And it is as precious and as arch as that cover makes it seem; but it is also wonderful. Later, she dismissed the poly-rhythms she uses as "Wanky", which is a shame; to me, all she does is play against the beat sometimes, which is a thing I always enjoy.
(...) The best track is 'Ventriloquists and Dolls', which forsakes the amusingly alienating electro bleeps and becomes a dramatic sweep, like the Pet Shops at their grandest, the story featuring a wooden-legged psycho worthy of a Ruth Rendell novel.
The rainy day soliloquies continue, with more Wiggly Noise, monkeys that play with themselves, languid thoughts on 'Pornography' being "the stuff of every young girl's dream" rendered into photography, until you reach his concluding paragraph, 'Song In Contravention', acknowledging that 'to sing this song is a crime', begging the question of whether, indeed, his private thoughts should be subject to suppression.
There is something oddly compelling about Momus' tawdry little fantasies, but something equally repelling, dressing them up, as he does, in sweet packages when all that is within is rotting fish. Momus is a bit like a mussel: it tastes good when swallowed whole, but examine it too closely and it looks as disgusting as a shrivelled, unidentifiable piece of sexual organ. Spit it out immediately.
It was used a lot in the film I've just watched - Raise Ravens, with Geraldine Chaplin and Ana Torrent (the girl out of The Spirit of the Beehive) and it has a nice melancholy feel to it that grows on you - I've been playing it on and off ever since the film finished
King of Kings has been on again today. Of course we have seen it countless times. I started watching but after about 30 minutes got fed up of it. It is a great film but when you practically know every scene and dialogue there doesn't seem much point in watching again for a while.
"The theme of the video is "Graduation." The video begins with her walking on her knees, to look like a child, with a polar bear holding her hand. Child Kyary encounters her older self from her initial modeling career. She sheds a tear as her model self walks away. Model-era Kyary walks onward, with the camera following. Model-era Kyary then graduates, receiving a diploma from Ponponpon-era-Kyary. Model-era Kyary then sheds a tear as Ponponpon-era Kyary walks onward, then sits down while kinetic typography is displayed, then walks by numerous props from previous videos. Ponponpon-era Kyary then meets Fashion Monster-era Kyary on a bench. Ponponpon-era Kyary sheds a tear as Fashion Monster-era Kyary leaves, recreates part of the music video for Fashion Monster, then resumes walking onward. Fashion Monster-era Kyary then hits a TV, seeing now-modern Kyary in hakama, dancing with the new background dancers, the polar bear still watching. All of the previous Kyary incarnations call back to her on a Videophone. Kyary then walks for a while with the polar bear, gives it a hug, and then waves goodbye to it. She then walks off alone, as the polar bear begins to cry at her departure."
The video contains numerous references to previous videos of her. Some of them include:
Costume parts on the background dancers from Mottai Night Land The titlecard from Candy Candy A slightly modified version of the Ponponpon outfit Cardboard cutouts of some of the random bodyparts from Ponponpon Twin-Kyary from Candy Candy The giant eyeball from "Tsukematsukeru" The talking onion from Candy Candy The pattern and number 20 from "Furisodeshon" A background dancer from "Ninja Re Bang Bang" A ghost head from "Mottai Night Land" The Fashion Monster outfit The fabric from Fashion Monster Several musical instruments from Fashion Monster, including the Steampunk Guitar. Choreography from Fashion Monster Part of the Titlecard from "Invader Invader"
Spanish middle of the road pop from 1974-5 - the 17 year old who bought the Damned's first single (which is still great) on the day of release would be horrified. But he would have reckoned without this: