Good Food, Good Tunes

This past Thursday I met Kourosh for dinner downtown (Kourosh was in town for a week for work reasons) and we went to a place called Salad King. Salad King’s an interesting place – it’s cafeteria-style seating. They’ve got gigantic benches that run the width of the room and you share the bench (and associated table) with whomever else happens to be there. It’s a Ryerson hangout, so the crowd was really young too, so we had that vibe going on too, but the lack of ambiance in the place was completely overshadowed by the quality of the food. Quite simply, Salad King was some of the best Thai food I’ve ever had. I’m eagerly looking forward to my next visit there, because the food was utterly spectacular. (The upper floor of Salad King, by the way, is a sister restaurant called Linda that has traditional seating and is slightly more upscale.)

After dinner, we stopped in at the gigantic HMV just for a lark. Stupidly, I spent money. I’ve been (largely) income-free since starting Electron Jump Games – about 18 months now. I’m also a total CD whore. I can’t walk into a record shop without buying something so it’s been easiest to just avoid temptation altogether and not go into the stores. My will failed me, and (predictably) my will failed me again. I picked up two CDs – the self-titled first album from Jesu and Remote by Splintercage.

Jesu is Justin Broadrick’s post-Godflesh project. While it has echoes of Godflesh throughout, it’s kind of Godflesh without the hate and bile. In many ways it evokes post-rock bands like Sigur Ros and Mogwai. It’s 74 minutes of pure bliss. Slow, droning, grinding melancholia. Atmosphere in spades. I’ve listened to it end to end at least a half dozen times in the past three days. It’s a brilliant album. I’ve since ordered Jesu’s debut single Heartache (chase the link, there are samples there) and await its arrival with bated breath.

Splintercage is ex-Parade bass & guitar player Stephen Seto’s electronic persona. It’s a swirl of minimalist texture and ambiance. It reminds me a lot of Mick Harris’ work as both Lull and Scorn (less minimal than the former, less heavy than the latter). Definitely a good score for me. That one’s a bastard to find, but you can order it from Ant-Zen, Splintercage’s record label.

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