As Horror writing became more universal in the late 20th Century, the Eldritch/Folk Horror traditions were retooled and revived to deliver more shock to newer audiences raised on slasher films and elements of True Crime. So the ghosts, werewolves, and supernatural events of the darkened Country villages widened its view to take on the global village.
Folk Horror rapidly builds towards discomfort and creates mistrust in those around you (also handy during the 50s and 70s.) Weird Fiction is far more individual and constructed within our wounded psyches. If bad things make you feel as though you are out of touch with the universe, then thinking that the scratching behind your wall is a werewolf is firmly rooted in the loss of mental control.
Imagination running wild is a facet of many works in 20th Century literature (James Thurber's comic "The Secret Life of Walter Mitty,) but having a "gifted" imagination is more common today as we can all assimilate our deepest fears into frightening dreams given the wrong stimulus.
Thomas Ligotti began writing short stories in the Eighties. Where Stephen King dominated the scary novel game, Ligotti quietly wrote and published his brief works to renovate Horror's pattern of tradition. He took his influences to heart (especially Arthur Machen and M.R. James) and translated his struggle with anxiety into nail-biting Psychological Horror.
Yes, a ghost is a ghost in other stories. In Ligotti's "Dr. Locrian's Asylum," the existence of a building that at one time housed "a chamber of horrors" is built to fear - even if it no longer functions. Out of sight is hardly out of mind in Ligotti's winding, reverse tale-telling foreshadowing ("To make things worse, the setting sun would each day slip out of sight behind the asylum, thus committing our town to a premature darkness in the long shadow of that massive edifice.") "Committing" by those who made the decision to commit them. No distance in time can alleviate the mounting uneasiness of wandering into one of its hidden rooms. It makes the imagination wander into its darkest corners to consider "funereal scenes" and "a long table with thick straps."
Yet, when the votes were tallied to tear it down its current keeper, Mr. Harkness Locrian was there among the affirmative support. Within Mr. Locrian resides two generations of events within the asylum and its neighboring burial ground that dwell forever in silence. That is, until he decides to talk to our narrator, Mr. Crane, where he confides "My grandfather felt at home with his lunatics." Suddenly, we have questions in reading as Ligotti draws us deeper into his modern and macabre journey into the past.
In modern Horror, the revelation of a secret past or events uncovered provides the impetus for further investigation. Moreover, silence as a means of concealing these events can never last for long as that opens the door for the past to find its own conduit into our present. We all know the chill of seeing the words "Based on a true story" on screen. We all know that this single sentence activates your innermost feelings of dread and validates that it could have even happened where you are.
In "The Greater Festival of Masks," the nameless part of town where Noss's challenges to the existence of its past seem to resurrect it. Like the circus, especially the distorted visions inside the funhouse, events practiced in good fun radiate a more grim set of emotions in those who would not dare to "indulge themselves as if there were no tomorrow." Especially, if they are all hidden behind the visage of a mask. Like the Folk Horror elements of far-away towns and their traditions, one only needs to see the town and its "seasonal practices" from a different perspective. So after searching for the perfect mask to participate in this celebration, he (and we) are shocked to see the others clad in "faces that are horribly simple" which "creak like new faces breaking through old flesh." Frightfully tearing off the chosen mask he was wearing, it even looks back at him in a different way.
These are Ligotti's "Dreams for the Dead." You read that right, "for the Dead," not of. As they might be "in service" to those spirits who silently reside around us. Like Shirley Jackson, Ligotti's stories work time and time again because they arouse the feeling that the events of a small Folk Horror-like community could happen in your world. It is not the mechanics of the plot that make it consistently horrifying, it is their Poe-like ability to transpose themselves into your mind. They accomplish this feat of nature typically through their duality.
Ligotti, as a writer, was far more dedicated to his study of Philosophy than other Horror scribes. In "The Frolic," Ligotti builds his demonic main character around Jung's "Trickster" who knowingly uses tricks to break norms through knowledge and the twisting of intellect. An unknown prisoner arrives when our protagonist Dr. Munch is doubting his logic in taking a job as a psychiatrist at a local prison. John Doe, as the unidentifiable man is known to Dr. Munch's staff, wanted to be captured. Dr. Munch even informs him that he could leave anytime he wants because he is not truthfully admitting to any crimes, just exhibiting disturbing behavior. To Dr. Munch, Doe's so-called "frolicking" could be criminal or it could be him toying with the system itself. Either way, Dr. Munch and dear readers like you are left with a netherworld of our deep-seated fears and darkened-light frights when this "Trickster" says "Most people learn to save themselves by artificially limiting the content of consciousness." Like the entrances to houses and stores in "The Greater Festival of Masks," we seem to invite elements of the unknown inside with even the smallest crack in a door left unlocked and slightly ajar.
NEW MUSIC THIS WEEK
DANIEL CAESAR - Son of Spergy [2LP/CD](Republic)
The peril of the modern Soul singer is that your music must cross two boundaries at once. First and foremost, it must be commercial enough to follow the path of your previous works. Daniel Caesar started with a string of Platinum singles in the wake of his feature on Justin Bieber's 2019 #1 "Peaches." "Son of Spergy" hits that note on the Bon Iver-meets-Steve Lacy simplicity of "Call On Me." Like standard bearer Mk.gee, Caesar only needs chunky electric guitar and a little Curtis Mayfield-ish groove. Having found his "potential hit," the remainder of "Spergy" has more in common with a haunted Nick Drake sensibility ("Baby Blue") filtered through Psychedelia and dreamy instrumentation and editing. "Spergy" is not necessarily downtrodden, but his interpretation of this chapter of his past life draws a lot of emotion from how threadbare he wants it to be in places. As a whole, "Spergy" tries to hide its harmonies and strings, but Caesar proves that they are the ray of sunshine in his life. Its mixture of mood and melodies makes it his move across the second boundary - critical success.
BRANDI CARLILE - Returning To You [WHITE LP/CD](Lost Highway/Interscope)
Now a producer, co-writer, best-selling author, and Emmy winner, Brandi Carlile takes her first solo album in four years back to basics. Not only does she clear the decks and shift over to producers Andrew Watt (Rolling Stones, Lady Gaga, and her album with Elton John,) plus Justin Vernon and Bryce Dessner, she keeps her longtime band and adds pros Chad Smith, John Klinghoffer, Blake Mills, and composer Mark Isham. Whether "Returning" is Brandi's dream project or not, she writes with a renewed fervor for her life (maybe after helping so many others like Lucius, Tanya Tucker, and Joni Mitchell.) "Church & State" is a true departure into Post-Punk, while "A War With Time" reflects her devotion to examining her own life.
BON JOVI - Forever (Legendary Edition) [LP/CD](Island)
On 2024's "Forever," Jon Bon Jovi and the band recovered from personnel changes. With Jon taking the reins on writing and production, he regained both his voice and love of songwriting. For the "Legendary Edition," Bon Jovi turns the tracks over to a legion of fans including Jason Isbell, The War & Treaty, Jelly Roll, co-producer Ryan Tedder, and Bruce Springsteen.
DEMI LOVATO - It's Not That Deep [LP/CD](Island)
After a sojourn on the dark side of Pop, Demi Lovato makes her return to Dance/Pop. With help from Zhone, "Deep" follows the current trend of making House-adjacent beats and sugar-sweet Pop melodies. Where Lovato lands ten years after her debut is recreating her original infectious songs ("Kiss') with a modern woman/former child-star glimpse of how simple things were in the past.
MORWAN - Vse po kolu, znovu [LP/CD](Feel It/AMPED)
Folk Metal generally tries to stay true to its roots and be LOUD enough to attract Metal fans. Morwan contort those same roots with a variety of textures that would likely qualify them to be Folk/Post-Punk. However, several of these tracks are blistering enough in places (the thunderous title cut) to qualify for crossover - even if they do sound like Swans. Morwan are on the ball with Alex Ashtaui's midrange bellow and pounding bass. Their anger is evident in blasts like "Moi Ahi," but so much more controlled. Yet as aggressive as they are, the undertones of their Ukrainian music form a unique foundation (the guitar part on "Ha cxia" follows their trilling/melodic patterns but does not sound like a shoehorned incorporation.)
SPEED - All My Angels [SMOKE LP] (Flatspot)
Made exclusively for Japanese release, Australian Hardcore riff-whippers Speed return with a three-song EP that burns as hot as their critically-acclaimed "Only One Mode." "Ain't My Game" is furious. Nineties-fan ready with its chugging surprise "Mr. Brownstone"-ish opening, they reduce the verse to a violent Biohazard-ish low-string slice and then unleash the chorus. If that was not enough, the deceptively-titled "Peace" is a drum-led rumble into the pit complete with a windup that is backlit by their most squelching guitar yet. A small slice, but Speed continues to turn their upside vision of HC into a metallic battering ram.
FLEETWOOD MAC - Tusk [BLUE 2LP](Rhino)
The importance of "Tusk" in just two sentences. After a pair of multi platinum successes, "Tusk" captures Fleetwood Mac in transition in the lives that resulted from it. They are separating from each other outside the studio and stage, but developing more ideas from choppy thumbnail sketches (Lindsey) and songs that swerve dangerously close to everyday life (Stevie,) and discovering new love in the wake of an old one (Chris.)
MINISTRY - The Mind Is A Terrible Thing To Taste [2LP DLX](Rhino)
In short, Industrial music travelled a lot of miles before anyone dared to take it to the mainstream. As a reaction to their "manufactured" success as a SynthPop band, Al Jourgensen turned Ministry into a loud, noisy, clanging, distorted commentary on the destruction of life with Wax Trax singles (under a variety of different names) and "Stigmata" in 1988. When the blistering song became an oddball/light rotation MTV fave, 1989's "The Mind Is a Terrible Thing to Taste" was shaped around machine gun guitars, hard-driving drum machines and sample-built weirdness. "Thieves" is the album's opening call to arms. "Burning Inside" further opened Alternative to Industrial influence and its feverish pace and guitar stabs even attracted Metal listeners (interested in what was briefly called "Aggro.) "Taste" oozes grief and disenchantment. "Cannibal Song" could have been PiL (whose Martin Atkins joined as their drummer,) while the underrated "So What" actually revives the "Twitch"-era dance club four-on-the-floor beat. However, the acidic, garbled vocals of Jourgensen would be the longest lasting influence and one that would forever be associated with Industrial and Metal from here on out.
ELTON JOHN - Captain Fantastic and the Brown Dirt Cowboy DLX [COLOR 2LP/CD](Mercury/UME)
In the middle of his longest string of hits, Elton John dropped "Captain Fantastic" in 1975 beginning the 'Blockbuster' era with the first transatlantic chart debut at #1 and album to ship Gold. Looking back on "Fantastic" it was a daring move. The only single release was the now immortal ballad "Someone Saved My Life Tonight." In addition, Taupin and John envisioned it as their autobiography about playing in London from 1967-1969. So fifty years later, its cohesion is everything. Now, the anniversary edition affixes demos and some live cuts from its 30th anniversary celebration. (Worth searching out, the 2005 import 2CD edition for the sensational live debut of the entire album at Wembley in 1975.)
Various - ELECTRICAL LANGUAGE: INDEPENDENT BRITISH SYNTH POP 1978-84 [4CD](Cherry Red UK)
How important is a single instrument to British culture after Punk? "Electrical Language" is out to prove that the bleeps, blurbs, and whirling melodies of the synthesizer may be the galvanic force that brings the scene back together after the revolution of '77. Given its ability to be played by anyone (borrowed from Punk) and ability to be multi-tracked by the curious at home, the synth became the basis of writing for intrepid young musicians. From its beginning (many with simply played but awesome sounding monosynths,) knob twiddlers like Testcard F and Chain of Command made music that snapped Polaroids of the nation and its industrial demise. The underrated Thomas Leer as well as Edward Ka-Spel and The Legendary Pink Dots appear here to illustrate how SynthPop was pushing its boundaries into Dance music and its more dour counterpart. Later, projects like Eyeless in Gaza and Faction emerge as new minimalists developing layers of ideas to be mixed into and out of the track. Above all, "Electrical Language" is devoted to the sounds that these keyboards were creating with a human element. There is a beautiful randomness to these artists finding ways to make music that openly involved experimentation, many of which are captured here on tape at the moment of their creation.
