Way I Walk' 'Human Fly' / 'Domino'

“In 1979, young British degenerates were treated to a five track 12” EP by the Cramps called Gravest Hits, which featured all four tracks released in the USA, along with another from the October 1977 sessions, a great channeling of Ricky Nelson's hit 'Lonesome Town.' From there, the band released their first LP, Songs The Lord Taught Us, again working with Alex Chilton, and went onward, releasing records and touring all over until the sad passing of Lux in 2009.

“What Cramps fans might not know, was at Ardent, the band had planned to record their song 'TV Set' to be their first A side, along with another track or tracks. Alex told them that he liked to have a band play every song they knew and the best of the batch would be committed to vinyl. This was fantastic advice, and luckily for us, that's what the Cramps did. This is how 'Lonesome Town' found its way to Gravest Hits. But, there was much more to the story.

“In the late 1980s, Lux and Ivy endeavored to release more recordings from the October 1977 sessions. It was to be titled Gravest Gravy. It was a record for the fans, a journey back to Memphis, back to the first Cramps records, that, try as it might, the world has been unable to heal from. Lux and Ivy mixed several tracks between June 14 and 30, 1989 at Present Time Recorders, in North Hollywood. Alex mixed a few tracks in Memphis. The album had a title, a cover by the great Stephanie Chernikowski, who passed away recently, but for reasons lost to time, Gravest Gravy was shelved.

“In 2026, we sought to change that. It was apparent that this record absolutely needed to be with the fans. A team, still severely cramped from initial contact with the band, began to form and got to work.”

Gravest Gravy is released on 2026-08-21. Get a lime-green vinyl version at Rough Trade. I can't wait to see what merch will be cooked up for this.

#music #MusicTips #TheCramps #IanMackaye #HenryRollins #LuxInterior #BryanGregory #PoisonIvy #NickKnox #psychobilly #RockNRoll

Ian Lynch of One Leg One Eye.

One Leg One Eye are an Irish band. As I'm writing this, I see part of the band is Ian Lynch from wondrous band Lankum.

Just listen to the first song on their new album, Crone: intertwining voices, shouts, guttural noise, thrashing of the Earth, upheaval, folk-song, droning wooden instruments, sweeping synths. This is simultaneously hypnotic and awakening.

Imagine Swans with a more folky tinge. The album is well mastered, by Lasse Marhaug, who's also worked with people like Sunn O))) and Merzbow.

Don't miss their debut album, And Take The Black Worm With Me, which is partly described like this by The Guardian:

Mixed by longtime Lankum collaborator John “Spud” Murphy, a My Bloody Valentine devotee, hurdy-gurdies, shruti boxes and concertinas are manipulated through loops and effects pedals, creating dazzling sounds. A church organ (played by Ruth Clinton of Irish group Landless) and backing vocals (by black metal vocalist Laurie Shanaman) add further strata of feeling. It all suggests great things for Lankum’s next LP, out in spring.

#music #MusicTips #IanLynch #drone #folk

Caroline Shaw is a fairly young person who's done a lot of interesting music. She has focused on voices in the past.

However, to say she's a vocal composer is wrong. She's composed and arranged a lot more interesting music than that.

For example, here's the entire soundtrack for the TV-series Fleischman is in Trouble:

Her vocal arrangements at times remind me of both baroque voices and what Hildur Guðnadóttir did with some music she composed for Chernobyl.

However, Shaw's most recently-released work, or, The Whale, which she's made with Andrew Yee, is very good in ways different to her earlier work:

Here's a live session with Shaw and Yee from 2023:

Here's a 22-minute interview with Shaw on her musical roots, creativity, and collaboration.

#music #MusicTips #CarolineShaw #NeoClassical #soundtrack

Wow! What a fresh breath of air. Triángulo de Amor Bizarro is a Galician band that's clearly into a lot of indie and alternative rock. I mean, their band name is 'Bizarre Love Triangle' in Spanish.

Just listen to the first two tracks: from the low-intensity-to-gothic-blow-up style of 'SMT en el Palacio Real' to the Alvvays-sounding indie-rock melodicisms of 'Diosas Adolescentes'.

Yep, the album even has strings (perhaps most strongly heard on the song 'Pat e trenca', a track that owes a lot to Nirvana's song 'Something in the Way').

This is lovely to listen to. There's variety in a kind of indie-rock circus way, meaning you get what you expect to get from listening to bands like The Las, The Smiths, Smashing Pumpkins, etc. but there's a lot of ideas floating around here. Buy the album!

#music #indie #rock

Here's a wonderful quote about change, to suddenly decide to do the right thing.

The quote is from the remarkable new book Dangerous, Dirty, Violent, and Young: My Fugitive Family in the Revolutionary Underground by Zayd Ayers Dohrn:

My mother was already leaving the law behind. But King's protest wasn't the only experience that changed her that summer. Another chance meeting seems to have solidified her conviction that direct action, rather than legal study, was her best path forward.

One 102-degree day in July, Bernardine was at the church that served as headquarters for King's rent strike, working on a legal appeal, when somebody shouted, “There's an eviction two blocks away!” My mother and a few other legal advisors grabbed their armbands and ran outside, to find a group of sheriff's deputies carrying someone's belongings out of an apartment and dumping them onto the sidewalk.

“Nobody's shouting,” my mother remembers. “Nobody's saying anything. But they're dumping the kitchen table, children's clothing, toys, dresser drawers everything is piling up in the street.”

Suddenly, she felt somebody next to her-a presence that felt unusually imposing. A man turned to her and asked, “Would you hold my suit coat?”

“And it's Muhammad Ali!” she says, laughing. “The most recognizable person-along with Dr. King-in the world at the time! How did he get there? I have no idea. How did he know to come? Who called him?”

Ali handed her a blue, silk-lined seersucker coat, stepped forward, and picked up a kitchen table. He turned without a word, walked into the apartment building, and started up the stairs. “Instantly,” my mom remembers, “everybody, of the one hundred or two hundred of us standing around, picks up something and follows him inside.”

The deputies just stood there watching while the crowd put the person's apartment back together, piece by piece. “And that was it!” she says. “It was a people power moment. It was a moment of defiance, a gesture by somebody who could carry it off with such panache and so little fear. And it just gave everybody a spark of what's possible.

“And it was that combination-seeing King, night after night, speaking in churches, out there on the West Side-and then these marches on the weekends... It was all so powerful and so brilliant. It changed my life.

#book #reading #change #life #revolution

The album cover of The Velvet Underground's White Light/White Heat.

Episode 164: “White Light/White Heat” by the Velvet Underground

Andrew Hickey is the name of a person who should be hailed. He is the creator and the host of the podcast A History of Rock Music in 500 Songs. The fact that most of the podcast is freely available to all is truly fucking wonderful.

He made an episode about The Velvet Underground's song 'White Light/White Heat'. The episode is over three hours and twenty minutes long. It's 'about' a song that's not even three minutes long.

OK, that's an exaggeration in the extreme. Let me explain what makes the episode singular.

First, every episode of the podcast is focused around a specific song, but it's not only about the song; it's about the times in which it was made, the people, the surroundings, politics, philosophies, religion, etc. I made it sound boring, but it's fucking not.

Second, this episode contains so much music from sources other than the Velvet Underground's own shit. It's required listening! La Monte Young? LA MONTE YOUNG! I had no idea who the dude was until i heard this episode and it's fucking WARPED! The music he made and still makes!? Wow. WOW. Drones that intertwine and go on forever, that's him. Shit.

John Cage. JOHN CAGE: the composer, the mystic, the oracle-led genius who was afraid of old ideas. Wow.

I won't go on like I'm more insane than I actually am, so I'll stop soon.

In my head, what makes the song such a fucking riot is that it's kind of slow, kind of sounds like the instruments are played by beginners, and then it deteriorates while it elevates into becoming one of the true rock 'n' roll figureheads. This is garage rock, this is rock 'n' roll, this is three chords and the truth, this is non-CIS sexuality by a band who released their song 'Heroin' when The Beatles released 'Can't Buy Me Love'. Holy shit, The Velvet Underground were truly great.

After two minutes, 'White Light/White Heat' goes somewhere else; the bass. The bass! The guitar mangles?! The background sweat! Shit, this song says so much.

And to think of it, the song opens the album White Light/White Heat. The song is followed up by 'The Gift', a song that's over eight minutes long.

The stereo version of the song starts with the music mainly in the right channel. The left channel starts with a story being told by John Cale:

Waldo Jeffers had reached his limit
It was now mid-August, which meant he had been separated from Marsha for more than two months
Two months, and all he had to show was three dog-eared letters and two very expensive long-distance phone calls
True, when school had ended and she'd returned to Wisconsin, and he to Locust, Pennsylvania She had sworn to maintain a certain fidelity She would date occasionally, but merely as amusement
She would remain faithful

What a jump from 'White Light/White Heat'. Some of the WL/WH lyrics:

Hmm hmm, White light Aww I surely do love to watch that stuff tip itself in Hmm hmm, White light Watch that side, watch that side don't you know it gonna be dead in the drive Hmm hmm, White heat Hey foxy mama watchin' her walk down the street Hmm hmm, White light Come up side your head gonna make a deadend on your street

#TheVelvetUnderground #music #MusicTips #AndrewHickey #LaMonteYoung #JohnCage #podcast

Xiu Xiu are releasing Eraserhead Xiu Xiu on 2026-07-10. The first single is 'In Heaven'.

Xiu Xiu have since long toured their playing their version of the soundtrack to David Lynch's film Eraserhead. It's beautiful.

This is a calm song. I like the breaking of bottles at the end, it feels soothing to the sounds of an organ and what may be some kind of friction.

This is a cut of Xiu Xiu playing 'In Heaven' live in Scotland earlier this year.

#music #MusicTips #XiuXiu #DavidLynch