Hello there. If you’re keeping track, you may think that you missed April’s recommendations. You didn’t. I have no idea where April went, but I likely spent it editing video, which left me significantly less time to consume. But we’re back with a fresh list of suggestions as well as the launch of a new thing I’m calling The Record Club.
MUSIC
Last year, I collaborated with my friends in Slenderbodies on a remix of their song, Miracle. They’re putting out a new record, and I really love youth (make it last), the first single they’ve shared from said record. They’re so good at creating a sonic world and this one is no exception. It envelops you.
I’ve also been revisiting classics by way of my record club (more on that below)— Black Sabbath’s Paranoid and Queens of the Stone Age’s Songs For The Deaf. It’s been so long since I’ve craved heavy music, but I’ve finally found my taste for it again. Refused’s The Shape of Punk to Come and The Blood Brothers’ entire catalog have been on heavy rotation. I was reminded how much I loved that Young Machetes record when Spit Shine Your Black Clouds came on and I realized how much I pulled from that song for Sugar Skulls.
FILM
After finishing David Milch’s biography, I figured now would be the best time to experience Deadwood, as I know many hail that show to be one of the greatest. It’s particularly illuminating to watch with Milch in mind. In his book, he details the writing process, revealing that entire scenes and episodes were written on the spot while shooting (much to the stress of the crew), as he was a very collaborative writer, working closely with his cast to create the magic. There are so many authentically human character twists, and I can’t help but feel like they’re the result of Milch’s process.
I also caught up on films I failed to catch in theaters. I shed tears to The Iron Claw, and woke up the morning after watching Poor Things wishing I could see it again for the first time. The last time I had that feeling was watching A Clockwork Orange as a teenager. It’s awe inspiring to witness such grandiose works like that— an artist’s ability to build a world that large and drop you into it. It leaves me feeling like I’ve returned from a trip to a foreign land and wishing I could go back.
WORDS
I’ve officially over committed here. There are a lot of great reads on this platform and I have not been trigger shy with the subscribe button. My favorite new discovery is Lauren Hough. I recommend starting with the Dolly Parton piece. If this entire experience of starting a Substack was solely to lead me to Lauren’s writing, it was worth it.
As far as books go, I usually keep one or two short story collections on my night stand for the occasions when I can’t handle anything long winded, or have yet to admit to myself that I don’t like whatever novel I’m halfway through. Recently, I’ve returned to one of my old standbys, Welcome to the Monkeyhouse by Kurt Vonnegut. I highly recommend.
And now, for a new development here at The Fireproof Hotel…
THE RECORD CLUB
I have an arrangement with my best friend and frequent collaborator, Sean— we alternate picking a record at the top of each week, live with it, then hop on a call before the weekend to talk about it. It’s our effort to get back to listening to full albums. It’s lead me to rediscover old gems, fall in love with classics that I missed, and occasionally reconcile with the fact that not everything is for me… and that’s okay. I tried.
I want to share that experience here, so each week we’ll be sharing our record of the week, and in the following week’s post, we’ll talk about it in the comment section. I’d love for you to join us, as I really enjoy hearing people’s opinions on records. We’re genre-less— we’ve hit everything from The Smiths to T-Swift. Sean is not a musician, and therefore his opinion is of even greater value to me. I know enough music people. They ruin everything. So, don’t be shy. All are welcome.
Welcome to The Record Club.
This week’s selection is…
Week #1
Bruce Springsteen - Born in the U.S.A. (1984)
I'm a few weeks late but I visited this album upon recommendation and was happily surprised. It, of course, has the crowd favs but it's got some good deep cuts too!
Dude! I had just pulled this record back out a few weeks ago after Maggie Rogers' latest release was giving me all the ~guitar driven on a mission Springsteen vibes in the best way.