Just like the zombies I used to know…

Lyda here. But y’all know that already. Yes, another break from packing and apartment hunting. Who knew the apartment offices are all closed on Sunday? Obviously not me. I’ve got a couple of leads, so fingers crossed one of them works out.

Did I mention that we saw “Zombieland” (2009)? I don’t think I did. It was great. Very funny, with one of the best guest cameos ever. I won’t tell you more except that y’all will love it. These are modern, fast-moving, brain-and-body-eating zombies. There is plenty of blood and some gore, but there are also plenty of laughs. It was a LOT funnier than we expected. Woody Harrelson is over-the-top in a good way, and Emma Stone and Abigail Breslin are fantastic, but the character that holds the movie together is the young guy, played by Jesse Eisenburg (he’s also my favorite). His “rules for surviving Zombieland” are very funny, and pretty good too. My favorite rule? Double tap. How many times have you seen someone shoot / hit / blow up a zombie / monster / villian, only to have it rise up again? Double tap, baby.

This movie is on my “movies to own” wish list, for sure.

For less speed, no gore, and only unintentional humor in your zombie movie experience, there is  “White Zombie” (1932) with Bela Lugosi. Filmed on the studio lot, this has the first piano-playing zombie that I’ve seen. It’s also one of the few where the zombies can be turned back into living humans.

These are not your modern, speedy, brain-eating zombies. These are very slow moving, unaggressive, and hard working zombies. Most of the zombies work in the sugar cane mill. There is a “plight of the common worker” subtext in the mill scenes. For example, one zombie falls into the machinery and the machinery just keeps grinding on, literally. No one notices or cares that he’s been added to the processed sugar. My Zombie Army says: Undeath to the Zombie Oppressors! Or they would, if they could say more than “Braiiinnnssss!”

The piano-playing zombie is the main zombie in the film. She is an ethereally beautiful blond who is turned into a zombie on her wedding day by the stupid rich man she rejected. You can’t really tell that much different in her pre- and post-zombification. The casting director was looking for “beautiful blond” not “blond who can act her way out of a paper bag”.

Lesson:  Obsession in the rich can be a dangerous thing. Especially if there is an evil scientist around turning people into zombies. 

Basically it’s the old story: boy meets girl, boy loses girl, boy turns girl into zombie.

Girl then wanders around vacantly – but still ethereally beautiful, no rotting at all – and does whatever he commands her to do.

Like play the piano.

Because that’s what men want in a beautiful female slave.

Piano playing.

Well, that’s what I heard.

But after all, it was made in 1932, when piano-playing was as sexual as most movies got.

It could have been the first time most of the audience had even heard of zombies.  It could be the first full-length zombie movie ever made, but I didn’t find confirmation of that.  The acting has been widely panned. Weirdness Alert – According to one fan, this is the movie that Ed Wood and Bela Lugosi are watching in the scene in “Ed Wood” (1994).

The last scene, at the top of the castle – because even in the West Indies, evil scientists have castles, right? - between the hero and the rich guy and Bela Lugosi, with various zombies added in, is interesting, if only for the change of scenery. It’s nice to see the zombies out getting some fresh air instead of stuck in the sugar mill.

The piano playing is only fair. But hey, not bad for an undead chick.

Soul – Crusher (1987)

Ratmouth
Shack of Hate
Drowning the Colossus
Crow III
Die Zombie Die
Skin
Truck on Fire
Future Shock
Scum Kill
Diamond Ass

<<< Download >>>

Make Them Die Slowly (1989)

Demonspeed
Disaster Blaster
Murderworld
Revenge
Acid Flesh
Power Hungry
Godslayer

<<< Download >>>

La Sexorcisto: Devil Music, Vol. 1 (1992)

Welcome to Planet Motherfucker/Psychoholic Slag
Knuckle Duster (Radio 1-A)
Thunder Kiss ‘65
Black Sunshine
Soul-Crusher
Cosmic Monsters Inc.
Spiderbaby (Yeah-Yeah-Yeah)
I Am Legend
Knuckle Duster (Radio 2-B)
Thrust!
One Big Crunch
Grindhouse (A Go-Go)
Starface
Warp Asylum

<<< Download >>>

Astro Creep 2000 (1995)

Electric Head, Pt. 1 (The Agony)
Super-Charger Heaven
Real Solution #9
Creature of the Wheel
Electric Head, Pt. 2 (The Ecstasy)
Grease Paint and Monkey Brains
I, Zombie
More Human than Human
El Phantasmo and the Chicken-Run Blast-O-Rama
Blur the Technicolor
Blood, Milk and Sky

<<< Download >>>

More info on White Zombie; Click Here

salud!

There used to be a Swedish radio station really worth listening to. I grew up listening to tracks like these until the golden days of this radio station were put to an end sometime in 1996. The station is apparently still around namewise but i bet by now it’ll sound like every other commercial radio station out there. I really miss the DJ:s on Bandit 105.5.

The torch appears to have been passed though, to another nice little radio station called Rocket 95.3fM, but i’d still like to take this opportunity to revive the magic of the years leading up to 1996, before the end of Bandit 105.5

I’ve compiled this playlist of as many songs i can remember being played on that station, let me know if I’ve missed a song that really should be in here.

#20091211 – time capsule: 1993-1996 (Bandit 105.5) (82 tracks in total)

(get your player at www.spotify.com)

Finally I know exactly why I watched a particular old ass movie. Today I review the 1965 Russ Meyer exploitation classic, Faster, Pussycat! Kill! Kill! starring Tura Satana, and the reason is in the line, “I never try anything, I just do it. Wanna try me?” I first heard that line in the White Zombie song Thunder Kiss ‘65 and it’s only now that I’ve gotten around to watching this movie. Maybe I should start reviewing other things referenced in White Zombie songs, like Urotsukidouji: Legend of the Overfiend.

You know pretty much exactly what you’re getting into within the first five minutes of this movie. Fast cars, wet t-shirts, and chicks rolling around in the dirt fighting. It doesn’t really let up from there. Three adrenaline junky go-go dancers meet a couple of squares in the middle of the desert. The three go-go dancers end up kidnapping the girl after the leader, Varla, kills the guy in a fight. After gassing up, they hear about a old man who is apparently loaded, so it’s decided that they’re going to find out where he’s stowed his cash and rob him blind. Unfortunately for them, the man’s a mean old S.O.B. and a lecher to boot. The rest of the movie involves Varla and the old man trying to get the upper hand in their power struggle. Things become more complicated when loyalties aren’t as strong as assumed, neither Varla’s gang nor the old man’s sons.

There’s really not a lot of bad things to say about this movie, I’m sad to report. It’s classic sleaze and it delivers in pretty much everything. Interestingly enough, it’s one of the few Russ Meyer movies that doesn’t feature frontal nudity. It’s merely implied or shown from the back. I’m kind of curious as to why Meyer held back on this particular movie. The nudity wouldn’t really have distracted from the plot of the movie and even by the time this movie came out, he was well known for lots of nudity in his movie. Oh well. The amount of violence in the movie makes up for it.

You can tell this movie was made in the post war period. Out of the female characters in the movie, the wholesome one is wearing a bikini throughout the movie, and the societal rejects are *gasp* wearing pants. Mind you, they were skin tight leather pants and the tops revealed an impressive amount of cleavage without anything popping loose, but I noticed the pants. Note: I saw what the movie was trying to do before the old man came up with the classy line, “Women! They let ‘em vote, smoke and drive – even put ‘em in pants! And what happens? A Democrat for president!”

It’s lines like that in Meyer’s script that make me love this movie. However, it’s nothing compared to the double entendres. There’s so much innuendo in this movie that it would impress Mae West. Lines like, “Would you like to look under my hood?” and “We know how fast we can go” are all throughout the movie.

Tura Satana was flat out amazingly badass in this movie. Tura did all of her own stunts and just oozed sex and predator and awesome all in one. She even had a couple of Shatnerian judo chops in her fight scenes! Sultry, confident, dangerous, and alluring, Satana’s Varla is pretty much a picture perfect example of a succubus.

Go find someone who has this movie and watch it. It’s not available on Netflix. Russ Meyer’s estate actually has the rights to it, though, but I’m pretty dead set against paying $40 for a DVD. You can, however, get the movie from sellers on the Amazon Marketplace for around $30.

Recap: #100-91 – #90-81 – #80-71 – #70-61 – #60-51 – #50-41 – #40-31

#30: Finch What It Is To Burn

#29: Linkin Park One Step Closer

#28: Metallica No Leaf Clover

#27: Aerosmith Livin’ On The Edge

#26: The Smashing Pumpkins Bullet With Butterfly Wings

#25: Nightwish Planet Hell

#24: Tarja Turunen Lost Northern Star

#23: Lacuna Coil Heaven’s A Lie

#22: Earshot Wait

#21: White Zombie More Human Than Human

Buy White Zombie Blu-Ray at Amazon.. Product: White Zombie Average customer review: Amazon Price: Sale Price Too Low To Display Click Here To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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The term “Zombie” and the concepts it conveyed did not really enter American conciousness until the publication of William B. Seabrook’s THE MAGIC ISLAND in 1929–but once established, it fired favorite imagination, producing everything from a host of pulp fiction shorts to a fairly lethal mixture of rum and tropical juices. Released in 1932, THE WHITE ZOMBIE is generally considered to be the first motion describe on the subject–and it would pleasing powerful spot pop culture ideas about zombies, voodoo, and Hati for decades to reach.

Buy,Download, Or Stream White Zombie! Click Here

The film is bewitching in several respects, not least of which is the fact that it an independent production, something rare indeed for a film of its era. Unfortunately, this fact also gave rise to a series of suitable battles between writer Kenneth S. Webb and producers Edward and Victor Halperin. What with one thing or another the film itself was considered lost from about 1935 until it resurfaced in 1960, when it once more touched off another accurate battle between the same parties and their estates. In consequence, and although it has indeed turned up at special screenings and on the late-late exhibit, the film has never really been widely seen since its 1932 debut–and most of the prints available were radiant dire. This was certainly the case when I saw the film in a “substantial mask” film festival in the tedious 1970s: the sound was terrible, the visuals worse, and it was very difficult to voice what all the fuss was about.

Fortunately for fans of 1930s fear, THE WHITE ZOMBIE is now available in numerous DVD versions–but it is very grand a case of “buyer beware,” for most of them are extremely dire. Roan Group has released an exceptional restoration of the film; PC Treasures has a reasonable budget release in tandem with the cult classic CARNIVAL OF SOULS. The Timeless Classics edition falls somewhere between the two: the age of the elements reveal and it isn’t a patch on the Roan edition, but its a darn watch better than most.

Buy,Download, Or Stream White Zombie! Click Here

As for the film itself, even by 1932 standards THE WHITE ZOMBIE was not a “screamer” in the same sense as DRACULA or FRANKENSTEIN were; it is instead lyric, at times poetic in nature, disturbing in the same manner of an Edgar Allen Poe poem. The memoir is quite simple: Madeline Short (Madge Bellamy) and Neil Parker (John Harron) have reach to Hati–and en route have met estate owner Charles Beaumont (Robert Frazer.) Beaumont falls in treasure with Madeline; unable to convince her to leave Parker, he goes to zombie master ‘Murder’ Legendre (Bela Lugosi), who works his horrible spell upon her. But Beaumont soon finds himself at odds with Legendre, and Parker, with the befriend of missionary Dr. Bruner (Joseph Cawthorne) has status out to rescue Madeline at all costs.

The cast is quite graceful, and many critics contemplate that this is really Lugosi’s best performance of the early 1930s, surpassing his more renowned turn in DRACULA. Indeed, he is a considerable presence in the film, gruesome and substandard and yet at times–it is difficult to describe–one sees the unexpectedly attractiveness of the man in both physical and psychological terms. It is a memorable performance. But the tremendous thing about THE WHITE ZOMBIE isn’t so considerable the yarn or the performances as “how the thing is done.”

The cinematography is simple, but it has a misty quality, and one is always aware of the texture of gloomy and white; shadows are principal in the film, and the overall see is quite unlike anything to advance out of Hollywood up to that point–and even today it remains largely original. There is an elegance to the device the scenes are staged and photographed that rarely occurs in any film of any era.

Modern viewers without valuable interest in films of this period are likely to gather THE WHITE ZOMBIE mannered and a bit slow–but if you have an interest in early sound films, and even more so in dread films of the 1930s, THE WHITE ZOMBIE is an well-known in your collection.

GFT, Amazon Reviewer

This movie, which I possess was the first zombie movie ever released, relies a lot on shadow and mood rather than action, which is sporadic, though intense. This film often bores fans of fresh film because they query action to boring them into senselessness rather than getting into the atmosphere of a film. Fans of classic movies will luxuriate in the texture of the film and the creepy feeling the film does a very excellent job of instilling.

Madeleine Short (Madge Bellamy) and Neil Parker (John Harron, who appeared in minor roles in dozens of movies until his untimely death in 1939) have journeyed to Haiti to secure married. Once there, their host Charles Beaumont (Robert Frazer, who appeared in dozens of movies, though many of his roles were uncredited) falls madly in savor with Madeleine. Beaumont turns to Destroy Legendre (Bela Lugosi, who one year earlier created the standard for all future Dracula wannabes) for assistance. Legendre is a zombie master, and uses his abilities to turn Madeleine into a zombie.

Neil Parker is beside himself with anxiety because he thinks Madeleine is dull, but her death is only in appearance because of the drugs that Legendre ragged. Parker discovers that Madeleine may be alive, and enlists the wait on of missionary Dr. Bruner (Joseph Cawthorn) to track her down and rescue her.

Though the slay of the movie has some measure of predictability, the value of this movie is in the dart and not the destination. The movie has an eerie quality throughout, partially due to the sets and partially due to cinematography. Bela Lugosi’s piercing eyes are prominent and with a colossal conceal television it is easy to peek how intimidating his eyes can be. This movie ragged techniques that were ground-breaking at the time, including split screens and overlays. I am not distinct how the director created the conception of the castle, but the beach scenes featuring the castle were outstanding considering this movie was filmed in 1932. The result of all these features is that the movie is very artistic and involving to scrutinize.

“White Zombie” is a relatively dreary movie that relies almost completely on atmosphere. The action is dinky to brief moments, though intensity is well-known. For example, there is a scene with a zombie falling into a grinder. The scene is very graphic and the sound effects are realistic and disturbing. Fans of gothic terror, Bela Lugosi and zombie movies will come by this movie a treat and one they will want in their collection.

Use caution in buying this movie. I know that many people have tried, and failed, to catch a wonderful copy of this movie off the internet. For some reason the sound off these copies is awful. This movie is one that you should probably select as a DVD if you wish to have it in your collection. Other reviewers contemplate the version by the Roan Group to be the best available version, and it is (currently) cheaper than this version. I have not seen the Roan Group version myself, so I occupy this assertion based on the expertise of reviewers who have seen both versions. You may wish to do a bit of research before deciding which version meets your needs the best.

Enjoy!

Electronic Cigarettes Starter Kit
Wedding Album Design
Electronic Smokeless Cigarettes
Small Business Phone Systems
Lumosity Free Brain Training

It seems like a lot of people I know don’t like KISS.  Because of this, I can’t help but suspect that I may be surrounded by communist subversives.  Of course it could be that I grew up with KISS (and Gene Simmons in particular) as a household name, being introduced to them by my uncle at a very young age.  Or it could be that most people I know for some reason don’t think that the following things are awesome: blood, fire, makeup, battle-axe shaped bass guitars and catchier-than-herpes nuggets of 3 minute, 3 chord pop rock.

I’m guessing it has something to do with the later.  KISS are not a heavy metal band, or even a hard rock band.  KISS is a pop band.  A mindless sugar-rush of sweet, tasty choruses and juvenile lyrics wrapped in the aforementioned fire, blood and makeup.  Once you have that in mind, it might make it easier to appreciate them for what they really are.  ”Calling Dr. Love”, “God of Thunder” and “Deuce” aren’t fucking high art or rocket science, they are the musical equivalent of a bag of Halloween candy.  Anyone assessing KISS based on any other criteria needs to get it the fuck together.

(above: “God of Thunder” my favorite KISS song and the closest they ever got to heavy metal in my opinion)

And although KISS might not be a heavy metal band by any stretch of the imagination, they are arguably the second most important band to influence heavy metal after Black Sabbath.  Their theatricality/imagery, catchiness and swagger, (not to mention the invention of what would later come to be known as corpsepaint) had wide-ranging and lasting effects on everyone from GWAR to the late Dimebag Darrell to the black metal scene in its entirety.  Bands ranging from White Zombie (“God of Thunder”) to the Melvins (“Goin’ Blind”) to Nirvana (“Do You Love Me”) and beyond have all seen fit to cover tunes penned by the grease-paint adorned quartet.  And let us not forget about the monumentally  atrocious Kiss My Ass tribute album, featuring such artists as Garth Brooks (or is that Chris Gaines) and uh… The Gin Blossoms.

(above: “I Was Made for Lovin’ You” aka KISS’ “disco song” and also one of their most successful hits.  Hey, I dislike disco as much as the next metalhead (except for the Bee Gees, those dudes were hella sick), but try to tell me this isn’t a catchy lil’ fucker of a song.)

Of course along with KISS’ imagery came accusations of satanism and other such nonsense.  According to some members of the god squad, KISS was an acronym for Knights In Satan’s Service.  I’m not quite sure how anyone could listen to “I Was Made For Lovin’ You” or “Hard Luck Woman” and get satanism out of it.  Or maybe anyone that wears face paint is automatically a satanist in the eyes of jesus freaks.  Watch out for Bozo kids, he’s going to see that you roast in the fiery pits of hell!  But I digress, the “controversy” brought on in typical fashion by the lord’s most ignorant followers only helped make KISS that much more appealing to rebellious youth, even if they were really singing about sex instead of satan.  Come to think of it, that was probably even more appealing.

So maybe now those of you that have previously scoffed at my enjoyment of KISS have a better understanding of my reasons for being a fan.  Sure, they have made numerous missteps, such as taking the makeup off, firing Peter Criss and Ace Frehley and releasing tons of clunkers in the song department (I cannot comment on their latest album as yet), not to mention basically becoming nothing more than money-grubbing media/merchandising whores.  But again, KISS is a pop band, so things like artistic integrity and cred should be viewed as non-issues.  Fun haters be damned, I’ll be cranking “Cold Gin” while you’re bitching about what a terrible band KISS is for all of the wrong reasons.  KISS my ass, indeed.

Once Upon a Time in Vancouver

…Thousands of kids would get together to dance until the wee hours to the throbbing electro beats of the best DJs in the world.  But with age, tastes change, responsibilities increase, waists get wider and pants get narrower.

In September of 2008,  I logged on to ticketmaster.ca to see if anyone interesting was coming to town and almost wet my Depends when I spotted tickets on sale for Pendulum,  my favorite Drum and Bass band!  I had been promoting this band relentlessly since I’d first heard their phenomenal 2005 album, Hold Your Color.  Pendulum’s new album, In Silico, already a favourite, had a more guitar-driven, less electronic feel. The concert was described as a live act rather than a DJ show—instead of spinning records they’d be playing instruments!  Unfortunately, they were coming to Toronto, not Vancouver.  Luckily, my husband travels a lot for work and collects air miles.  I crossed my fingers and bought the tickets. 

 A Mini Vacation

 We arrived in Toronto on Friday October 3rd at around 6 p.m. EST, rented a car, and proceeded to the Hilton Hotel Toronto.  We went for dinner at a narrow little box called Lolita’s Lust.  Even at 9 p.m. it was packed, so we ordered martinis at the bar and soaked up the atmosphere.  Say what you want about Toronto, it does have its own fast, jagged vibe. About 45 minutes and two more martinis later, we stumbled to our table. By the time our entrées arrived, my husband and I were giddy and hungry enough to chow down on our fellow diners.

 Eat, shop, eat, barf!

We slept in until 1 p.m., and then went to a breakfast joint called Eggspectations. My husband believes that breakfast should be the first meal of the day, no matter what time it is when you wake up—and bacon is mandatory.

We spent the next several hours  shopping on Yonge Street, the longest street in the world. Normally, I can’t stand to shop for more than five minutes, but I needed an outfit for the show.  I picked up two pairs of cargo pants at Buffalo Jeans and we both found Hurley t-shirts at a skate store called the Boathouse.   My dog’s name is Hurley and yes, I am that cheesy!   I cannot resist the lure of books, so we went to a huge Indigo bookstore where I bought American Gods by Neil Gaiman to read on the flight back home.   Then we went to HMV to see if there were any new movies and TV series we could pick up. My husband threw up after eating at Ruth Chris’ Steakhouse—the wine did not agree with him. Possibly, it agreed a bit too much with me.  He had to lie down for a few hours.  Old age is hard.

 Rock Hard, but Don’t Break a Hip

 At around 11 p.m., we hailed a cab and asked the driver to take us to Koolhaus, the club where Pendulum was playing.  The driver nodded, and dropped us off at a completely different club. Thanks, dude!  Now $15 poorer and a lot grumpier, we took another cab to the club. 

Koolhaus was smaller than I expected, which is probably why it looked so full.  On one hand it was cool to see the diverse range of fans that Pendulum attracted. On the other— I had  phat pants older than some of these kids! There was a gaggle of goth kids dressed in white face paint and black eye make up with bullet holes drawn on their right temples.  I’ll take candy ravers any day.  At least they bring snacks.

Pendulum came out at 1:30 a.m. Unlike some bands (ahem, White Zombie) they were able to perfectly reproduce their album live. They had lots of energy and didn’t seem phased that the crowd was probably much smaller than they were used to.   Rob Swire’s voice sounded amazing and the sound was excellent.  It was a fast, tight set, drawn mostly from In Silico, but with a few key songs (Hold Your Colour, Streamline), from Hold Your Colour. I screamed myself hoarse belting out the tunes, though I was too short to really see the band over the crowd. We stuck to the back of the club with the other two Pendulum fans in our age group, where there was better ventilation and more room to dance.  In our twilight years, we can brag to our future children that we earned our bunions and bad backs busting a move to the best techno acts in the world.

 

Volevo una foto con il Dragula..managgia mi tocca postare il video….

Io adoro Rob Zombie…nel senso lo adoro da pochi giorni anche se probabilmente il germe era presente già in passato.Il motivo?E’ difficile da far capire agli altri ma mi fà ridere perchè è un imbeccile trashers di prima categoria (Sempre nel senso buono).Se un qualcosa mi procura della sana allegria questa persona merita d’essere da parte mia idolatrata anche perchè difficilmente rido per una cosa idiota in modo come dire..naturale..genuino?Già il caro Rob mi aveva deliziato con la sua demenza nei White Zombie con i vari yeah..e il leit motiv More human than human poi mi è venuta la malattia creepy e mi sono sparato pure i suoi film che sono veramente del garbage totale (a breve la rece di The devil rejects)…poi non contento la pazzia…comprare tutti i suoi cd…meno male che non ne ha fatto tanti…solamente tre..(peccato) anche se aspetto con fervore Hellbilly deluxe parte seconda..doveva uscire quest’anno e invece aspetterò l’anno prossimo.L’importante è che ci delizi con la sua demenza e idiozia..un vero mito.Rob grazie perchè mi tiri sù di morale..veramente.Sopratutto questa settimana che ero più a lavorare che altro…sopratutto ero sempre riconglionito quindi mi serviva un qualcosa che mi tirasse sù il morale.Insomma..lo sò…sono strano ma se una cosa è brutta e mi diverte…non posso non supportarla..sono fatto male..comunque dai la sua musica non è proprio inascoltabile…Mitico!!!Comunque oltre alla sua idiozia c’è anche la demenza dei traduttori online..mi sono imbattuto nella traduzione di More Human Than HUman dei White Zombie…che dire…Demenza allo stato puro….more yeah..Vi invito a leggerloperchè vi tira sù veramente un casino….

Io sono l’Astro-Creep
Uno stile di demolizione
Freak Hell american
Sono i morti di scansione
Un fantasma in una scatola
Ombra nella tua testa
Dire il suicidio di acido
Freedom of the blast
Leggi le linee fucking
Gratta la pelle rotta
Lacrima nel mio cuore fare
Me do it again yeah
Yeah yeah yeah yeah

More Human Than Human
More Human Than Human
More Human Than Human
More Human Than Human
More Human Than Human
More Human Than Human

Yeah
Io sono l’uomo puzzle

Con una mano lo scheletro dire
Sono Electric Head
Un nucleo cannibale
Una televisione ha detto sì
Non vittimizzare
Leggi la motherfucker
Psychoholic linee
In una guerra psichica
Strappo la mia anima a parte
E lo mangio alcuni yeah più
Yeah Yeah Yeah Yeah

More Human Than Human
More Human Than Human
More Human Than Human
More Human Than Human
More Human Than Human
More Human Than Human

Yeah
Io sono l’uomo ripper
Una mente locomozione
Love yeah stile americano (??????????????????)
Io sono il nesso uno
Io voglio più vita
Fucker I non è ancora finito

More Human Than Human
More Human Than Human
More Human Than Human
More Human Than Human
More Human Than Human
More Human Than Human

Cioè dai che cazzo è…ohhh?Ma come cxxxo parli???????uahahahahahaa

Mi raccomando guardate il Dragula ovvero il pupazzone demente d’acciaio con la faccia modello pupazzo africano..uahahahahaahaha…

Ammetto che questo video invece mi piace un sacco…horror muto…geniale..veramente…

Meet Lee Popa.

Over the coarse of his career as a producer/engineer/remixer, he has made sweet music with Queen, Tool, Korn, Cheap Trick, Outkast, Run DMC, White Zombie and more.

Recently, Lee has been diagnosed with a disease called Primary Sclerosing Cholangitis (PSC), and in order to continue treatment, he needs your help!He’s currently waiting for a new liver but his eligibility to receive Medi-Cal insurance ends November 30.  Friends and family have asked music fans everywhere to give anything they can to help Lee get the treatment he needs in order to beat this thing.

If you can spare a few dollars or even some words of encouragement, visit SaveLeePopa.com and donate.  All proceeds go directly to Lee and his outrageous medical bills.

SAVE THE MUSIC.

Tim Burton i Henry Selick van representar de forma perfecte el que és, i significa, la festivitat de Halloween, Dia de Tot Sants a Catalunya, en la seva excel·lent Pesadilla Antes de Navidad, mostrant-la com l’altre cara del Nadal, com la visió canalla i gamberra de la celebració per excel·lència.

Nascuda fa molts segles com a una cel·lebració celta, i sota el nom de Samhain (déu dels morts), coincidia amb el darrer dia de l’any (el 31 d’octubre segons el calendari celta) i representava el final de l’estiu. Aquell dia s’encenien grans fogueres per allunyar els mals esperits, ja que es creia que aquests acompanyats de bruixes visitaven les antigues llars, en busca d’un nou cos. Per aquest motiu no s’encenia cap llum i la gent es vestia de bruixes o dimonis per tal que cap esperit els posseís.

Amb l’arribada de l’era cristiana, el dia 1 de novembre va passar a denominar-se Dia de Tots Sants i el 31 d’octubre Vigília de Tots Sants, en anglès All Saints Eve. Amb el temps aquesta denominació va anar mutant fins anomenar-se, All Hallows Eve. D’aquí va néixer la paraula Halloween.

Amb el temps aquesta celebració ha anat agafant un caràcter més inofensiu i s’ha creat tota una iconografia, al voltant de la carbassa com a element representatiu que s’ha acabat estenent per arreu del món. Ha arribat a ser tota una icona de la cultura popular, influenciant el món de la música (Misfits, White Zombie, Marilyn Manson, The Horrors o The Cramps) i sobretot el món del cinema, i marcant de forma clara el cinema de terror més pulp, un gènere que ha trobat en el Halloween un gran aliat.

Aquí us proposem cinc títols perfectes per qui el dia 31 vulgui tancar-se a casa seva, sense llum i vestit de bruixa o dimoni, i celebrar sol o en companyia aquesta nit tant terrorífica. La nit ideal per posar-se la màscara més aterradora possible, amagar-te en una cantonada i donar-li un bon ensurt al burro del teu “jefe”.

	ED WOOD de Tim BurtonBiopic del pitjor director de l’història del cine. Amb una estètica i narració més propera al cinema de terror de serie B que no pas al cinema més estàndard.
	LA CASA DE LOS 1000 CADÁVERES de Rob Zombie Un festival pels amants del cinema de terror, barrejant de forma perfecte la cultura pop amb el terror més gore. Una pel·lícula plena d’homenatges i brutals assassinats.
	HALLOWEEN de John CarpenterLa mare de tots els slashers. Un film sanguinari i aterrador, amb la celebració de Halloween com a rerefons. El naixement del mite de Michael Myers, l’home del sac modern.
	AQUELLA CASA AL LADO DEL CEMENTERIO de Lucio Fulci Tombes, portes que grinyolen, presències infantils aterradores i una casa maleïda construïda al bell mig d’un cementiri que acull les desgràcies d’una família fins les últimes i fatals conseqüències.
	LA NOCHE DEL CAZADOR de Charles LaughtonInquietant i terrorífic conte infantil. Una parella de nens i la seva mare es veuen perseguits per la malèvola figura d’un fals predicador amb el rostre de Robert Mitchum.

This isn’t REALLY going to be a review. More of a recommendation. Just seek this album out at the record store or iTunes or wherever you can find it.

You Yourself Have Altered is the sophomore full album from Calendar of Saints, a band out of New South Wales, Australia. The 5 member band’s sound can be described as industrial metal set to dance beats. I didn’t think that I would like that combination, but the tunes were catchy enough. The first 3 songs especially, have great hooks. ‘Rare’ starts off the album in agressive fashion with Dimebag Darrell-esque Pantera-like chords and rythms. Ken Herzog, the Saints’ frontman sounds a bit like a cross between the singer from the Gandharvas and a young Scott Weiland; going wildly out of tune and off note on the high notes and sounding angrily raw on the lower octaves. His and guitarist Lou Seneca’s lyrics bounce between darkly serious and tongue-in-cheek.  Herzog belts out serious verses about “owning yourself” on ‘Momentum’, but the band immediately switches gears on the next song ‘Agnes Grey’ and the singer rants about the “foul smells of dark places”. I’ll leave what he’s ranting about to your imagination. If you really want to know, you’ll get the album, I guess.

All in all, it’s a fairly satisfying album that harkens back to albums like White Zombie’s last (not Rob’s) and the industrial joys of KMFDM. Aggressive metal crunchiness with great looping hooks.

This is a guy who used to tour with entire movie sets from horror flicks. Just a little background for the stage. LOL!

You’ve really got a hold on me.

Geffen Records

Rob Zombie has prepared a tasty little sampling of his musical career thus far for this 20th Century Masters release. The collection works as a decent snapshot for the casual fan, but I would have liked to see more offered from what can be considered a greatest hits collection. Two discs would have been preferable to a little more than 52 minutes.

It does offer a decent play list from his band White Zombie as well as his solo efforts with representative tracks from La Sexorcisto: Devil Music Vol. 1, Astro Creep: 2000, Hell Billy Deluxe, The Sinister Urge, and Educated Horses. Zombie’s electro metal sound and horror laced lyrical imagery has truly become his trademark over the last 14 years. It is very evident how much horror and exploitation have influenced his music from the psychedelic head trip “Thunder Kiss ’65” to the hell on wheels anthem “Dragula.” The necro-sexy track “Living Dead Girl” is also there as well as the hits “Never Gonna Stop” and “Feel So Numb.”

Personally I prefer my Rob Zombie music hard and fast so the inclusion of “House of 1000 Corpses” and “The Devil’s Rejects” weren’t so much my flavor as say “Superbeast” and “More Human Than Human.” Nevertheless the set works for what it is, a likely affordable abridged retrospective of a career that hopefully is just getting started. I think Zombie has the talent and ability to remain on and help define the cutting edge of music and film for us sickos out there.

-Ben Sadler

illustration by FRANCESCO FRANCAVILLA

When it came to screen presence, Bela Legosi was the master. Best known for his portrayal of Count Dracula, Legosi has this kind of allure that penetrates the viewer from the silver screen, even when its a digital TV. White Zombie is an oddity as it is revered as the first proper zombie film yet only gained acclaim long after its initial release in 1932. Shortly after the seminal Dracula (directed by Tod Browning), Legosi found himself in many similar roles, often playing a sinister foreign ghoul of one kind or another. The films of this era vary in quality but White Zombie is a classic horror film with a palpable atmosphere that modern films dream about.

Trailer

Set in Haiti, the movie follows an innocent engaged couple who come into the good graces of the rich Western aristocrat Charles Beaumont (looking very much like Oscar Wilde). The oblivious couple (Neil Parker and Madeleine Short) are encouraged to get married in Haiti at Beaumont’s expense. Despite a desire to leave for England, the couple relents and Beaumont starts to weave his web around the unsuspecting Madeleine. Visiting the nearby sugar plantation owner Murder Legendre, Beaumont asks the ghastly stranger for his aide. It turns out that Legendre has found the ideal way to process sugar cane with zero overhead by turning his staff into zombies through the use of voodoo. It is Beaumont’s wish that Legendre use his arts to snare the pretty young Madeleine for his own. Legendre is only too happy to assist.

With one desperate attempt to gain her affections, Beaumont leers at Madeleine as he leads her to the alter to be wed, but no dice. Though a rich aristocrat, the man is a creep. Not seeing any other recourse, Beaumont doses Madeleine with a fast acting poison before she reaches the alter and the deed is done. Distraught over his beloved’s demise, Parker has no way of knowing that his love has become the living dead and is residing in Beaumont’s mansion. But all is not well. A scintillating beauty in life, Madeleine’s personality is a dull reflection of what she once was. Feeling he has been tricked, Beaumont learns too late that Murder Legendre has his own schemes for the lovely Madeleine. To be honest, it’s sheer stupidity mixed with misplaced egocentricity that  Beaumont thought he could trust Legendre. Posing a threat to any that opposes his thirst for power, Legosi’s character is nearly unstoppable due to his mesmerizing stare and army of invulnerable zombies.

Only with the unexpected assistance of the butler and Beaumont himself is the twisted empire that Legendre has built on the backs of the undead destroyed and Madeleine released from his thrall. It is  (of course) Legendre’s underestimation of both the human capacity for love and heroism that is his true downfall. By trying to compel Madeleine to kill her beloved he loses his grip on her psyche. By believing that Beaumont has not a redeeming bone in his body, he cannot predict the fiend’s sudden bout of bravery that sends both of them hurtling to their deaths.

Personally I couldn’t predict the vaudeville joke ending from the butler!

While the pacing is certainly slow, it is still thrilling stuff in keeping with the tone of Browning’s Dracula. While the plot hinges on the attractive Madeleine (played by the legendary Madge Bellamy), once you see her in the rather racy pre-wedding scene you will certainly accept the great lengths three men go to to gain her affection. As I have stated before, Legosi oozes influence from the screen with his charismatic facial expressions and near-trademark hand gestures that presumably can gain control of any person’s will. The zombies themselves are terrifying if only for the fact that they are being utilized in such a pedestrian way. Rather than lurching from their graves, these guys are working long hours to keep their master rich.

The zombie films that follow White Zombie (notably Val Lewton’s I Walked With a Zombie and much later the Serpent and the Rainbow) owe much to this early film for its depiction of Haitian lore even if it was played up for effect. A macabre and moody film, White Zombie belongs on your shortlist of movies to get in the frightful mood of Halloween.

I’m back in NY after a great rehearsal in Philly. We got to finish up some ideas and concepts that we’ve been playing with for quite some time. We’re going to be playing a show in late October that’s supposed to be a night of “experimental” music/bands. We kind of fit in this category but it’s given us an excuse to do some weirder stuff that we’ve discussed in the past.
We watched Brainscan Saturday night. It was fun to watch something with such a strong mid 90s kind of feel. I’m sure if I had seen this movie when it came out I would have loved it but it was still enjoyable. There was some really great music in there like Primus and White Zombie. Today we watched Night of the Dribbler with lunch. I got this movie from Amazon the other day and it was one of the few times that I brought a movie to watch in Philly that I hadn’t yet watched. The movie was made in the mid 90s (fitting the cinematic theme) but was “lost” and never released in theaters or home video until recently when it was found in a warehouse or some craziness. It’s supposed to be “the first and only basketball horror-slasher-comedy” according to the box. It’s definitely got a lot of basketball. I can’t say there’s much genuine horror but it’s got elements of a slasher film. There’s a crap ton of comedy though mostly unintentional. I could talk a lot of trash about this movie but I was entertained by it’s junkiness. It was also great to see an accidental shot of what looked like electrical and masking tape covering up some nipples. Both movies are worth downloading or checking out on Netflix. Balls.