Who can dislike a movie about a Satanic cult that cruises around America, hunting down attractive women in order to kill them? Like all good horror films, Kristy addresses a subliminal fear, in this case of the capricious hatred of mobs of people united on the idea of resentment of those who have what they do not.3 Comments
La Nouvelle Vague (French New Wave) took the world by surprise in the late 1950s with its defiance of what was referred to as Cinéma de Papa (fatherly cinema). The innovations in both technique and narration changed the face of cinema. The “New French Extreme” appeared in the early 2000s and like La Nouvelle Vague challenged the notion of French cinema that revolved around ideas and relegated the body to a metaphor for an idea. The body was now the central theme and fantasy that was once avoided was now openly embraced. All this is shown through acts of incredible violence and sexual debauchery. Irréversible is one of the more popular films of the movement and is commonly referred to as “the most shocking movie of all time”.21 Comments
Over the years, people have debated whether music about evil, violence, disease, the occult, death, doom, despair, misery, sodomy, war, killing, mutilation, and desecration can be healthy. The thinking generally goes that exposure to these things makes us more likely to act out “fantasies” of them.2 Comments
At the final level, every object or idea in our world becomes reduced to a single line said in passing between people. This usually consists of a quality assessment plus a scope, such as, “The FIAT 500 is a great car for driving between your garage and a repair shop.”
If we were to do this for Nightworld, a movie featuring the charismatic Robert Englund of Freddy Krueger fame, our summary would be, “It is a good first chapter for a horror novel.” (more…)12 Comments
One of death metal’s pioneering vocalists has passed away today. Frank “Killjoy” Pucci of Necrophagia died this morning as revealed on the band’s Facebook page. One of the original tape traders of death metal, Killjoy’s legendary vocals on the phenomenal Season of the Dead album (which predated Death’s Scream Bloody Gore by several months) paved the wave for the death/black metal technique and inspired some of the greatest artists in metal.
Article by Johan P continuing Death Metal Underground’s progressive rock coverage.
Morte Macabre is a collaboration between members of the Swedish prog revivalist groups Landberk and Anekdoten, who joined forces to create progressive rock that is equal parts beautiful and disturbing. Their only album – Symphonic Holocaust – is a real treat for those who enjoy creepy music in general, especially 1970s Italian horror movie soundtracks. It is a tribute to the darker side of 70s progressive rock, with reference to Italian groups and composers like Celeste, Goblin, Museo Rosenbach, Fabio Frizzi and Riz Ortolani. An explicit Red-era King Crimson influence permeates the album as well.14 Comments
Tags: 1998, covers, hard rock, Horror, horror film, horror films, horror movie soundtracks, keyboards, mellotron, Morte Macabre, movie soundtracks, prog rock, progressive, progressive rock, review, Sweden, Symphonic Holocaust
Article by Corey M.
Featuring several authors from many backgrounds including members of metal bands Manilla Road and Solstice, Swords of Steel is an exciting collection of short stories that are for the most part squarely rooted in the tradition of serialized weird fiction.1 Comment
Article by David Rosales.
The Witch is a non-Hollywood movie set in the 1630s dealing with a witch psychological attacking a family of New England colonists. The Witch here is typical of traditional European folklore. The filmmakers took cues from historical documents, “first hand” accounts, and contemporary folk tales. Lurking behind the vague but shocking impressions veiled in mystery that our post-Christian society still has, are the insubordinate traditions and purposely asocial philosophies that defined the attitudes of practitioners of the left hand path.23 Comments
Article by David Rosales
The eighties, as any other decade, had its own particular flavor, and popular culture had turned to fantasy and horror as a sort of addictive drug. The most grueling slasher films with fake yet more tangible appearances than the digitized reproductions directed at desensitized audiences that we have today. It may be guessed that a lot of this was an outlet for repressed feelings of hopelessness towards the end of the Cold War, in the midst of death squad strikes and political assassinations throughout the world by the very pseudo protectors of liberty.
The menace of a nuclear holocaust made the idea of a post-apocalyptic scenario not so much the stuff of dreams but a possible (and plausible) future not more than a few decades ahead. There was terror in the air, as desperation and fear had already become the habit of a whole generation raised in the shadow of the fairy tales of the great wars and disarmed through the enhancing of shadows on the wall as their very protectors backstabbed them.
The kids born of this former failed generation of proper workmen and citizens grew to distrust all the bullshit thrown at them. Growing up in this era of tension and constant threats outside a bubble of hypocrisy and bigotry made young men of a more realist mentality long for the collapse of the system of lies built by the ‘mature and responsible’. This is the world that gave us death metal as Slayer’s lessons were ran through hardcore punk and then grindcore.
1. Cro-Mags – Age of Quarrel (1986)
Expressing the most bare-bones discontent with society with a sincerity that only the punk spirit can deliver, Cro-Mags adopt metal riff phrasing techniques to give further elaboration to paint pictures of collapse and humanity’s demise that are more grim and nihilistic than the lyrics themselves.
2. Repulsion – Horrified (1989)
While Age of Quarrel is the image of a decadent civilization malfunctioning its way to its own zombification, Repulsion shows us the explosion and its aftermath. The first is fear of impending doom, this latter is terror, desperation and psychotic breakdown in the face of monstrous reality.
3. Carnage – Dark Recollections (1990)
Beneath the blatant visions of disaster and discomfort, the reveling in what is seen as an unavoidable outcome, or perhaps an already present state, is laughed at with the humor of a cancerous patient that knows no clean escape from his own impossible situation. It takes death metal to come out as the triumphant anti-hero, shotgun in hand, ready to do away with the weakness of modern man.14 Comments
The combination of metal and horror films presents a challenge because you cannot have two strong forces without having one trigger the other. In Death Metal Zombies (1995) it was a recording send from an on-air contest; in The Lords of Salem director Rob “Zombie” Cummings features a terrifyingly enigmatic piece of music that, played over the radio, invokes demons. In Deathgasm, a downtrodden teenage metalhead in New Zealand uncovers an ancient hymn for summoning a dark deity, and launches (nearly) the end of the world.
As with all in the genre of New Zealand horror, Deathgasm features a tight integration of absurdist humor with its horror plot. Like reading Mad Magazine, watching this film requires the viewer to be attentive to background details for extra laughs, but there are also outright comedic lines delivered at pivotal points in the plot. Much like the best underground films of the 1980s, Deathgasm also serves as a revelation of society from a metalhead’s point of view: boring, pointless, disorganized, with people already possessed by ideas before the demons even get the glimmer of personality transubstantiation in their beady little eyes.
Once having accepted that the plot will revolve around a teenage metalhead, his band, and an ancient curse, the viewer can proceed to enjoy this film for what it delivers: buckets of gore, wry laughs, and an honest sense of terror for these characters caught in an absurd world gone even more nonsensical. Protagonist Brodie just wants to make it through high school and away from his horrible foster parents, maybe picking up axe-slinging sweetheart Medina along the way, but his world has collapsed… and then the demons arrive.
Tightly scripted, and filmed with an eye for the natural beauty of New Zealand as well as as a pervasive creepy suspense that makes ordinary settings look threatening and surreal, Deathgasm applies perhaps the lightest touch working metal into the film as both topic and soundtrack, immersing us in the world of the metalhead facing a demonic horror that, like the adult world around him, is both incomprehensible and threatening. Look for the classic metal tshirts and other details of the underground metal world.
Unlike many horror films, Deathgasm follows more of the adventure movie plot (think: Die Hard, the apex of the genre if you ask me, which you didn’t) in that it involves humans attempting to surmount disbelief and low self-confidence to take on supernatural forces. Its characters, while caricatures, also reveal some of the truth of our varied social roles in this wonderful modern society. Rising to the inevitable conclusion, this film spills buckets of blood and guts and makes its audience identify with the struggle for survival against forces beyond our control.