Share this page:. The Rise of Will Smith. Around The Web Provided by Taboola. Do you have a demo reel? Add it to your IMDb page. Find out more at IMDbPro ». How Much Have You Seen? How much of David Tibet's work have you seen? Meanwhile, back in the Apocalyptic World, we were still recording and releasing. Then three things happened which devastated me — the death of my father, my near death and the death of Jhonn Balance.
Waiting to hear, year after year, that someone you love has died, knowing there is no way anyone could help him, is a dismal experience. My albums on the Second Coming keep on coming, rather like the way Chicago named their albums. I love Antony. Ant also introduced me to Baby Dee and Marina Abramovic. I started painting Hallucinatory Prayers, which consisted of biblical verses written thousands of times in white ink on black paper. Then I began to learn Akkadian after dreaming of metal doors covered with cuneiform, which meant I had also to paint Pazuzu.
Anaku pazuzu9, as the Akkadians wrote. In that same couple of years, three of my oldest friends died, including dandy Sebastian Horsley and Peter Christopherson Three cats died. These were bad times. An exhibition of my paintings and archive is being arranged by Johan Kugelberg of Boo-Hooray in NYC, and my book of collected lyrics is published soon.
I have met most of my still-living heroes, though Rob Halford and Cyndi Lauper still elude me. This book brings together, for the first time, the music photography of Ruth Bayer, who has documented key players in the English musical post-punk underground since the mid s.
Skipping To Armageddon offers a unique collection, featuring more than timeless and iconic images of some of the most influential, eccentric and sometimes controversial musicians of their times. Search Search. Search Advanced Search close Close. Breadcrumb Home contributors David Tibet. The Moons at Your Door An Anthology of Hallucinatory Tales David Tibet An anthology of strange fiction and hallucinatory tales that collects chilling stories by many innovators of the weird, whilst drawing attention to little-known, and shamefully underrepresented or forgotten, scribes of the macabre.
How did your interest in these areas develop? They came separately. He just said to me, 'you'll like this, Tibet', because my interests were in folk stories, fairy tales. It was the time when my music was becoming a lot less the loop atmospheric thing and moving to a simpler form.
I'm really obsessive so I got absolutely everything. That made me investigate other folk music. Shirley is beyond folk, it's more than that. She's like the presiding spiritual genius of folk to me, of that whole area. There's nobody who comes close to her. Anne Briggs I like a lot but Shirley It was totally unmannered, there was never any pretence in her voice.
She sang as she thought, as she felt. Put a pair of lips on the heart and that's what Shirley sounded like. My accountant, Paul Cheshire is an expert on Milton and a great fan of Renaissance music and knowing my emotional and religious interests suggested William Lawes. I was already very fond of Dowland and the Carolingian English mystical poets like Henry Vaughan, Crashaw, George Herbert, so Lawes fitted absolutely into that emotive realm.
I got to meet Shirley - the continuation of the obsession is to actually meet the people that I idolise - I did the same with Tiny Tim when I became obsessed by him and then got to release a couple of Shirley's albums on Durtro. Lawes unfortunately I can't get to meet and couldn't afford to get a full renaissance ensemble into the studio. MB: It's interesting that your recent music carries an obvious folk influence but you aren't necessarily interested in the genre as a whole. It's partially that, but I tend to be influenced by people whose art is their life.
It wasn't folk music that influenced me it was the aesthetic area around folk - the simplicity and purity of narration, arrangement. The emotions involved are the profound ones: jealousy, betrayal, murder, lust, searching for God, the timeless themes, but put in a way without theological speculation or psychological speculation.
If it doesn't have any vocals I'm doomed. The initial part I thought I recognised now I've lost the thread. It sounds like film music to me. He's an old friend of mine but he promises to send me the albums and they never arrive.
So blame him for that. Now I've got one wrong and it's Hilmar's fault. But it's got that simplicity and emotive touch that Hilmar does so well. The only one I've got by him is Children Of Nature, but he used on that some of the music that he and I did together for an album called Island [the Icelandic name for Iceland].
It's very Hilmar-ish now that I hear it. I hardly ever watch films. Spinal Tap, I know the soundtrack of that and Jesus Christ Superstar, which is another of my favourite films.
It was a disco thing. We always got so many letters from people saying things like, 'You're into Crowley, can you show us how to join an organisation that will give us Power' - with a capital 'P' of course - and Magick this, Magick that. It was really pretty tedious. So we did a disco tribute to Crowley which backfired cos we started to get even more letters saying , 'How cunning of you to use the pop disco dance form to spread the great beast's ideas'.
I was there during the recording of the first album and jumped ship during the recording of the second album and Hilmar joined about a year later. I can't really play anything. I played thighbone trumpet - anyone can play thighbone trumpet. You just purse your lips.
I'd met P. Orridge before at a couple of his shows with Throbbing Gristle and he asked me to come over and we became friendly again. I haven't seen him for 15 or 16 years. Balance still works on a lot of Current albums. It was an odd area and an odd time. It was something I'm always fairly reticent to speak about.
Some of it was really good, some of it was really not at all good but it was an interesting and instructive period Generally it defies description Oh fuck.
At first I thought it's Charley Patton, it's Charley Patton, but his voice isn't normally quite as high as this, it's normally a bit more slurred It's Charley Patton! I was thinking, it's not Blind Lemon Jefferson and it's not Leadbelly [distracted by music] beautiful. MB: The feeling of transience you mentioned in the music of Lawes, manifests itself in the blues in a different way.
It's life absolutely on the edge and judgement just around the corner. It's certainly something that's been at then forefront of my own thinking. Specifically for me it's not just mortality it's judgement, cos I think we are all judged by God. If you were going to draw a trite difference between blues and early gospel, the blues tend to be connected with the problems of the here and now, whereas gospel deals with the problems of the hereafter.
But they both do dwell with the problems of the unrighteous. And the people who sing the blues were very much in the position of being trampled down by the un-righteous. Mortality and judgement, for me they are two things that human beings should constantly consider. Also the important thing that penetrates all of that music is the chance of forgiveness is constantly there. There's no point saying, well 'I've been a bad boy I'm fucked'.
You can always turn over that leaf and that forgiveness in the context of their belief is always there for them, no matter how evil or amoral you have been. The blues is always about people being smashed down by landowners, drink, whatever and getting up again. Even with Charley Patton's "Oh Death", the blues are always about defiance, not resignation.
It's the sound of someone being kicked in the face a thousand times and is still saying I'm going to get up, it's another new day and I love that. It's like those dolls which bounce back that kids play with. If you eventually kick the fuck out of them, then of course they won't come back up, but it takes a lot. My Malay is hopeless now.
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