Saltillo really has an ear for the connotative meaning in a word, or, if you prefer, what the sound evokes in the mind of a listener. When I was first sent the link to A Hair on the Head of John the Baptist, I heard a Danish prince different from he who had plagued my speech and work for the last three years.
Now that's what I call mimetic magic.
It's obvious Shakespeare—and not just Hamlet—possesses Saltillo. There are several blogs which have attempted to identify/enumerate all of his text sources, but I encourage you to stay away from them until you've listened to each album half a dozen times or so (it's easy to do). Some other favorites of mine include his Blood and Milk, which anyone familiar with 19th-century American lit will enjoy, I Hate You, which is mob-mentality at its most literary, To Kill a King, a Medea-riff, Forced Vision, which I believe to be almost entirely of his own authorship, Gatekeepers, and A Necessary End.
I should point out that not only does Saltillo understand text as music, but music as music: he plays cello, viola, violin, bass, guitar, drums—
oh, and he illustrates comics. Not bad for a temporary conglomeration of atoms.
Enter menton3, "Saltillo's" visual alter-ego. The above is a favorite Wolverine of mine, but he has also worked on the Silent Hill franchise as well as other usual suspects:
Here we have Arkham the Unnamable from his work on the illustrated volume of eight of H.P. Lovecraft's essays entitled Horror Out of Arkham. But let's be honest: I would be remiss to leave unrecalled the contemporary Arkham connotation, and remiss too in ignoring the filial likeness to the Morrison/McKean Arkham lying on my floor.
And truth be told, show me a path leading me to Bruce Wayne two steps from The Bard and I will take it. I will take it every time...
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