Hysterical

Calm was the last thing that Could We Survive a Mega-Tsunami? (BBC Two) was trying to create. Instead the objective of this imagined staging of a super wave hitting Europe and America appeared to be the creation of enough fear to have paranoid survivalists fleeing up the nearest mountain to barricade themselves in. What else was this Hollywood-style, CGI-heavy bad dream with hysterical voice-over and tribal wailing trying to achieve? Understanding for the real survivors of the real tsunamis that really killed 200,000 people and devastated the Indian Ocean region in 2004? Or the even more recently traumatised victims of this natural horror show in Japan? I hadn’t detected a world sympathy deficit following these events, and use of real footage of the carnage from those disasters mixed up with fantasy sequences seemed gratuitous.

I'm Gonna Be Dead Someday… is the 2000 debut CD from American comedian Joe Rogan. This also features a song called "Voodoo Punanny". The CD was released on 22 August, 2000 by Warner Bros. Records.

Expanded 30th Anniversary Edition of Kristin Hersh’s Stunning Debut Album. The album plus b-sides and string versions. Also includes lyrics and sleeve notes by Kristin. In 1994, the arrival of a solo album by Kristin Hersh seemed somewhat redundant. After all, Throwing Muses—the band she co-founded with stepsister Tanya Donnelly—had come to be defined by Hersh's singular vocals and songwriting style, both of which moved in unpredictable directions that were wholly unique and intensely evocative. It was Hersh's artistic dominance in the Muses that led to Donnelly leaving the band in 1991 to join the Breeders, then, later, form Belly to play her own, more traditionally hook-oriented take on indie rock. The first Donnelly-less Muses album, Red Heaven, found the band working as a trio, with Hersh's presence even more dominant. The follow-up—University—was recorded soon after, but was temporarily shelved for Hersh to record and release Hips and Makers. Initially viewed as a "get it out of my system" album, Hersh recorded it in fits and spurts over the summer of 1993, tapping Lenny Kaye to produce. Although she very much takes an unaccompanied guitar-and-voice approach to this material, the cavernous recording style combined with Hersh's individualistic approach to composition and tempo make this anything but typical coffee shop material. Vivid lyrics ("Don't kill the God of Sadness/ Just don't let her get you down" on "The Letter," for instance, or "press your palm to your snow-coated thought cage" on "Beestung") are both sharply focused and deeply impressionistic, and none of the songs here appear to have anything resembling a traditional chorus.