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I saw a video of Jake Gyllenhaal singing "Suddenly Seymour" opposite Ellen Greene. A) It's obviously interesting to have a female romantic interest in a show who could quite reasonably be the guy's mother and B)

I know it's totally unprofessional but I'd be scared shitless playing opposite somebody who has been playing/singing that part for nearly as long as I am alive. o_O
von_geisterhand: Monika küsst Jörg. Sie liebt ihn. (kiss)
So it would appear that all the songs from the RHPS-remake are now on Youtube.... and based on the ones I've seen so far....it's the cowardly playing-it-safe-option I feared it would be... with all the subtextual problems mentioned before.

Because that's all Laverne Cox is, right? Just a sweet transvestite. :-I

Plus, it is heartbreaking to see what state Tim Curry is in after his stroke. ;_;

von_geisterhand: (Default)
"Science Fiction Double Feature" (Credits) from the MTV RHPS

PS: Yes, I know that it's counterproductive to link to it while feeling so negative about it at the same time.
von_geisterhand: (Default)
I really don't know how I feel about the casting of an actual transsexual as the "Sweet Transvestite". :-/ I mean, it's blunt and it's obvious and it's gimmicky but then again it's a FOX production for the "youth of today". I don't really think that releasing another film version of RHPS is the sacrilege that some groups may be treating it as. IMHO it is as necessary/valid as, say that recent run of "Jesus Christ Superstar" featuring John Lydon as Herod. I mean, Joel Grey is cool but Alan Cummings is, too, and he's probably more up to the task of performing an entire musical than Mr. Grey. So, meh!
However I also think that Rocky Horror is very much a product of its time and while it certainly has helped people find themselves/their true sexuality back in the day and while undoubtedly people are still finding likeminded individuals through it even nowadays, it doesn't really hold up any longer. Society has moved on and men in drag are no longer the wreckers of civilisation they used to be.
Also, Frank N. Furter is still an alien, per definitionem "The Inhuman Other". And an evil alien at that. Not really a poster boy for tolerance.
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There has been a "Stonewall"-film for, oh my, 20 years now. I'm not sure if it's still as good as I remember it but I remember it as pretty good. :-)

...although the thought of Roland Emmerich filming the Stonewall Riots the way he normally films the destruction of New York/The World has a certain entertainment value.

Here, have an earworm:
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Gab es wohl je eine Zeit, zu der das Sprichwort "Wo man singt, da lass Dich nieder. Böse Menschen kennen keine Lieder." wirklich stimmte?
Weil, wenn man sagen wir mal, die Nazis als "Böse Menschen" klassifiziert, dann stimmt das Sprichwort schon nicht mehr, weil die Nazis ja mal ein ganz beachtliches Repertoire an Liedern hatten. Und auch noch in den 1990ern könnte man sicherlich behaupten, daß sowas wie der "Drina-Marsch" als Musik von bösen Leuten zu bezeichnen ist, zumindest aus der Perspektive der Frauen, die zu diesem Lied regelmäßig vergewaltigt wurden.
Es würde mich wundern, wenn es nicht schon im Mittelalter und davor Lieder gab, die Raubritter vor, nach oder während ihrer bösen Taten sangen.
von_geisterhand: (Default)
The Soup Dragons - Divine Thing

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I know the video has been making the rounds of the internet for a while now but still: I can only applaud the work and dedication that must have gone into this and therefore it goes up once more:

Tool isn't the easiest band to cover and as much as I despise the Neo-R&B-style of female vocals, in this case it's probably the healthiest way of not copying MJK.

Respect to all concerned and a motivation to parents everywhere to encourage their children to learn an instrument. Possibly even the Theremin.
von_geisterhand: (Default)
Es widerstrebt mir eigentlich komplett, mich zu einem popkulturellen Thema zu äußern, welches eh nichts weiter als eine Verkaufsmasche für BILD-Leser ist, aber:

"Junge" von Den Ärzten war niemals gut und eigentlich ein bisschen peinlich, wenn man bedenkt, daß die Herren Felsenheimer, Gonzales und Vetter eigentlich schon sowas wie professionelle Jugendliche sind, die aber in diesem Fall am Jugendrepräsentieren scheiterten. Deswegen war auch der Publicity Stunt mit den Zombies nötig.
Daher ist es eigentlich ganz passend, daß der Liebling aller Großeltern sich jetzt an die Kinder der Ärzte-Fans anbiedert (zusammen mit höchstwahrscheinlich einen wesentlichen Prozentsatz der Eltern- und Großelterngeneration). Schlechter wird das Lied dadurch nicht und ich persönlich habe herzlich darüber gelacht.
von_geisterhand: (Default)
A quite readable article even if they leave out a chunk of how things developed between the time that Cosey took her kit off in an artistic way and the recent Nachtmahr-Combichrist-Adversary conflict. That stuff did not happen overnight, you know? There was a logical and fairly depressing development.

On Misogyny in Industrial Music"

Funnily enough, some of the arguments in this discussion match the constantly regurgiated discussion on "Nazis in Goth", particularly when it comes to the demand that an artist should step away from their work and comment on their actual opinions/thoughts on the matter in order to quell a possible suspicions. Laibach, as the article states, "hasn’t broken character in over 30 years of interviews" and still nobody seriously suggests they might actually be Nazis or calls for them to unambigiously distance themselves from the Nazis that attend their shows.
Death In June/Douglas P., on the other hand, has (admittedly reluctantly) stepped away from and commented on his work on occasion, as well as confronting fans that found the rainbow flag onstage incompatible with their political beliefs. Yet, his explanations are simply discarded as false excuses, his contradictions are seen as invalid/irrelevant and he remains the poster boy for Nazis in Neofolk. Frustrating!
YMMV on this, but IMHO there is nothing wrong with an artist presenting him/herself onstage as a baby-eating, this-that-or-something-else-hating, satanist monstrosity calling for death, destruction and eradication of this, that or something else. That stuff has worked well for decades in metal and it probably will remain popular. As long as they don't show the same attitudes off-stage as well, it's fair enough. (Or if they do, they have to live with the consequences. That is what distinguishes Varg Vikernes from Marilyn Manson.)
This approach requires the listener/fan to critically approach the material, though, to not raise their arm to a salute when the artist does. Think of "Tomorrow belongs to me" from "Cabaret". It is rousing and if it is staged well, you do want to join in and the moment you catch yourself wanting to salute, suddenly forced to face something dark inside yourself, is the moment when the magic happens.
Reaching this critical moment is hard, particularly if the artist in question has built a complete entity that almost entirely lacks any "cracks" to begin an analysis/deconstruction with. Laibach's "cracks" are things like their avantgarde past and their usage of seemingly innocent pop songs. It bewilders the listener, thus making him/her think.
Death In June, on the other hand, have been fairly consistent and "crack"-free since essentially becoming a one man show.
Zentriert Ins Antlitz's "Geschäftsfrau" drags you out on the dancefloor with its catchy beat and then faces you with a fairly tough conversation, which hopefully let's you hesitate for a second and go "Hang on, what am I dancing to? What have I been dancing to all night for that matter?"
(To be continued)
von_geisterhand: (Default)
It has been far too long since I shared some music. So here is a classic of doom metal, complete with an early appearance of Dead (before he was late) doing the official Dance of DOOM.
(Gratitude to Doomlord GW)

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The conversation I wish would take place:

Me: I am so excited because I will see Death In June/Non/Sektion B/etc. next week.
Marc: Are you sure? They're Nazis, don't you know?
Me: They are? Why do you think that?
Marc: Well, they say (this) in their lyrics and worked with (them) in the past and what exactly is this talk about a European identity and a reverence for the past anyway? That's dodgy, innit?
Me: Well, I see what you mean about this and yes, that was dodgy but they have adressed that, said that it was just a folly of youth and that they're embarrassed about it. Of course you never know what the performers are actually thinking or saying when they're not in public but then, you never know that with other artists either.
I mean, Metallica are quite clearly more conservative than I would feel comfortable with if they were friends of mine but as far as buying the albums or going to concerts goes, I am happy to live with this conflict.
Marc: And you still want to go the concerts even though you feel uncertain about the artists?
Me: I do. As an assumed adult I made an adult decision and decided to go for it.
Marc: I will still stand in front of the venue and protest.
Me: Cool. I'll see you at the venue then.
Marc: Cool. See you then.

But no. It always turns personal and hearsay and sooner or later violence and disruption is threatened and acted upon. Oh, how I long for an informed and rational discussion.

What I am also missing in this whole discussion, whenever it comes up is a willingness/ability to not take shit at facevalue or rather see it in context. I, for example, always cringe when I see the graffito "Deutschland has gotta die" or "Deutschland muss sterben, damit wir leben können." ("Germany has got to die in order for us to live."), because I feel that this is an incredibly teen angst/rage slogan which (if taken seriously) aiming at the wrong golden calf, as well as assuming the author to fight the same righteous fight as the resistance in Nazi Germany and occupied areas, without actually facing the same risk.
Yet at the same time, I am more than happy to scream the slogan along with Atari Teenage Riot and really like the song. In popular music there is always this abstraction and the choice about how far you are willing to go along with it is yours alone.

At the same time, I have disovered a new pet peeve, which is: "They are so leftwing that they are already rightwing." No, they are not. There are no "lefty fascists". I admit that the difference whether you are being beaten up by somebody who thinks you unpatriotic or by somebody who finds you too patriotic is academic but that still does not mean that the theoretical background is the same, just like something totalitarian is not automatically fascist. You might consider this nitpicking but you'd be wrong. If you actually want to talk about something in a sensible and informed way, you should really try to avoid easy (and wrong) shortcuts.
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....and yet once more, I am too late for the vinyl. :-/
I know somebody who is probably finding this hilarious right fucking now.

Galakthorrö 029 A
Various Artists "Kosmoloko 2"
LP, hand-numbered limited edition of 647 copies.
€ 15.90 / Sold out!

Galakthorrö 029 B
Various Artists "Kosmoloko 2"
CD, unlimited edition.
€ 14.00

Galakthorrö 030
November Növelet "Heart Of Stone"
7" EP, hand-numbered limited edition of 793 copies.
€ 8.90 / Sold out!

Galakthorrö 031
Subliminal "Under Pressure"
7" EP, hand-numbered limited edition of 517 copies.
€ 8.90 / Sold out!
von_geisterhand: (Default)
Two links apropos of nothing in particular:

Men photographed in clichéd Pin-up poses

The idea is interesting/funny but I disagree with the attached statement:
It’s interesting how much more absurd some poses instantly look when they’re being done by men.
That's like saying that you only realise just how ridiculous some lap dog outfits look when you put them on a pitbull.* It all comes down to socio-esthetics and role concepts. None of these are any more ridiculous than any others. Yes, you may laugh at the Hyperbarbies on telly but in the end they are just an elaboration and aesthetic distillation of an idea of "femininity". Or maybe you enjoy Jodie Marsh more the way she looks now.

Slut Rock? Louise Brown On Using Sexuality & Gender In Metal

I admit that I have recently become somewhat out of touch with trends in metal but this filled me with very good memories of my headbanging days. I actually had not been aware of how many fantastic female-fronted metal bands are out there but remember just how taken I was with Kitty, My Ruin and Queen Adreena for a while. I might post some Queen Adreena later. :-)

Speaking of Pitbull: I saw the video to the "Men in Black III"-theme. When a song makes you long even for a fraction of a second for one of the Will-Smith-tracks, you know you've done something wrong.
von_geisterhand: Monika küsst Jörg. Sie liebt ihn. (kiss)
We went to an alternative culture place yesterday to listen to a lecture about Neofolk and its supposed inherent right-wing tendencies. In fact, let's just quote the entire text advertising the event here:

Thursday 07 June
EAG-Tresen Diesmal mit Infoveranstaltung ab 20.00 Uhr. Die „Schwarze Szene“, wie sich das Milieu der Gothics und „Gruftis“ selbst bezeichnet, wird wegen rechter Tendenzen immer wieder von Antifaschist_innen kritisiert – meistens völlig zu Recht. Besonders unangenehm fällt in diesem Zusammenhang die Stilrichtung „Neofolk“ auf, der unter anderem die bekannten rechten Musikprojekte „Death in June“ und „Von Thronstahl“ zuzurechnen sind. Der mit ein paar Bildern und Hörbeispielen garnierte Vortrag wird darüber informieren, was Neofolk eigentlich ist, woher die rechten Einflüsse kommen und was das Ganze überhaupt soll.
Danach noch ein bisschen düstere Musik und gruslige Cocktails wie „Zombie“, „Suicide“ und „Bloody Mary“ (angefragt).

For a start, the mentioned cocktails were not served and those that were, were lacking in quality. But that's besides the point now and in any case, beer was cheap.
Even if I had no particular feelings about Neofolk, I think I might have been enticed to attend on the strength of the first sentence. Allow me to translate: "The 'Black Scene', as the subculture of the goths calls itself, has repeatedly been criticised by anti-fascists due to its right-wing tendencies - mostly absolutely justifiedly."
That is quite an accusation to make, isn't it?

The lecture that followed did not live up to this level of vitriol, was rather half-arsed, not terribly well researched and preferred to suggest and insinutate rather than analyze any band or song in detail. In fairness, I have heard worse discourse on the subject but remain convinced that I could have made a better case accusing the bands of using images and ideas questionably while defending them than the speaker did just accusing them.
Where said speaker really let himself down, though, was when we corrected him on certain details and disagreed (politely*) with some of his suggestions. As he later told us, he had not expected to have somebody who already knew about the subject present and would have much preferred if we had not been there. Of course he would, it's much easier to "teach" people if they just unquestioningly accept all you tell them.
Will I have to write the final word on neofolk myself?

To cap it all off: You will have noticed that the lecture was held in the context of the "EAG"-group. That's short for "Emanzipative und Antifaschistische Gruppe", in other words: anti-fascist and anti-sexist. And ye verily, out beloved speaker did say at several points that he really wasn't all that interested in what artist said what when and why (after doing just that making his case) but that he was rather interested in equal rights and lack of prejudice.
At the same time, his girlfriend was spreading flyers advertising her events all over the place, which sported the picture of a woman cutting the throat of another, deep-clevaged female on the front. Lesbians as psychos, psycho females, the male gaze on the suffering female, the murder of the confident female, you take your pick.

*Okay, slightly less politely when he suggested that Current 93 are actually a Nazi band. Why? Because they have a song and an EP ("a whole album", in his words) called "Hitler as Kalki". What is that song about? He could not tell us.
You do not insult David Tibet lightly in my presence.
von_geisterhand: (Default)
There were actually people at the Agra handing out flyers saying: "Bats need no gasmasks" and "Schlauchköppe? Nein, danke!" ("Hose-heads? No thanks!") with a symbol of essentially "No cybers!" inbetween.
Now, I have no problem with cybers. It really isn't my cup of tea and I do greatly enjoy the fact that one can find many a industrial-disco in Berlin where one does not run the risk of having to listen to Combichrist et al. all night long, but as long as I know which clubs I have to avoid and which to frequent, it is all the same to me. I sometimes feel that, if you need a symbol for what has gone wrong in the "Gothic Scene" in terms of mainstream sexist bullshit suddenly being very prominent in it as well, the whole Cyber thing might be a prime candidate, but then maybe my experiences with equal-opportunity-moshing metalheads are not representative. (In related news, check this out.
Combichrist and Nachtmahr both also played WGT. Adversary was not invited. In terms of the responses, Andy Combichrist comes over quite reasonable in this. YMMV on his point of view but he seems to really take in and consider what is being said about him. Thomas Nachtmahr, on the other hand, comes across like a spoiled brat.)
In any case, on the one hand, I could not help but feel slightly impressed by the fact that some private individual actually felt strongly enough about "their" scene to go to all this effort, on the other hand, I obviously think that this is all pretty pointless and ill-considered.

One thing that impressed me in Leipzig and I guess that this must be a common experience is just how much visible the festival is all over the city and with how open a pair of arms all the "weirdos" are greeted with (Yes, yes, I know: lots of money). The feeling of pretty much every way a visitor wishing to express themselves being accepted and tolerated is quite impressive, even compared to Berlin.

For me, this was particularly notable during the neofolk and industrial concerts. In Berlin you get a fair few Haus Arafna and Crunchy Techno shirts but people tend to be hesitant when it comes to wearing much else. During the WGT there really is the whole range of band t-shirts and patches on display with nary an eyelid batted (outside Connewitz, but I suspect they don't want any goths or other outsiders in their area full stop). Quite besides the fact that the record stalls in the Agra sell a fantastic range of albums and merchandise. So much of my money was left there. :-D

WGT 2012

Jun. 1st, 2012 02:18 pm
von_geisterhand: (Default)
So, that's my first Wave Gotik Treffen over and done with. And on the whole, it was fab. We were lucky with the weather and there was rarely a concert or event where I did not know at least one person there. On the other hand, looking at the pictures and videos that other people shot, I occasionally get the feeling that they were at a different festival. But then, I tended to visit the more leftfield and less showy concerts.
There was shitloads that one could do and see and trying to do it all would probably be a rather futile effort. Personally, I was mainly there for the concerts although the Heidnische Dorf (Pagan Village) was visited on two occasions and used for perambulation and pigging out on fruit wine and roast pig (Mmmmh, Mutzbraten!). In hindsight, more could have been done in terms of socialising but on the other hand I was there with a group of friends who I saw a fair bit of anyway.

There will be another post on the issue of tolerance at the WGT soon but for the moment, I'll just give you a quick overview of the bands/concerts:

Les Jumeaux Discordant: Neo-classical, ambient industrial, ritual: Quite decent, I thought. Good enough to buy their CD, in any case.
Gallerie Schallschutz: Industrial. Okay, but nothing special.
Cut Hands: A side project of Whitehouse, only far less noisy and with a strong african beat. I've seen them before and was quite keen on seeing them again in a different setting. This is an act that IMHO really works far better live with background projection than on record. Are they trying to say something about the way that Africa and its inhabitants have been treated over the years or the way they are seen in Europe? Maybe, but if there was a message, I did not get it either time. This time round there was also a gogo-dancer on stage for two songs. I assume that she was supposed to look cheap, crass and uncoordinated, possibly to say something about popular culture in Africa. Maybe not.
In Slaughter Natives: On CD they may sound different, but live they were like a death metal band with the guitars substituted with ambient drones and noises. Quite good.

The Kuppelhalle of the Volkspalast is an ace venue, by the way, even though it really wasn't used to full effect this time round. The speakers should be directed into the dome or there should be a band without acoustic sound-sources taking advantage of the natural reverb. Where is Test Dept. when you need them? Or Apoptose with the Fanfarenzug Leipzig?

Minamata: frantic industrial noise with hints of breakcore and a well utilised back-projection. Definitely worth checking out.
Ex.Order: Much calmer industrial, a bit like power electronics without the aggression. Didn't really win me over.
Cent Ans de Solitude: This did. It was already a joy to watch that man set up with amplified metal things but it was even more of a joy to watch him elicit all kinds of sound from it. Back projection of industrial ruins and a performer who took the applause in an almost embarassed manner, as if he was surprised that people really enjoyed his music.
He had no sense of time-keeping though and had to be reminded by the stage manager that his time was up, something he ignored for a while until they started setting up the next band while he was still playing.
Which was a bit of a shame, as the next band was Thorofon, who except for one or two "hits" I found relatively forgettable and almost poppy. For my money, CADS should have just carried on.
And then came Brighter Death Now. What he produced in terms of sound was noisy and atonal but never really took off IMHO. What was far more of a problem, though, was that he was completely off his face, stumbling around the stage and taking occasional naps at the back of it. The stage manager had her hands full with him. She had also found it necessary to fill the orchestra pit with all the security personnel they had at their disposal staring at the audience. Presumably this was in order to prevent anybody from taking a shot at Mr. BDN (an idea which must have occured to a few people) but it also added wonderfully to the aggressive atmosphere. Possibly all of this was just an act to antagonize the audience, and if it was, it worked. All in all, a memorable but unsatisfying experience.

Solblot (Swedish Folk): This one I did not watch but only listen to from the hall. There is nothing wrong with it, it's very pleasant and ticks all the boxes but at the same time it's nothing special.
Vurgart (German Neofolk) Do you like Sonne Hagal? Then you might like this. It's essentially a side-project of some SH-people, slightly more rock-orientated. Meh!
Ain Soph (Italian Rock): They were okay but I was always hoping for them to become more industrial/noisy/ritual, which they never did, hence I felt disappointed. Maybe I should give them a second chance on CD. This was rock, plain and simple.
Gnomoclast and Luftwaffe were essentially the same band in terms of people involved, both playing more or less neofolk. I slightly preferred Luftwaffe, as they had a bit more power towards the end. And noisy elements.
Derniere Volonte (french military pop): More than decent, especially in light of the less-than-ideal show I saw at New Year but they are becoming more and more of a synth-pop band with each release, which sadly also means they are becoming more generic and less satisfying.

At this point I started to suspect that I just wasn't in a neofolk mood and would probably not enjoy Of the wand and the moon, so I relocated to the big Agra Hall and watched Diary of Dreams. Which was pretty good, a rock concert putting me in mind of my teens, slightly cheesy but very well done. And there were pyros! :-D I rocked my little socks off and had a bloody good time doing it.

Subheim and Legion I didn't really see. I was too late for the first and too bored by the latter. This is not to say that they weren't good, just that I really wasn't in a mood for electronic drone industrial then.
Bad Sector did something similar but with more of a noise/glitch slant and an interesting back projection.
Tzolk'in did something similar to Cut Hands but used live tribal drums and a more melodic basis. I think there was something about the Mayan Apocalypse that they tried to communicate but the music would have been good without it, too. Think a chill-out version of Winterkälte.

Download/Dead Voices on Air: Techno/IDM with some abstract elements and distorted vocals once DVOA entered (after about an hour). I like DVOA and I like Skinny Puppy but this left me mostly cold.

Näo: Best new discovery of the festival in my book. Beat-orientated electronic music with krautrock/shoegazer influences. Had me and the Kuppelhalle bouncing in no time and left us literally screaming for more.
von_geisterhand: (Default)
Hm, at the moment, I seem to be very critical when it comes to talking about cultural events I have attended.

It started with the 32nd anniversary party of Einstürzende Neubauten last week at the .hbc. To be fair, it's the second event have attended at that venue and more and more I feel like it will have been the last. The idea of the party was okay. There was a sort of alibi exhibition of pictures/photos spanning the whole 32 years but truth be told, it was rather minimal and repetitive. Certainly, there were at best three pictures I didn't know yet.
The rest of the programme included some piano music (which sadly I missed), Max Dax reading from "Nur was nicht ist ist möglich" (not the best of readers), an opportunity to dance to all kinds of Neubauten tracks you don't normally hear in discos (Playlist here) and .... Neubauten karaoke.


Sadly there were only about five tracks ("Seele brennt", "Sabrina", "Let's do it a Dada", "Installation #1" and one I can't remember), some of which didn't really lend themselves to Karaoke very well but I made a valiant effort tackling all of them repeatedly and those three people who actually saw me liked it. So that's a sucess, I think.
What really bothered me was the fact that about 90% of the people there made the impression that they had never really heard of EN and were only there because the hbc is such a hip place and to celebrate (and photograph) themselves. There was a small contingent of old punks but mostly it was Mitte-people, all flailing cigarettes and egos at the ready.
I hope the 33rd birthday party will involve the band again. Or a more extensive karaoke.

Then there was Laibach live in concert. Which was good, for what it was. They have become completely techno-pop now, discarding any pretenses of once having carried a political message or being associated with punk. It's not that it was bad, it was just very prectictable and empty. The "keyboard babe" got to sing a few songs and the singer did what he always does. No paradigmns were shifted and no expectations disappointed. In essence they are now a DAF-cover band. I am very happy to have seen them but I will be in no hurry to see them again or buy their latest album.

A similar case could be made for "Iron Sky" (featuring Laibach's music). Yes, I had been quite excited about seeing it and how can you not be? Moon Nazis! Making fun of American policy! Udo Kier! Surely this cannot fail!
Well.... no. It did exactly what the trailer promised but nothing more than that. The Nazis return, the scenery is cool and Sarah Palin is mocked. Udo Kier is on a diet in regards to scenery-chewing, though. He does appear but gets to do very little besides.... well, appearing.
You do get the idea that the whole film was mainly created by the scriptwriters making a list of things they think would be cool to do in a film, but without the patience to actually do anything proper with any of these things. Towards the end, the end even hints at deciding to add a more serious note (with a message!) but just as quickly as it pops up, it's gone again.
So yes, it's watchable but left me feeling like it could have been so much more.

In all fairness, though, many of my friends really enjoyed the film and I am fairly difficult to please when it comes to films about Nazis, religion and the Apocalypse. Plus, I still have this idea for something that Udo Kier really should do. ;-)

Current 93 were good, though. I enjoyed their concert much more than the one last year. They even played a thunderous version of "Lucifer over London" as an encore.


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