For a hot minute, I had another secret horror blog. And then I realized that it’s pretty stupid to have a different blog and try to get readership, if I already have a blog that really suffered from me not being a single lady with a lot of time on my hands anymore. I mean, I have few readers as it is, I don’t have to make this even worse by dividing my time and posts between two unsuccessful blogs.
So, I decided to take the existing blog posts and copy them on here and delete the other blog. This means less hassle for me but also more weird (creepy) stuff that you might not even be interested in for you. Sorry!
But I figured that my blog is like that since years. Occasionally I get super excited about a certain topic and put it on here and then either my interest runs out or it becomes a part of this blog. It’s my Frankenstein’s monster-blog and that’s just how it is. And even though I don’t write a lot about it on here, I am a sucker for horror movies and TV shows.
And since it’s October, I decided to start this now and because when if not now? Ok, so let’s begin with the first post which is a movie list (which you know because you can read and it’s literally in the title of this post) about horror movies with old people.
Disclaimer: old people aren’t actually creepy, at least not more than most other people. I really think that old people that are creepy always have been creepy. But they make for amazing horror movie antagonists because you think they are sweet or at least harmless and then they suddenly chain you to their ritualistic wheel of pain to sacrifice you to an elder god.
So, in the following I have a list of a few horror movies with and relating to old people that really scared or at least entertained me enough to recommend them. And yes, there might be spoilers ahead. I won’t necessarily explain the whole plot but the first third of the movie will be spoiled (how else can I suggest any movies for you?).
Alternative title: Too old to Rock ‘n’ Roll, too young to die, old enough to scare the crap out of you
Admit it, you love it when I dig out songs and bands who you know about since years just because I am so behind and don’t read Pitchfork reviews.
BC Camplight released his third album in 2015 with the cheery title “How to die in the North” with Bella Union. BC, also known as Brian Christinzio, has been making music since 2002 but hey, I am a busy lady and the internet doesn’t make it easier because it’s simply too much things to choose from.
Anyways, the song “you should’ve gone to school” is an amazingly throwback ditty with a weird Beach Boys vibe that now and then slips into the early 80s but only just so. His use of harmonies is lovely and he works with the slightly melancholic vibe of 60s pop music (songs like “Life isn’t anybody’s fault” have a lovely nod towards “Nights in White Satin” with freaky guitar-scream-interruptions). In another world, BC might have sang a beautiful duet with George Michaels at some point but alas, this is the world we live in and we have to deal with never hearing this match made in heaven.
BC’s lyrics are generally rather … dire which fits the music. My song of choice for this entry starts with a weird mention of monsters in Mexico, which totally reminds me of this indie horror movie that – now that I think of it – fits perfectly with this song and the album in general (but that’s just my opinion which is worth, like,
an apple and an egg nothing).
So, I recently went to a hipster record store that had huge heaps of records for 5€ and I saw this cover of a beautiful black woman dressed to the 9s and thought: why not buy this and surprise myself later on, discover something new?
The first and titular song “Me Myself I” is the most amazing 80s pop song. This album was released 1980, so it’s not just amazing 80s pop but an 80s pop song that was way ahead quite a few other artists of that time.
Right now, Sammus might be the most fun rapper out there. Her music videos are creative low budget gems full of humor, charisma and lovely ideas. Her song “Mighty Morphing” hunts me down every single day because it’s so damn catchy.
Love the “Ironic”-reference in the style of the video but also the song itself. Rapping about how no one needs to be a certain thing to market themselves but can be everything is one of those things that sound so simple but are hardly communicated in pop songs.
Sammus is also one of the few rappers that do gaming themed songs. A thousand mushrooms for that!
You think this is a one-off? Nope, she’s REALLY into gaming. It’s fantastic. I mean, nerdy gamer girls get hardly any representation in Hip Hop, so this is like the holy grail.
I don’t know why but I am again obsessed (like, “loop that 24/7”-obsessed) with a Miley Cyrus song. Her previous single “Malibu” of the upcoming album “Younger Now” was just like the video a pretty little thing with no real meat on its bones. It also gave us a Miley that is not believable anymore (flowery hippy country girl who is everybody’s darling).
However, “Younger Now” is the kind of aesthetic sound-wise and visually that might be the real true Miley that has been peeking out during her wild phase a few years ago (and sadly resulted in a few appropriation- and “why the hell work with Terry Richardson of all people”-issues that are far more problematic than the nudity).
The Miley that plays with gender expectations and somehow is such a professional in the world of pop but at the same time just not quite as caught up in it like, for example, Katy Perry, shows herself in a video that is all Rockabilly but with the nostalgia factor playing the main character. This is not the dream of how it was back then but how it is now. The Grease brigade, creepy puppet play (a typical symbol of 50s children’s tv shows – also in Germany, by the way), the Elvis costumes and the glitz – the video in itself is mesmerizing.
The song is a lovely goodbye (?) to her wild phase (and quite possibly also to the Disney phase, but obviously no one will acknowledge that because so many people think that her twerk/tongue-phase was worse than being stuck in Disney’s fake smile wonderland that messed up so many of our current and past pop stars).
The lyrics are standard pop:
“Feels like I just woke up
Like all this time I’ve been asleep
Even though it’s not who I am
I’m not afraid of who I used to be”
But the sound is quite interesting. We start with frogs and water singing in the background and a lower guitar tune slowly easing us into the song before Miley sings covered in a subtle echo effect. The song slowly turns into the sort of pop that does well on a dancefloor but still feels calm and melancholic. This is actually a song you would rather hear from a popular rock group like Kings of Leon instead of Miley Cyrus but that’s exactly the sound that suits her (kid has still one of the most amazing and unique voices of any white female pop star out there). I really hope that her album delivers more of this and less of “Malibu” but you never know. With stars of her caliber, conceptually tight albums like Beyoncès “Lemonade” are so seldom, so I expect a few other strong singles and a few fillers.
But then again, Miley’s coop with The Flaming Lips and her resulting Her Dead Petz-album was a fantastic and weird piece of pop. I still believe that she could be one of the greats in the long run.
OMG, you guys. The Maccabees farewell is only a few months old and suddenly Orlando Weeks has changed his profile pics and he has his own Spotify-Page and there it is, like the north star in the dead of night: a new project.
Orlando Weeks goes back to his days of Young Colossus but has picked up pen and paper himself. There will be an illustrated book and accompanying music and to say that I am excited, delighted and really moved is an understatement. Young Colossus always felt like this one in a lifetime gems that an artist does, this one great thing that is like a secret. It always felt like Kate Bush’s song “Cloudbusting”:
“You’re like my yo-yo
That glowed in the dark
What made it special
Made it dangerous
So I bury it
Something that is just so different that it can’t possibly be part of a bigger picture. And then there it is: Gritterman. It seems like a story about loss, dealing with an elderly man who lost his wife but goes on with life as he used to because how else can you go on?
Also: that cat! But also: how clean is that place? My work desk looks like someone dumped their work desk’s trash bin on it.
I got super emotional when the first tunes of “The Queen of Hearts” started. The Decemberists have been a band that led me through many ups and downs and also managed to really drew me into their prosaic world full of heroes and heroines, tragedy and murder. They are lovely despite the murder.
Their new album is a collaboration with singer Olivia Chaney and goes under the moniker Offa Rex. They covered British folk tales and given the Decemberists’ track record with folk material, this is absolutely no surprise.
(And despite NPR writer Jason Heller pretending as if this is the first time that The Decemberists have “dipped their toes” into folk, they did so approximately a thousand times before and they did well.)
I have to admit, not every song hits as hard as “The Queen of Hearts”. I am generally a fan of folk music with a few prog elements, a bit more story telling in the melodies. I am aware that the typical folk aficionado will not find any faults with songs like “The Gardener” and “Flash Company” but for me, they were a little tame (they are really beautiful, though, so this might be just my current mood speaking).
However, this is mainly because The Decemberists have an incredible talent of creating really catchy and engaging melodies (including dramatic arcs), so I am just used a little bit more drama to my folk music. Something to tag me along, grab my hand. I am not really the sit in the grass and let it softly roll over me type of folk listener.
Also, Chaney’s voice tends to sound a little too close to singers like Joni Mitchell or basically every country singer ever when she’s not given much to do with the melody. But when she really goes out, her timbre is quite something and she suddenly becomes her own.
All in all, this is a mighty fine album and it’s something to get people into folk music (or get people who already love it something more modern than the usual “Songs of the Irish”-compilations you get for 3 quid at the rest stop).