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Fiction, Reading, Slider 3,

A Scratch and a Hiss

The scratching noise is first detected by Edgar at 8:17 P.M.

He knows this because the scratching noise comes from behind the kitchen wall clock, and he is forced to remove it for investigation purposes.

Silence greets him as he does.

Perplexed, Edgar runs his hands through his frazzled hair.

There was something behind that wall.

Probably a rat or something.

He returns the clock to its original positioning.

Edgar turns away and walks to the entranceway leading to the living room.

A low scratching noise emanates from behind him , and Edgar turns abruptly to discern its whereabouts.

Remaining still, and breathing as slow as possible, Edgar listens intently .

The noise is coming from behind the clock again.

Walking gently, Edgar returns to the wall clock, removes it, and presses his ear up against the wall.

The sound is low but very distinct.

Edgar curls his hand into a fist and bashes the wall with the side of it.

To be safe, he does it three more times.

Remaining quiet, he returns his ear to the wall.

A low hissing sound arises from the other side, and then the scratching resumes.

With anger arising within him, he begins to hammer the wall repeatedly with aggressive force.

But with every pound, the scratching increases in intensity.

There are wires behind there and you’re going to chew through them, aren’t you, you little prick, Edgar thinks to himself.

Edgar turns to walk away, and a loud antagonistic hiss bids him farewell.

Furious now, Edgar walks to the kitchen door leading to the garage.

Opening it, he goes outside to retrieve his sledgehammer.

Once back in the house, he walks with a sense of purpose to the spot of the sound, and without hesitation begins to bash through it with heated aggression.

After four or five forceful smashes, the wall breaks free leaving a giant hole.

Edgar shoves his head through it but encounters no living entity.

Confused, he returns his entire body to the kitchen.

Staring at it, he begins to think that he may have been a tad overzealous with his violent actions.

Now how much was this going to cost him to fix?

In deep contemplation, he detects another scratching sound…this time coming from the living room.

Walking steadily, he walks into the living room, passing the turned over family pictures on the cabinet, and stops dead in the middle of the room…listening.

The sounds arises from the ceiling directly above him.

Dropping the sledgehammer to the ground, he turns and walks back towards the door leading to the garage.

Once inside, he grabs a step ladder and returns to the middle of the living room.

Propping it up, he picks up the sledgehammer and quietly ascends the ladder steps.

He detects a snickering sound from the other side of the ceiling, and without any thought to the consequences, he begins to drive the weapon upwards with destructive force.

After four or five blows, and with plaster raining down from above, a large jagged hole emerges.

Cautiously sticking his head through it, Edgar begins to look around once inside.

Nothing is visible.

Removing his cell phone, he flips on the flashlight app and shines it around the darkened enclosure.

Nothing.

Breathing heavily, Edgar descends the ladder stairs.

There is plaster all over the newly chipped hard wood floors.

You’re not escaping me, thinks Edgar.

A low laughing sound is heard from the garage.

Now I got you.

Walking past the overturned family portraits with the sledgehammer still in hand, Edgar makes his way out into the garage.

Stopping suddenly, he hears the snickering arising from inside his SUV.

He tries the door handle…

Locked.

The keys were upstairs in the bedroom…the one he once shared.

Not wanting to waste any time, Edgar raises the sledgehammer above his head and begins to smash through the SUV’s windshield.

Pounding it with such aggressive force provides very little hope for the life of the glass.

Within seconds, it caves away. Thrusting his head through it, he scans the interior of the car.

Nothing.

Pulling his head upwards, he listens to the sounds of the garage.

With his heart beating fast and his blood pressure now raised to dangerous levels, Edgar has grown frustrated.

Why can’t I find this stupid rat?

A scratching sound arises from within the kitchen.

Gritting his teeth, he walks back into the room with his sledgehammer ready for attack.

The sound comes from the behind the stove.

Smiling, he returns to the garage to retrieve his hacksaw.

Upon his re-entrance to the kitchen, he walks to the stove, grabs the back of it with both hands and pulls it a few feet out from the wall. Locating the gas line located at the back of it, he readies his weapon.

Using the hacksaw, he punctures it.

Continuing to smile, he walks back into the garage and grabs a jerry can full of gasoline sitting in the corner.

He also picks up a book of matches from the shelf.

Returning to the punctured gas line, Edgar turns the can over and begins to pour gasoline onto it. Walking backwards, he exits the kitchen leaving a leaking gasoline trail before him. Making his way through the living room and out the front door, the trail lies splattered on the floor.

At about fifteen feet from the front of the house, he drops the can, strikes the match and drops it onto the trail leading into the house.

He turns and runs to the street located thirty feet from his front door.

It doesn’t take long.

As he turns his body back towards the house, he spares himself just enough time to witness the destruction.

The once darkened sky is now a ball of orange, red and yellow.

The flames rise and rise, and the house begins to crumble.

The smile clings to Edgar’s face.

He raises both arms up towards the coloured sky, knowing he has finally claimed victory.

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Blog, Slider 3,

Darkness Descending

The second of my two stories due for release this summer. A story about vengeance, regret and manipulation.

 

An Excerpt:

 

It’s more than just sex with her. The sweaty, emotionally-fuelled act of love making is euphoric in a way I never thought possible with another human being.

The look in her eyes pierces through my emotional core with unrepentant relentlessness.

I simply cannot explain it.

On top of her, I can’t help but lose myself in her gaze. Like quicksand, I sink deeper and deeper as her stare reaches, grasps and eventually paralyzes me.

I stare down upon her, smiling, overcome by an indescribable, overwhelming emotional connection.

I’m lost in a world I’ve never journeyed to before.

She stares up at me, smiling, lost in the carnal embrace of two wandering souls finally content in knowing they have found one another.

It was shame that we were both married to other people…

 

COMING SUMMER 2017

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Music Reviews,

Biffy Clyro – Only Revolutions

Album: Only Revolutions

Label:  14th Floor

Rating: 3.5/5

 

Biffy Clyro’s Only Revolutions is probably their most radio friendly album to date. Filled with massive choruses and bold, soaring guitars, the album proudly embraces a multitude of sound. Though the lyrics are enigmatically bizarre at times, Only Revolutions becomes an intense personal memoir from the band.

The album largely concerns itself with the trials and tribulations inherent with the ideas of love, loss and the evolution of relationships.  Fuelled by heartfelt and honest intentions, the album incorporates many classic elements of rock into its sound.

The most impressive aspect of the LP is its diversity of character. “God and Satan” and “Many of Horror” (an arena rock ballad for sure) are melancholic in structure and tone, while “Booooom, Blast and Ruin” and “Cloud of Stink” are aggressive, piercing rock epics.

As if sparring with himself, singer Simon Neil’s vocalisation relishes confliction. His singing borders on moments of painful anguish that, at times, intersects defiantly with jubilant desire. It is this delicate balance of contrasting emotional depth that propels the record beyond any sense of predictability.

Though it is marred by some unmemorable tracks, the album still resonates as a solid contender in a world full of rock pretenders.

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Music Reviews,

The Aggrolites – Rugged Road

Album: Rugged Road

Label: Stomp Records

Rating: 3.5/5

 

With their fifth studio album, The Aggrolites have created a medley of blissful tranquility. Though it is hardly a mind blowing experience, Rugged Road is punctuated by absorbing Caribbean and Calypso rhythmic tones that hypnotically transport the listener to another time and place.

Known for their heavy reliance on ska and reggae sounds, The Aggrolites (from Los Angeles) have previously stated that their goal is to increase awareness of Reggae music to show (Americans especially) that there’s a whole lot more to Jamaican music than Bob Marley, ganja, and growing dreadlocks.

The one aspect that instantly strikes the listener is the lack of vocalisation found on the album. In fact, there are very few songs that actually incorporate any lyrics at all. Instead, the album is filled with up-tempo, soothing instrumentation that is clearly inspired by 1960s Jamaican Ska.

One of the few songs that actually does include lyricism is “The Aggro Band Plays On” (the standout track on the album). After being swayed away by the soothing sounds on “Enemy Dub”, “Dreamin on Erie” and “Eye of Obarbas, the album energetically awakens with this ‘funkified’ journey into the soul of Reggae. Wisely placed midway through the LP, the track perfectly bridges what has come before it and what has yet to come.

With this being said, it’s fair to say that Rugged Road plays it safe. There isn’t really anything that is too daring on the album, and at times, there are concerns that the album will sink into sonic redundancy. But it’s a relatively short album, and this saves it from itself. By knowing when to quit, the listener is left wanting more rather than dreaming of when it will end.

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Music Reviews,

Travis Barker – Give the Drummer Some

Album: Give the Drummer Some

Label: Interscope/LaSalle

Rating: 3/5

 

It would pay to know Travis Barker, because if you did you more than likely would have appeared on his debut album Give the Drummer Some.  Everyone else he knows surely did. The LP contains more guests than a 24 hour telethon.

Though it is populated by such acquaintances as Snoop Dogg, Pharrell Williams, Ludacris, Cypress Hill, RZA and The Transplants, the true driving force behind the album is the unorthodox, but nonetheless enticing playing style of Barker as he masterfully pounds away at his set.

Barker’s drumming has always been highly identifiable, and through his time with numerous bands like Blink 182, Box Car Racer, The Transplants, and +44 (to name just a few), he has continued to personalize it.

Give the Drummer Some largely concerns itself with elements of rap rock, and since Barker has been infusing components of traditional rock with previously released hip hop songs for years, it seems sensible to release a full-length album of him officially doing it.

Most of the tracks found on the album are bouncy and spirited trips (“If U Want To” is a standout) that are enunciated, at times, by witty lyricisms and striking guitars performed by guests Tom Morello and Slash on “Carry It” and “Saturday Night”, respectively.

However, as much as the album prides itself on its sonic excesses, the album does seem to suffer from a sense of that ‘been there, done that’ syndrome.  As entertaining and diverse as it strives to be, the album does slip into a pattern of redundancy after awhile and eventually becomes reliant on clichéd lyrics that one has come to associate with the hip hop genre.

Though it’s not instantly forgettable, Give the Drummer Some is hardly groundbreaking

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Music Reviews,

Freedom or Death- Envy

Album: Envy

Label: Independent

Rating: 3.5/5

 

“We want to have the freedom to make the music and the artistic choices that we want. If we can’t have that freedom, we’d rather not put anything out, which is the death of our art”. Insightful and striking, the motto of Freedom or Death is a telling tale of the musical creed of this band.

With their second EP Envy, the Toronto duo, Steve Fernandez and Sway Clarke, passionately deliver an eclectic arrangement of hip-hop, electronica and rock throughout the course of 7 tracks.  While sparse in length, the album’s songs are obese with style and sound.

Though thematically aloof at times, Envy is a rich collection of sonic ingenuity that dares to be different. The album’s standout song, “Virginia Woolf”, intercuts confrontational verbal sound bites from the 1966 film ‘Who’s Afraid of Virginia Woolf’ with energetic moments of k-os-inspired musicality.  While “Inside” summons the essence of Kanye West’s “Love Lockdown”, but independently identifies itself through interjecting moments of sensual vocalization, rhythmic guitars, and funky backbeats that seductively enthral the listener’s ears.

It’s a refreshing approach since the sounds incorporated are not simply being used for egotistical intentions, but rather for artistic expression.

Not without its flaws, Envy still remains an uncontaminated, truthful expression of the heart.

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Music Reviews,

The Sounds – Something To Die For

Album: Something To Die For

Label: Warner/SideOneDummy

Rating:  4/5

 

It’s difficult not to respect The Sounds. A hybrid of musical imagination, the band effortlessly incorporates aspects of indie rock, post punk, new wave and Europop into their act.

Something to Die For is the band’s fourth album, and for the most part should please hardcore fans. Brimming with exceptional production values, the album is a funky, hip-swaggering delight that recalls aspects of early 80s UK synth-pop.

Though not all songs can be categorized as ‘timeless’, the overall appreciation of the album does intensify with each additional listen. “Dance with the Devil” is sure to be a hit with club goers for its seductive treat of tasty pop hooks that swirl with unbridled new wave synthesized sound.  While “Something to Die For” is the catchiest of all with its instantly memorable fusion of cheesy, bubbly beats with hypnotically enticing vocalization by Maja Ivarsson.

It’s fair to say that many will misunderstand this album. Most will write it off as an LP that has little to no substance due to its infatuation with simulated sounds. However, it is more than simply an energetic listening experience. Disguised by its mainstream accessibility, Something to Die For is an album that tells a heartfelt story of love and loss. Buried beneath a body of sound, the album is actually a penetrating journey into the sorrowful nature of the soul.

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Music Reviews,

R.E.M.-Collapse Into Now

Album: Collapse into Now

Label: Warner Bros.

Rating: 4/5

 

It’s been nearly thirty years since R.E.M. released their debut album, and with their fifteenth LP they have finally come full circle. After a series of lower profile releases over the past few years, R.E.M’s Collapse into Me arrives with forceful intent.

A relatively short album, Collapse into Me is a culmination of everything R.E.M. has accomplished previously in their storied career. There are moments from Lifes Rich Pageant and Green that are sporadically interspersed with elements from Automatic for the People and Monster (to name just a few of their albums that are nostalgically remembered here). In essence, it’s like a greatest hits album that consists of brand new material.

What is readily apparent, though, is that the band is gleefully embracing a sense of reckless abandon. Unashamed of their history, they are wholeheartedly allowing their past to influence the sound of this record.  Rollicking feel-good tracks like “Mine Smell Like Honey” (which includes energizing backing vocals from Mike Mills), “Alligator_Aviator_Autopilot_Antimatter” and “That Someone is You” have all been heard before to some degree, but yet seem innovative and original.

While at other times, the melancholic sensitivity that has always permeated throughout Michael Stipe’s song writing and vocals is echoed on the tracks “Oh My Heart”, “Walk it Back” and “Me, Marlon Brando, Marlon Brando and I”. Other musicians may know how to sing a sad song, but no one truly makes you feel it quite like Stipe does.

It’s readily apparent that Stipe, Mills and Peter Buck have graciously progressed into middle age with a new found passion for music. The album is refreshing in its approach because their rejuvenation resonates throughout the duration of every track, and consequently stimulates the listener’s ears. And, of course, it must be mentioned that the obtuse lyricism that has come to define the band as quirky eccentrics is still exemplified here.

An invigorating treat, R.E.M’S Collapse into Now is a reminder of how great this band still truly is.