ཐི༏ཋྀ󠀮 Silver Eyes: Paris sucks without you

“Hey Rebecca...next time (you & I here). Paris sucks without you.”

Jeff Buckley Walking the Streets of Paris 1994 https://youtu.be/6df_wOqJfNA?t=441

Avant-garde singer and actress Rebecca Moore was Jeff's lover during the early 90s, and the inspiration for much of Grace. Her album Home Wreckordings includes the wistful Live in Blue Sparks: “all kinds miss Jeff....I'm not afraid, I walk with my little horned kids”. Stilletto'd Young Stars explores the pathos of love lost and the loneliness of art. “If the song was meant to be, it'll come again some day – like you.” https://web.archive.org/web/20230419220847/https://mojopin.org/pages/tribute_songs.php

Home Wreckordings 1997–1999 (2000), a layered dreamscape that was created in the two years following Buckley's untimely death in 1997. Wikipedia – Rebecca Moore

CD: https://violaine.xyz/s/tPwHJetZFXKfFWZ

From ebay listing (Left: Live in Blue Sparks)

🎵 Stiletto'd Young Stars

“He writes or so, it seems the poet relates elation beyond his dreams. Now you're gone...where songs are born, sent back to us each nite in the bellys of sweet fireflies.”

“Trumpets of your soul will sound even though you're in the ground.”

“Young life crosses young love / The knife wanders through me so slow, It cuts between us as we grow” (🎵 Sky Blue Skin)

🎵 Thaw

“There's no heaven I know but this one I've made inside my head.”

“Father stand right next to him my diamond eddie diamond jim. I will meet you in those fields again...”

🎵 Cartoonlust

“I need a shape I need to make this wrong decision Hey hello before I go you know I really missed you... Todays the day I try to be Mr Dead and Mrs Free”

http://web.archive.org/web/20030713214606/http://bluviolin.com/homewreckordings.html

🎵 Joy Will Come

“I go melting down standton street – to the suitcase hall of fame; Hey old flame – I still hear your name everyday, you're still outside that place you love to hide”

Moore's apartment, at the intersection of Stanton and Allen Streets, had all the trademarks of a typical downtown home https://www.tumblr.com/sweetdreamsjeff/727196079386509312

🎵 Sister Marianne

“may music always be your fuel and may you shine the brightest jewel”

You are so full of yourself but I love you for your drag queen sort of ways...At his funeral cracking jokes into your cigarette ashes flew

where most control their whole idea of a scene and then call it a day

so all together jump and slide with the iridescent suicide

pretty bored days you better learn to fly on your own

“There's room for both of us to fly” / 🎵Gunshot Glitter

as a dolphin leaning on a pinball machine he's sweating out your gasoline reciting verses of our troubled days

Reviews

On this Moore retrospective we hear her fascinating, intimate experiments with strings and electronics backing her will-o-the-wisp voice, a disembodied, floating expresser in rhythm section-less arrangements. Recorded at home over a two-year period, this album is the personal level of material that can only arise from one's domicile and the simplified beauty of creativity on fire in a bare-bones studio. Moore plays all the instruments herself with a few guest musicians on two tracks, one of them Earth, Wind & Fire's “Fantasy.” The other track she calls for help on is another rendition; a convincing, nightmarish apotheosis of “Telegram Sam.” Recalling Björk's Homogenic, Home Wreckordings is a subtle and adventurous work of rare beauty. Allmusic – Home Wreckordings Review by Tom Schulte

https://nestor.minsk.by/mg/2001/17/mg11721.html

Google Translated By the way, I'm not one of those people who see genius in everything unconventional. And here's why. As soon as all the “progressive” teenagers heard that, say, RADIOHEAD or NINE INCH NAILS “is cool”, they started sweeping music that is generally very difficult to perceive, hard to “read”, very personal and simply not intended for the masses off the shelves of our (and not only) hero city, forcing themselves to listen to the non-commercial anguish of these representatives of modern rock (?), and in their souls remaining absolutely indifferent to what the musicians actually want to convey to them. And those few who are really ready to plunge into the abyss of Yorke and Reznor's morbid fantasy, seeing all this unhealthy excitement, will remain indifferent to POP. Because pop is when EVERYONE listens, not SOMEONE. And if so, then what did they fight for?.. But all this applies to the listeners. But if you think about the fact that the avant-garde can also be pop, then a completely different picture emerges, gentlemen. What is interesting here is what, one might say, opportunities open up, for example: you can pass off something tasteless, false and vulgar as a high flight of your own thought, explaining this and that simply by the world's unpreparedness for private genius and already classicality. What's that?! That's how they fool people. The reader will probably think that all these unflattering words to one degree or another apply to Ms. Rebecca Moore, and that this performer is a complete zero, but this would be a mistake. It's just time to set priorities in the situation with frankly non-commercial music. Otherwise, there will be a swamp. Rebecca Moore does what once brought the now actress Bjork to the ranks of “stars”, i.e., under the shadow of otherworldly, shamanic and inharmonious chants, giving out all her immeasurable creative potential. As I read somewhere, if Bjork were a pop singer, she would compete even with the classic representatives of pop music. But that would be too easy. Rebecca Moore, a person with a difficult fate, a subtle soul and rich in feelings, talks to listeners on her discs, or even just chats, or argues, or sings a lullaby, in general, communicates confidentially (but with some detachment). Music also serves as a style, sometimes absolutely incomprehensible, atypical and therefore harsh, with the absence of the already familiar to the ear “chorus-verse-chorus” and all other attributes of the mainstream. Maybe, unlike Bjork, Moore's work is more modern and rock, more, more acoustics, more “live” instruments and fewer sound tricks. Maybe even the latter's work is closer to the explorations of Sinead O'Connor than to Bjork. Who should I recommend this disc to? I don't know, I'm afraid to disappoint the convinced “over-the-gar-divas” and leave people with more traditional musical taste perplexed. I'll say the following (since it's also somehow inconvenient to evaluate such music): this is not something easy to remember and simple, this is not music at all in its usual sense. This is a confession of an individual. A monologue. How you understand it is your business. P.S. I really liked the song (?) “Sister Marianne”. But this does not mean at all that I understood this track. It’s just that it’s the most simple and unpretentious in the ordinary, average music lover’s understanding of the issue.