"A Day in the Life of a Tree" by the Beach Boys
(Editor's note: I started this in October of 2022. That time I only got as far as 22 songs, but I'm going to post this unchanged as an insight into my mental/emotional state 2 years ago. Enjoy.) I had fun last year trying to answer the above questions for my twitter, though I only got about as deep as #7. So ahead of a longer and more intense post about two all-time great bands coming to this blog, I figured I'd share some short, sweet reasons why I like these forty songs. Here we go. 1. A song that made you cry multiple times "A Day in the Life of a Tree" by the Beach Boys I cry almost every time to this one. Beach Boys producer Jack Rieley's vocal makes it sound like the tree is really dying. I also can't help but feel like humans are a disease, and it's disturbing.
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The Duchess and the World To ComeA piece of horror-tinged flash fiction I wrote today on a plane from eastern Washington. Absorbing seminal matter, the Duchess of Queensbury wailed flatulently and worked her tendrils into the crusty sinuses of the assembled machinists of the Steel Menagerie. There, they wrapped around the errant tracts of their shaken guts. She brought forth the intestinal tunnelage of the forsaken men and nonbinaries to her festering pile of decomposing biomaterial, from which she would birth the next World Mother.
Errol Matthis receded from her grasping, suckling opening and regarded the devastation. The Menagerie laid in ashes, thick roiling clouds of evaporated blood rising to the sky. THe despot king Joe Gallow and all his insipid heirs were dead. "How do ya like that?" cried Errol, "'Yer feckin' wealth asn't done ya no favors, ya eedjit. There's only room for one man in this World To Come, and it ain't you! It's 'ole Errol with his magic cock!" The Duchess inverted her orifice and wiggled down into her bio-pile. She craned her long neck down, low enough for Errol to see her face clearly for the first time. Her sockets were dark and eyeless and betrayed some of the Cataclysm's horrors so irrevocably witnessed in their depths. Above them, the deep punctures left by the duchess's old crown circled her forehead. From each wound sprang a rivulet of congealed blood and cerebrospinal fluid within the trenches of her sallow skin. Her new crown was six black spikes that started where her ears should have been and curved upwards. Her full beautiful lips were crusted yet wet with purplish ichor. These she parted to address Errol: "There is no room," spoke the duchess, sliding a tendril around his waist, "For you, 'nor for anyone. Only my lovely daughter and I shall persist in the World That Has Come." And with that, the world came. Edwin and His LadyA Short Story Content warning: The following story contains graphic descriptions of violence, referenced or simulated sexual violence, sexual euphemism, and gore. Edwin's mistress bade him do violence unto her. He trawled the mocking pedway, so unyielding to the needs of pedestrian traffick.
"My lady," he muttered good-naturedly to himself, "Is a sorely desperate sort. She rots to mere gummatous fibrin without my loving." He crossed unperturbed above the lanes and lanes of self-directing chariots below, each one the host of a lonely and insulated individual. Edwin was different from them, for his purpose was granted divinity through brutality and ritual. He reached the pedway's end and sank through the yellow hatch to the pavement below. There he grinned at an unassuming gate and was swiftly granted entry to her dominion. Vibrant and teeming as it was with simulated phosphorescence and the rapidly blooming-then-decaying phalaenopsis, she seemed a tame sight in her comfortable outerwear. What was underneath could inspire either feeble longing or resentment, though, for the uncomplicated state-mandated features the bourgeois could access for their progeny. "I was musing," she began, "That you could do to me what the fascists did to my mother." Her mother had refuted the unborn their right to live, ten or twenty times. There was a distinctly horrible punishment for that type of thing. Here we follow up on our last conversation and discuss the new Spak album, Aux Nero Theos. Marc is almost thirty now. The last time we interacted was when he texted me to let me know he'd read my last interview with him. He didn't tell me whether or not he liked it. Now he's texted me again, to let me know him and bandmate Dan Becker are doing the final mix for their new album, Aux Nero Theos. It' been four years since their last album, and there's a lot to talk about with their new one. I agree to another interview. I'm curious. I'm curious about Marc because I've never really gotten to know him. I met co-founder and guitarist Dan at one of the first Spak shows and became good friends with him, collaborating a lot from 2015 to 2019. But despite Dan's significant artistic influence, I always find myself more drawn to Marc's work, particularly the range of his emotional output. It's sometimes confuses me where his lyrics come from, and that certainly applies to the album I have now listened to multiple times. ![]() Marc and Dan recorded Aux Nero Theos in a small property (possibly a shed?) near Rochester, Minnesota, where Dan lives with his wife Joanne. They completed the last of their additional sessions with drummer Saahir Manjani and bassist/singer John Hadel in early December 2022. After that, Marc flew back to Seattle for the holidays, which he spent with friends, and to mix the album on his laptop, as well as record two more songs, "Waiting" and "Your Holes", with friend and fellow Seattleite Mako Wanata (open mic regular and artist in her own right). This gave us a great opportunity to conduct our interview in person, which we did at Marc's friend's apartment, where he's currently staying. DENSE THING |
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