“It’s called fashion (turn to the left), look it up”

•February 13, 2019 • Leave a Comment

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All the snazziest dressers wear a bandage…

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Just sayin’…

“These bandages cover more than scrapes, cuts and bruises from regrets and mistakes…”

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‘Pierre and Sonny Jim’ by David Lynch

•February 12, 2019 • Leave a Comment

Maybe all they needed was a jungle gym…?

A Figment In The Elsewhere #3: Snake Fervor

•January 23, 2019 • Leave a Comment

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[pic by Jody Whittle-Wyeth]

-being the third in an ongoing series detailing stand-out acts that ‘appeared’ at The Double R Club (often more than once); acts that Rose Thorne and I loved, that seem to typify in some way, or stand as emblems for, just what it is The Double R have attempted to do, to be, displays that went some way to describing our own particular brand of ‘Lynchian’, over the last more than 100 shows and nine years…

This time: Snake Fervor, and her Darkened Room act.

Inspired by (and incorporating sound design and dialogue from) the David Lynch short film of the same name, Snake Fervor’s Darknened Room act, debuted June 2017 and won Fervor that year’s Miss Twin Peaks crown, and for me stands as one of the acts that best typifies and illustrates just what it is we at The Double R Club have striven for from the beginning, being as it is both inspired by the work of Lynch, but also taking that work and expanding upon it, pushing it in new, surprising and startling directions.

The film itself (from 2002), after a brief introduction during which a Japanese woman talks about, among other things, worldwide banana production (um…?), shows a distraught blonde woman sitting alone in a dimly lit room, mascara bled down her face from crying. She stares into the camera, entreats an unknown other: “Are you listening to me? Please come out here. Someone’s saying something to her again. Don’t leave me alone out here. Come out here! Please. Please!”

In time, a second woman enters, a brunette (the blonde/brunette motif suggesting shades of Mulholland Drive), and tells the blonde that she’s found a hole in her slip (shades of Inland Empire). At first she seems to be accusing the blonde woman of having made the hole in her slip but then seems to segue into strange and unspecified threats:

“There’s nothing you can do about this little thing that’s happening to you. And even if there was, it’s a little too late to do anything about it, don’t you think? It’s your fault, you know that, you do know that don’t you?”

The whole exchange has an dreamlike / nightmarish tone, all the while an unsettling ambient tone/drone playing in the background. The brunette goes on:

“You’re wrong when you think this is all a little bit of a bad dream, do you see that? See if I were to tell you what was really happening… No. You haven’t been listening, but you will. When I tell you what really happened. Interested?”

As with the best acts at The Double R, Fervor took the film, which is really all mood no dénouement , and gives it that strange twist, that left turn into, if not exactly a resolution, certainly a new place and an ending of blood and of fire, as if the frustration of the blonde woman in the film, her pain, somehow combusts, somehow giving her feelings a strange kind of wordless voice or expression.

Beginning in near darkness, lit only by torches from the back of the room, beams of light picking out the haze hanging in the air, Fervor sits, distraught as the sound and dialogue from the film plays: “Don’t leave me alone out here.” Fervor (herself a brunette) appears as a kind of dreamself of the blonde woman (a dream within a dream?) -she sits in fear, and in what could even be some kind of terrible shame, as the brunette harangues her: “It’s your fault, you know that, you do know that don’t you?” -this line in particular holding horrible and unsettling connotations of some kind of abuse, whether physical or sexual, the brunette’s voice insisting on the blonde’s (on Fervor’s) complicity in whatever dark and terrible things have and will befall her.

The first half of the act is almost no act at all, Fervor simply sits and emotes. However, as the music changes (an edited version of ‘Nurser’ by Laddio Bolocko, edgy, discordant and deeply anxiety-inducing) the torment inside her bursts out in blood, as she removes needles from her forehead, and in fire, as she lights the first of her torches…

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A Double R regular once described this act as “the most Lynchian thing I’ve ever seen.”

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Snake has been with The Double R Club for many years and has, over that time, created, co-created and performed many acts of differing styles, intents and levels of danger and/or strangeness. Notable among them are the act she performed where she stabbed a pillow with my face on it (ahem), the act she calls ‘Double Rammstein’ (performed, in part, to my remix of Heirate Mich, listen HERE) and of course the now legendary, and legendarily harrowing, Bob & Ronette act she performs with Heavy Metal Pete (but more of him in another post).

It’s often difficult, nay impossible, to explain The Double R Club to someone who has never been; “it’s cabaret but not cabaret,” I often say, “it’s not your usual wall-to-wall jazz hands kind of show,”after all the word ‘dark’ means different things to different people. However, once the audience have seen this act, they can be in little doubt just what it is that we’ve been striving to do all these years.

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[pics by Jody Whittle-Wyeth]

The Show, And What Came After

•January 23, 2019 • Leave a Comment

And so, a flashback to our hundredth show and a little piece written expressly for that strange occasion and which might, perhaps, give those not in attandance that night a mere slither of what happened to those who were [pics by gh0stdot / Juliet Shalam]:

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A show is a fiction, though to truths it aspires,
Performers little more than illustrative liars,
And this particular show was a show O most auspicious,
An anniversary celebration, yet with a germ so pernicious

The one hundredth show of The Double R, of darkness and of dreams,
Of absurdities aplenty, of somnambulant extremes,
Preparations they were underway, performers were assembled,
And as make-up it was plastered on, the company resembled

little more than dreadful figments of phantasm and of fancy,
Of magic most improbable, and of strange necromancy,
To each player the mirror showed them their beating, fictive heart,
Yet somewhere in that dressing room a figure stood apart

About the venue in preceding days, a man he had been seen,
In the foyer, in the offices, and on the stairs between,
He had been spied and then quite vanished, as if a trick of light,
Quite there and then just nowhere, so real but then not quite

Soundchecks they were ploughed through, feedback all a-squealing,
Props were set, mic stands adjusted, that stage-fright sinking feeling,
Yet beyond the lights and music, the frenzied preparations,
That man he stood in shadow and with unknown expectations

That man he was quite hairless and too pale to be true,
A strange red mark upon his face, perhaps the residue
of something terrible, perhaps of blood, perhaps of settled scores,
And he vanished as the audience flowed through the open doors

The show went rather well, there was blood and fire and laughter,
But no audience member pondered just what would happen to them after
all the lights were off, the props away, when acts had left the stage,
Just what crimes would be committed, just what evil, what outrage

Well, truth is, when the show was over and the audience went home,
That strange pale man went with them, followed them all into the gloam,
And as they fell asleep that night, albeit fitfully, afraid,
That strange pale man stood over them, their faith in cabarets betrayed

But then, well, nothing seemed to happen, their lives went on just as before,
Well that is nothing seemed to happen, but the truth is that every single door
they opened after that fateful night lead not quite where it should,
Every single door lead somewhere else, a nowhere, a falsehood

O places looked the same, don’t get me wrong, few noticed any change,
But they were no longer where they thought they were, their lives were rearranged
and they were living now quite somewhere else, in null and vacant space,
They had crossed some awful threshold, they were in “ANOTHER PLACE”

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“For a song to be a great, there’s two things: It’s the song and the way it’s sung. It’s the story and the way the story is told.”

•January 18, 2019 • Leave a Comment

 

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Playlists for The Double R Club, 17th January, 2019

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P R E – S H O W :
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[ all 8 tracks from The Air Is On Fire by David Lynch, played simultaneously ]

‘Bouyant’ (edit) – The Necks, from Chemist
‘Theme from On the Air‘ – Angelo Badalamenti
‘Slow Speed Orchestra 2 (unreleased motif: The Woods)’ – Angelo Badalamenti, from The Twin Peaks Archive

[ ‘Silent Heaven’ – Akira Yamaoka / Maria in jail, from Silent Hill 2 ]

‘Rabbits’ – Franck Vigroux, from Isn’t It Too Dreamy – (A Place Both Wonderful and Strange)
‘Multi-Tempo Wing Boogie’ – Thought Gang, from Thought Gang
‘I Woke Up in a Fucked-Up America’ – Lonnie Holley, from Mith
‘Jean Renault’s Theme (Solo Bass Clarinet)’ – Angelo Badalamenti, from The Twin Peaks Archive
‘Synthesizer Speaks’ – Thom Yorke, from Suspiria
‘End Titles’ – John Lurie, from Original Soundtrack from Down By Law
‘Victrola Manifestation’ – David Lynch
‘Terminal 2’ – The Denison / Kimball Trio, from Soul Machine
‘She’s Gone Away’ – “The” Nine Inch Nails, from Not the Actual Events
‘Eraserhead (Gazelle Twin remix)’ – Gazelle Twin

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I N T E R V A L :
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‘Jack Paints It Red’ – Thought Gang, from Thought Gang
‘Only The Lonely (Know the way I Feel) ‘ – Roy Orbison, from The Essential Roy Orbison
‘Grace Of God’ – Foetus, from Flow
Theme from Short films of David Lynch (EDIT) – David Lynch

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LISTEN TO PLAYLISTS HERE
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My opening act was to ‘All I Do Is Dream Of You’ by Judy Garland (takes 1 & 5 recorded in 1940) found HERE. My second act was a version of ‘The Amazing Sounds Of Orgy’ by Radiohead, the original version of which appears on the Pyramid Song single.

“TEN is the number of completion”

•January 13, 2019 • Leave a Comment

And so, as The Double R Club enters its TENTH year (I know, no one’s more surprised than we are), a sneak preview of issue 9 of The Blue Rose magazine, dealing with all things Twin Peaks, and this time around focussing on The Twin Peaks UK Festival, which is emblazoned with a veritable plethora of dark and beautiful dreams, a delicious overabundance of our very own somnambulant and somniloquent alumni!

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This glorious dream of a picture was snapped by SoulStealer Photography and, I think, truly captures the wonderful and strange feel of The Double R.

Models featured: Lydia Darling, Heavy Metal Pete, Em Brulée, Julee Cruise-Ship (close personal friend of Dusty Limits), Victoria Falconer, Karen Bell, Abbi De Carteret, Rose Thorne, Benjamin Louche, Eliza DeLite, Louise Holland and, looking a little the worse for wear down front (119!) Snake Fervor.

In the meantime, The Double R proper returns ON THE 17TH OF THIS MONTH to its very own red velvet elsewhere that is Bethnal Green Working Men’s Club…

GET  Y O U R  TICKETS TO “ANOTHER PLACE” HERE!

Woe To The Ones Who Behold The Pale Yule

•December 21, 2018 • 2 Comments

I realise that this time of year can be very difficult for many people, for many different reasons. All I can offer by way of help is the fact that Christmas isn’t real.

It simply isn’t.

Someone made it up one time. Christmas is like sin, karma, and Mrs Brown’s Boys: someone somewhere made it up (for their own -possibly highly perverse- reasons) and you don’t have to join in with it, to ANY degree, if you don’t want to.

Rose Thorne and myself shall be spending the day itself the way we always do, which is to say watching horror films and eating steak and chips.

However, having said all that, this is really rather great:

See you on the other side, neighbours…