
The New Republic’s Christopher Beam writes on the tragic fraud, Mamoru Samuragochi, and the lie he peddled on being a deaf composer, who was, in fact, neither deaf nor much of a composer, since Takashi Niigaki was really the one doing the composing.

The New Republic’s Christopher Beam writes on the tragic fraud, Mamoru Samuragochi, and the lie he peddled on being a deaf composer, who was, in fact, neither deaf nor much of a composer, since Takashi Niigaki was really the one doing the composing.

I have a bit of a love-hate relationship with the Apocalyptic Folk/Neofolk genre (or Wyrd Music, or whatever it’s called today). Most of the bands sound the same, usually rip off the old masters of the genre like Death In June, Blood Axis or Allerseelen. The music is nice, but not terribly interesting or something I’d come back to for repeated listening.
Enter Roses Never Fade. The music in their latest release, Devil Dust, published on Neuropa Records, comes as a breath of fresh air.
The first five minutes of the release feel a bit like the scene in the Andrei Tarkovsky, when the pilot flies into Solaris. Hazy, crunchy, like driving right into a cloud. Reminiscent of early Industrial soundtracks and Pink Floyd at their most esoteric. Once things become musical, things become very interesting.
Though it may not have been a conscious act, the band sound like they are channeling The Swans/World of Skin/M. Gira, and mixing it with more progressive folk like the legendary Comus. That was what immediately came to mind. Sure, there are also a few vocal styling which remind me of Douglas Peace in his youth, but the material flows nicely, and by about the 7th minute, I feel like I’m hearing elements of The Byrds in their psychedelic country phase.
A unique release. Go here to find more information about the band and Neuropa Records.
Akira Ifukube should be a name familiar to grungy cinema, though one wouldn’t know it by such a delicate piece like this. If his name is, indeed, familiar, it is because you heard his soundtrack music to Godzilla. Yeah, he did that!
Yes, Romano Mussolini is the son of Benito and father of Alessandra. He was also a fine jazz pianist. This track is from 1979.
This piece was penned in 1911. John Philip Sousa’s marches are still rousing.

Good news from Poland! It seems the film industry is growing rapidly over there, and it’s producing quality material. Stephen Heyman of the New York Times has an article about Poland’s film scene here.
We are trying to reimplement BuddyPress into the blog. We’d like to have our own social media network. Let us know if you can pass any wisdom onto us to make this happen the right way.
Jere Häkkinen (Luomuhappo) is from Finland, and produces a rather impressive version of drum & bass.

A legitimate question, really, posed over at Rolling Stone Magazine. Still, the idea of seeing a well-done documentary on The Residents is intriguing.
A special thank-you to Tanja Heimpapen, who originally posted this video on Facebook of Sol Invictus in prime later-era form.
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