Sunday Bandcamp: Dead

An awesome two-piece I found while snooping around at the Wäntage USA label's Bandcamp page. These chaps are from Australia, and they make some heavy freakin' tunes.

Isolation: Day 127

Back in the 90s, Cypress Hill completed the holy trinity my friend Jake and I were musically obsessed with, the other two groups being Black Sabbath and Type O Negative. I hung with the Hill all the way until Skull and Bones, but even my fan inertia couldn't get me to listen to that one for very long before I bounced, and I've never looked back. The few tracks I've caught wind of on subsequent records felt watered down and lame (What's Your Number? Really?), and without Muggs at the helm for ten years, I was definitely not interested.

Until now.

IV ended up in my rotation recently, and I found once I'd listened to it the first time, I couldn't get it out of my head. My favorite will always be III: Temples of Boom, specifically because at the time of its release, I'd never experienced an album that affected me the way that one did. There's a sick undercurrent to its amalgamation of Muggs' music and production and the cartoonish violence of the lyrics that just left me feeling unsettled for the first few listens. Full disclosure, this was the year Jake gave me a glass bong for my birthday, so I was really high most of the time I was listening to it.

At any rate, IV is the first of their albums to show a crack in their sound; I really dig about 80% of the record, but the stupid sex rhyme and an over abundance of down-tempo tracks on the B side means it starts strong and peters out. I'd forgotten how strong that first half was, and after falling back into it, I noticed the group released an album in 2018. I decided to give it a try.

Elephants on Acid is fantastic! There's probably too many songs again, but over all I am absolutely loving this album. Muggs in on 100% of this one, and it feels a bit like a sequel to Temples of Boom, with similar imagery and aural textures; lots of sitar and otherworldly atmosphere. The opening track takes this a bit overboard, and initially I almost turned the record off because of this. However, I hung in for a full listen, and immediately went back for a second. It feels like old Hill, but not in the way that, say, Rick Rubin returns old metal bands to their former glory by basically creating a caricature of their original sound. This feels fresh at the same time it feels old school. and I'm assuming that's because the group has stripped away ideas of doing anything other than being true to what they are.

I was especially pleased with the track above because it brings back Sick Jacken from The Psycho Realm, whose first album is an underrated 90s hip hop classic.

Now, if only I still had that bong Jake gave me...

**

Last night's viewing:



Also, I did House By the Cemetery with commentary the day it arrived, and saved the actual movie for last night. It didn't disappoint. Never does. "Mommy..."

One of the extras on the main disc is the original TV spots for the flick that aired back in '81. Tell me this doesn't sound like Brother Theodore's character from The 'Burbs did the voice over:





**

Playlist:

Cypress Hill - IV
Cypress Hill - Elephants on Acid
The Psycho Realm - Eponymous
The Atlas Moth - Coma Noir
Brainiac - Smack Bunny Baby
The Cure - Kiss Me Kiss Me Kiss Me

**

Card:

An abundance of ideas, projects, and interests, it takes a greater strength than usual to narrow things down and get anything done at all.

Isolation: Day 126 - Brandon Cronenberg's Possessor Gets a Trailer!

I feel as though I've been waiting for this trailer forever. Now that it's here, I really just want the movie. The real shame is, if not for COVID, Brandon Cronenberg's sophomore flick would most likely be premiering at Beyondfest. As it stands, I guess I'll be doing a big VOD event for it when the release is finally announced (please announce soon!)

**

Late last week I caught wind of William Lustig's company Blue Underground having released a 3-Disc, 4K Blu Ray edition of Lucio Fulci's House By the Cemetery. I love this flick - while it took me a while to come around on The Beyond and City of the Living Dead (I love both now), House has always been a film that fascinates me. So as soon as I saw this, I ordered it. Pricey, but worth it.

The restoration is, as with all Blue Underground's restorations - gorgeous. If you go to this edition's page on Blu-Ray.com (HERE), you can read about the transfer and see some screen shot comparisons. The second disc is filled with extras, including a lot of interviews with the actors and crew, and the third disc is a CD edition of Walter Rizzati's brilliant score for the film.

**

Playlist:

Walter Rizzati - House By the Cemetery OST
Primus - Antipop
M83 - Hurry Up, We're Dreaming
Moderat - II
Perturbator - The Uncanny Valley
Elephant Tree - Habits
Cypress Hill - IV
Flying Lotus - You're Dead!
Nine Inch Nails - The Slip
Agnes Obel - Citizen of Glass
Brainiac - Hissing Prigs in Static Couture
David Lynch and Marek Zebrowski - Polish Night Music

**

Card:

Power struggles, internal or external. I'm taking this as a warning that discipline will be needed to fully reintegrate my writing time back into The Secret Life of Murder, now that my belabored short story Fixation on a Coworker is finally finished.

Coworker proved extremely difficult to write; I worked on the thing off and on for a year and three months. I finally brought it in at ~7700 words, then decided I wanted to try submitting it to a publication I recently discovered called Infernal Ink. Some of my stories skew into what I'd call Erotic Horror, and this story especially plays in that arena. There's an overarching theme - or character actually - that runs through these stories, so even though they are stand alone, they're part of a bigger story slowly forming in my head. Anyway, Infernal Ink's submissions cut off at 5K, so I knuckled down and decided to practice one of my favorite parts of writing - editing. I cut the story down to 6K, then down another thousand to 5K.

It felt good! The story as it was is probably perfect at 6K. Chopping it down more wasn't easy, but I eliminated a supporting character arc that originally dovetailed with the protagonist's, eased the throttle back on some of my more descriptive passages, and landed it clean. It was at that point I realized Infernal Ink's submissions are closed, as their upcoming October issue will be the magazine's final issue as they switch gears to focus on book publishing.

Waste of time? Not. At. All. The editing process really bolstered my confidence in a story that otherwise had me running in prosaic circles, and that's never a bad thing. Plus, I found an awesome publisher/magazine in the process (all the issues are on Kindle for under $3).

Isolation: Day 124 - The Sandman on Audible

Previously, I've had no interest in audible, as I'm not one for audio books. This changes everything. A star-studded audio presentation of Neil Gaiman's Sandman? Count me in.


**

I'd been under the impression the final episode of Borrasca was to drop this past Monday, so imagine my surprise when the episode - at a paltry 33 minutes - cut off in an unceremonious manner. Creator Rebecca Kingel had previously said the podcast would wrap with ep 8, so I figured the finale might have been too long for their standard format, making them split the finale into two. I was all set to wait until next Monday when I received word the second part dropped yesterday.

It is amazing.

Easily the scariest fiction I've encountered in any medium for the past several years, the wrap up is filled with revelations and tragedy, and contained a sequence that held me so strongly under its narrative influence that the world around me kind of disappeared for a while. I'm sold on Cole Sprouse as an actor, and very much hope there will be more of this, or at least, another teaming of Klingel and Sprouse.

I really can't recommend this one enough. Earlier, I realized that, along with all the podcast platforms (Apple, Spotify, Stitcher, etc), all the episodes of Borassca are on youtube as well, so I'm posting the first one here as a way to spread the word. I's that good.



**

Playlist:

Walter Rizzati - House By the Cemetery OST
Palesketcher - Jesu: Pale Sketches
Mannequin Pussy - Patience
Exhalants - Band (single)
Le Matos - Summer of '84
Barry Adamson - Stranger on the Sofa
Perturbator - The Uncanny Valley
DAF - Die Kleinen Und Die Bösen

**

No Card Today.

Isolation: Day 123

Last week, Metal Blade Records announced the new album from Germany's reigning Post-Metal champs The Ocean. Phanerozoic II: Mesozoic drops on September 25th. Pre-order HERE.

I've followed The Ocean since I stumbled across 2007's reissue of Fluxion in the metal section of a local record store. The group is hot and cold for me, in that I have and love all their albums in theory, but not all of those records are practical listens for me. 2005's Aeolian and 2007's Precambrian have their 'I have to hear that song right now' tracks, but overall are so academically 'post-metal' that, although I appreciate their sonic integrity, I find listening to them for any extended length of time often cumbersome. That said, Fluxion and 2010's pair of albums Heliocentric and Anthropocentric are year-round go-to's, and 2013's Pelegial also easily fits into regular rotation. I'm not quite sure where last year's Phanerozoic I fits into my listening routine yet, primarily because the record kind of got lost amidst a ton of other albums that held my attention for most of the year.

**

A new episode of The Horror Vision Horror Podcast went up yesterday. I've added the handy little widget in the upper right-hand corner of this page where you can listen or follow over to our page on Spotify, since this is the service most of our listens seems to filter through. In this episode, Ray and I go Dynamic Duo and talk about Natalie Erika James' Relic, Jeffrey A. Brown's The Beach House, as well as a bunch of other cool stuff. Also available on Stitcher, Apple Podcasts, and Google Play.


**

NCBD - I messed up and posted this week's books here last week, so I'll be picking up those today.


**

Currently reading:

Last week I finished Mark Frost's The List of 7 - very good Victorian mystery novel. Thoroughly enjoyed, and although I was tempted to start the sequel, 6 Messiahs, instead I started Matt Ruff's Lovecraft Country in anticipation of the upcoming HBO adaptation. At a third of the way in, the novel is as fantastic as the trailer looks, so I'm doubly excited now:



The book is very much not what I expected, and that's good. Reading it is a cathartic, as being a long-time Lovecraft fan - we're talking since '92 - I had built up a pretty big head of fandom steam before I ever realized HPL was a completely racist xenophobe. Through the mid-to-late 90s, as his personal correspondences were published, I made it a point to avoid them, as that's when the depth of his ignorance really became apparent (it's in the writing, but not exactly overt, especially not when you're younger and not as skilled at reading into things). Still, as more has come out, it remains more difficult to balance being a fan of his fiction with abhorring his personal philosophies. The first book I read that really played with this was Seamus Cooper's The Mall of Cthulhu, where the protagonists are accosted by a skinhead group who have adopted worship of Lovecraft's entities (great book and only $2.99 on Kindle at the moment). That was a comedy though. Lovecraft Country is not. A taut exploration of this country's racists underpinnings (that just won't seem to go the fuck away), the story is less about Shoggoths and more about human monsters.

**

Playlist:

The Birthday Party - Mutiny/The Bad Seed
Mannequin Pussy - Patience
United Future Organization: 3rd Perspective
Henry Mancini - Charade OST
Charles Mingus - Blues and Roots
Cypress Hill - IV
Raury - Indigo Child EP
The Chameleons - Script of the Bridge
Blut Aus Nord - Hallucingen
Palesketcher - Jesu: Pale Sketches

**

Card:

"A temporary culmination of events or labors. A well-deserved breath." I'll take it.

Sunday Bandcamp: Mannequin Pussy

While snooping around online for a copy of Pygmy Shrews' The Egyptian on vinyl, I stumbled across a cross reference to the band Mannequin Pussy.

Awesome band name made even better by the fact that the band is pretty awesome, too!

Isolation: Day 120

Some time back in late 2018, my good friend Jesus gifted me a Blu Ray copy of the film Summer of 84. At the time when I first watched it, the film seemed a little too derivative of Stranger Things. Kids on Bikes felt like it was becoming the new Steampunk, i.e. ubiquitous to the point of losing me. Still, I ended up digging the movie that first time.

Yesterday, I came home from work and, as has become my custom, cuddled up with my cat on the couch to take a nap. I generally put Shudder TV on, find something mildly interesting, and nod in and out while I watch. This has been a great way for me to see a lot of films I can't commit to in the course of my regular, evening viewing. Anyway, 84 came on and I fell into it. I felt pretty much the same for most of the movie, and then the last ten minutes or so happened and I finally 'got' what the filmmakers were trying to do. Much like Twin Peaks purposely took on the language of the night time soap opera in order to completely subvert it, Summer of 84 puts on a Stranger Things costume just to turn it on its head at the end. Chilling is the only word I have for it, especially after seeing on Reddit where in a post-screening interview, the directors - François Simard, Anouk Whissell, and Yoann-Karl Whissell -  stated they would never make a sequel because - and this is me quoting someone paraphrasing - "The terror was from the ending as it was, and to make a sequel would take away some of the effect."

That's fucking hardcore.

**

The new issue of Fangoria arrived this past Thursday. Look at that cover! The cover story is based on a comic strip Patton Oswalt sent in to Fango in 1984, and the print the entire thing. It's fantastic.

With information about Fangoria's parent company Cinestate coming out on how they ignored one of their producers who sexually harassed women on set coming on top of former Fango head of acquisitions being accused of harassment, it seems that everyone is jumping ship from the magazine.

Not me.

I don't really understand cancel culture in general, but this is insane. The moment the Cinestate story broke, Fangoria Editor in Chief Phil Noble, Jr. posted that Fangoria was looking for new owners, and the head of acquisitions in film had been on board for probably a year since coming over from the same position at Dread Central's film division. He stepped down from Fango immediately, and from what I've seen, there's no suggestion that anyone at Fangoria even knew about his actions. So why then did Shockwaves, Mick Garris, and a host of others dump their association with the beloved Horror mag? Why did one of my favorite new authors not only pull his upcoming book from Fangoria's publishing imprint, but also post a letter to his social media saying that although he has never sexually abused or harassed anyone, he realizes this may have hurt people and he apologizes (I think that's what it says. It's really confusing)?

This apologizing for for nothing is a panicked overreaction in the age of the SJW and cancel culture, and I think it sucks. People are pulling their association with the magazine as a preemptive strike, which is seems more than a little like being guilty until proven innocent. Until someone shows me Fangoria itself actively ignored or fostered this stuff, I'm sticking in as a fan.

The re-launch has been such an amazing vessel for critical and thought-provoking Horror discussion. Much more than the later days of the original magazine's iteration. I never consistently read any of the horror mags when I was younger, but I'd pick them up on occasion and, through the 00s when I worked at Borders, read them on break. By that time, Fangoria paled in comparison to Rue Morgue, in my opinion. No longer the case. Rue Morgue and Horror Hound are still great, but the new volume of Fangoria is fantastic from an academic perspective, and I think everyone who is afraid of the SWJs swooping down on them are going to regret their actions, especially if it tanks the magazine. If you didn't do anything wrong, you didn't do anything wrong. Period. I reject absolutely the idea that everyone on Earth with a penis is a rapist by default, and although I absolutely believe predators of any kind need to be stopped, outed, and punished, guilt by association is not a good thing. One of my closest friends in high school turned out to be a murderer and rapist, and at the time that came out, a lot of people cast suspicions and, on a few occasions, borderline accusations at those of us who hung around him. Although he was my friend, I didn't know what he was capable of, and I certainly did not condone or take part in it. That's the example I use as my guide.

**

Playlist:

Brainiac - Bonsai Superstar
The Chameleons UK - Strange Times
The Chameleons - Script of the Bridge
Le Matos - Summer of '84 OST
Zombi - Shape Shift

**

Short story almost finished, time for something new.