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admin | Get Rid Of Bacterial Infection | 09.10.2015
It’s condign so fucking uncomfortable, while at the corresponding; of like kind time run through with a wisdom of levity that doesn’t actually ever release any tension. The mannequins are obviously creepy, only the strange psychic powers (very ’70s) are the kind of really makes this flick bizarre.
An examination of the more tactile facets of the musical realm - namely, vinyl records and books. The name Jon Bernstein might not mean much to you, but his nom de musique, Disparition, is surely familiar to anyone who listens to the wildly-successful Welcome to Night Vale podcast. Your music has been part of the show since the beginning, but how did you come to be involved with Welcome to Night Vale? I met Joseph Fink a few years before Night Vale and he asked me if he could use my music for it when and Jeffrey came up with the idea.
Do you compose music specifically for the program, or do they take material from existing works?
They take material from existing songs, with the exception of the cover i did of Eliezer’s Waltz which Joseph asked me to do for The Sandstorm.
I try to have my influences constantly be changing, I listen to a lot of different kinds of music and I’m always looking for new sounds to get into. I think maybe people are surprised to discover that some things they hear on WTNV are small parts of what are actually rather long pieces with various different parts, so other parts of songs they know well from the show are less familiar with them. Is the work you do with your concept albums different than your work with sound design, or do the two work toward a similar goal, in terms of evoking emotional response and telling a story? Yes, in both cases I’m trying to evoke an emotional response, create a specific atmosphere, and in some cases to tell a story. It’s been a strictly studio project for years with a few brief exceptions, but for recent WTNV shows I put together a live ensemble including guitar and a string trio. More information about Disparition can be found at the Disparition website You can subscribe to the Welcome to Night Vale podcast at Commonplace Books. Far be it from me to deal in superlatives, but I think the Atom Age might be one of the finest live bands currently on the road. At one point, singer Matt Caughthran’s vocals sounded like he was shredding his vocal chords with each and every song.
I basically haven’t been home in ~ degree night this week before 6:00pm, and there’s been something waiting for me every night.

Because I can’t remember habitual conduct names or any of the particulars honest now, but suffice it to decide, Tourist Trap is a movie that I one as well as the other can’t believe isn’t bigger than it is, though also being confused that as ~ persons people know it as they hoax. The creepy weirdness of everything in Tourist Trap lines up alto gether with other movies of the era, especially the likes of Phantasm, which was released the same year.
While sleeplessness, you know that you’re supposed to cachinnation at this, but you’re honest wondering whether or not the purpose.
Things are never quite explained, and watching it, you’re normal left to assume that everyone has gone enraged and just accepts that it’s happened to them. He did movies that were straightforward weird — The Howling, The Barbarians, The Black Cat, and especially Crawlspace, amongst others — and perception his name after “Music By” usually resources that you’re in for a part astonishingly uncomfortable.
His compositions bookend each and every episode of the program, and his music can be found throughout, as well. I played at a small live version of the show back in the early days, just keyboard and loops and kept it pretty basic, and then formed the live ensemble for the new bigger live shows this past October. For the live shows Disparition has performed at, I’ve rewritten several songs specifically for those shows.
I hear elements of chiptune, Italo disco, lounge, industrial … what are your primary influences? Do they expect a certain something when they come to your site or iTunes, and end up surprised at the wide array of sounds in which you work?
Which probably makes it a bit harder for people to find what they are looking for, but I’ve started to put out notes about which songs are used in episodes, and someone on tumblr has started listing the music from the old episodes. I had read the Lloyd Alexander books as a kid so naturally I had him in mind when traveling in Wales because that landscape is what inspired Alexander to write those books – he was American but became fascinated with Welsh legends while serving in the army there.
I’d like to add some live percussion into that and start doing some shows in Brooklyn this year.
While they were waiting to get some bass issues worked out in the mix during their pre-set sound check, you could see them up there, antsy and nervous, just wanting to play. I’m none too sure as to what their new name will be, but then again, neither are they. I slenderly watched Tourist Trap in order to become this written, and I feel like I’m basically distressing to write about something only vaguely half-remembered. However, it furthermore presages the sort of strange things guide David Schmoeller would later to proceed on to do.

People deal through crazy, horrific shit, and then excite on by living with plaster versions of their loved ones.
However, many may not know that much of his music is composed independently of the program, and that he’s been working for years making ambient soundscapes. Still, it’s not like there have been too many acts to have mined that particular vein.
Two guitars makes for some serious rock overload, but the way the sax cuts through, providing sharp-edged counterpoint, really makes you stand up and take notice. Perhaps it’s the crooning to which Caughthran has been accustomed lately, but these songs are sung, not screamed. The band sounds like any number of acts plying their trade about the modern rock airwaves these days, lacking the fury and verve with which they once confronted listeners.
The music in the thin skin, especially the copious amount of slip whistle, really makes this seem like a funhouse gone misdoing.
Bernstein was kind enough to answer some questions in advance of Night Vale‘s next episode, which releases tomorrow. I thought it was a one-off thing but after I was finished with it, a couple days later the music just kept continuing in my head, so that’s where The High King came from, it was just the natural musical sequel. The second is called Farbenlieder and is intended for people to listen to while writing, drawing, coding, meditating, or for ritual use.
You’ve got the Sonics, Rocket From the Crypt, Cougars, and maybe a couple of tracks from the Meices. The last three or so songs were remarkably good, considering the slap-dash means with which the early majority of their set was played. One song was about liking someone and wanting a cheeseburger, and it was actually rather sweet and touching. Additionally I’m composing music for a play called Wake, directed by Mei Ann Teo, which will run at the Connelly Theater here in NYC in early March. And I’ll do a few smaller releases here a there and hopefully more live shows as well.

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