A homecoming offers a lot of different possibilities. Rain Tree Crow, for instance, finds the members of Japan into a different configuration. The participants of the band I mentioned reconvened to do a Japan LP, yet Sylvian wished to separate what they did for their return from their past. Mind you, I do understand the others who saw their recording there through the prism of commerce, though I have to give Sylvian a lot of credit here – he did notice this doesn't feel like a continuation of what they did during the 80's, this is something else. Still, you sort of observe an alternative path for Japan, where they decide to back his singer on his solo endeavours. I mean, some of them would have even had more say in his soundscapes.
Last night’s records. Johnny and the G-Rays are one of those standard rock bands that got lumped into the first wave of Toronto punk. Angels in the Architecture is something else. Gonna listen to it again tonight.
Besides my “Mike is a foster kid” theory; I don’t really care if Mike in the movie is an Afton because it sort of still pushes that idea that in more than one universe— regardless whether he is related to William or not, whether it is the smallest inconvenience to the biggest fuckup…
THERE IS SEEMINGLY ALWAYS A MICHAEL to put a massive roadblock or a tiny wedge into William’s shit and I think that’s hilarious.