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In an interview with The Quietus, Nurse With Wound and Current 93 collaborator, Andrew Liles, spoke about Stapleton’s LSD cover: It was Stapleton who painted the iconic album cover for COIL’s 1991 album Love’s Secret Domain. However, the art captures COIL’s true character-more so than the music. Its bold, primary colors seem to clash with the sensual New Age music that is kept inside. The album art for Sara Dale’s is startlingly different than the faded, soft palette of the film. With prominent brushstrokes and layers that are splayed across the canvas, its textures are built up to form deep crevices and canals in the work, allowing something for for the eye to discover each time. His amorphous forms-that often vary between color and subdued, monochromatic tones-are often unsettling, surrealistic collages of imagery. Stapleton, who often adopts the name Babs Santini for art-related works, has created album art for some of industrial’s most prominent artists. The long-awaited OST includes bonus tracks from COIL’s so-called “Basilisk era” of recordings that also never found their way to a vinyl pressing with artwork by artist and Nurse With Wound member Steven Stapleton. Only for a second does one forget that COIL wrote the soundtrack that fits so well with Sara Dale’s aura.įor the first time, Sara Dale’s Sensual Massage soundtrack is out on Infinite Fog Productions as both a digital and vinyl release. With close-up shots of flowers soaked in the rain and two lovers enveloped in each other’s arms inside a cavernous, steamy room with ivy and a waterfall, the atmospheric sweeps of sound enhance the muted fuzz of the film.
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In a matter-of-fact way, she explains to the viewer just how to give her brand of sensual massage-naked, using all body parts-as COIL’s New Age breathy pan flutes and acoustic guitars pluck on. Sara Dale (aka Miss Whiplash to the press), is a “hands-on healing therapist,” as she calls herself, narrates the film in a soft British accent. The British Board of Film Classification at the time, led by the overzealous James Ferman, was going through a particularly censorious phase, with cuts being demanded to a great many mainstream and genre films ahead of both cinema and home video release, often citing problematic sexual content (with actual hardcore pornography continuing to be banned in the UK for almost a decade to come). Beneath the veneer of respectability and educational purpose the very (soft)core of these sex-ed titles was obvious titillation and porn-by-any-other-name. Barrington writes:īy 1992 the UK video industry was going through a boom in supposed "sex education" or "sex guide" titles. The Sara Dale’s Sensual Massage feature film is, in fact, a heterosexual soft-core porn under the guise of an educational video.
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COIL wrote three film soundtracks for Basilisk that included the educational AIDS documentary Gay Man’s Guide to Safer Sex in 1992 and Jarman’s major feature film Blue from 1993, both of which careened more towards the COIL sound in experimental electronic sounds (despite Gay Man’s Guide’s distinct seedy New Age feel that echoes Sara Dale’s).
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As the figurehead for Basilisk, as Barrington writes, MacKay had established a working relationship with COIL in the mid-1980s from their soundtrack to Jarman’s film The Angelic Conversation in 1985. According to Phil Barrington’s essay, “ COIL’s Sensual Stroke: Miss Whiplash and Spiny Norman,” the soundtrack was made because of James MacKay who produced and distributed several of Derek Jarman’s works under Basilisk Communications. Scoffed at as a “sort of hetero-erotic thing” by COIL member Jhonn Balance in an interview from 1995, it’s clear this wasn’t the sort of path members Balance and Peter “Sleazy” Christopherson necessarily wanted to travel down. The elusive 1992 soundtrack for Sara Dale’s Sensual Massage VHS by COIL remained unreleased for nearly three decades-for good reason.