Blood Pack Vol. 6.66 released!

It's that time of the year once again! A new year and a new compilation album celebrating our 6th birthday as a webzine.

Review: Various Artists – 'We're In This Together: A Tribute To Nine Inch Nails'

VARIOUS ARTISTS 'We're In This Together: A Tribute To Nine Inch Nails' TRIBULATIONS

Review: Various Artists – 'We Reject: A Tribute To Bile'

VARIOUS ARTISTS 'We Reject: A Tribute To Bile' TRIBULATIONS

Review: Ritual Aesthetic – 'Wound Garden'

RITUAL AESTHETIC 'Wound Garden' CLEOPATRA RECORDS

Review: Axegrinder – 'Satori'

AXEGRINDER 'Satori' RISE ABOVE RECORDS

Wednesday, 18 March 2015

Further names for WGT 2015



Wave Gotik Treffen festival has kept the announcements coming hard and fast with a lot of names released that will be playing the event in Leipzig, Germany this year. Artists announced so far:

.com/kill (D) - Accessory (D) - Agent Side Grinder (S) - Antimatter (GB) acoustic and electric performance - Ari Mason (USA) - Ash Code (I) -Ashes You Leave (HR) - Ashram (I) - Astari Nite (USA) - Automelodi (CDN) - Birdmachine (D) - Black Lung (AUS) - Blood And Sun (USA) -Captain Reckless & The Lost Souls (AUS) - Centhron (D) - Cromdale (D) - Deine Lakaien (D) - Die Kammer (D) - Dupont (S) - Eisregen (D) -Empathy Test (GB) - Esa (GB) - Escape With Romeo (D) - Evi Vine (GB) - Faey (D) - Fields Of The Nephilim (GB) 30th anniversary show -Fixmer/McCarthy (F/GB) - Ghosts Of Dawn (D) - Grendel (NL) - Harmjoy (D/USA) - Hezzel (LV) - Jo Quail (GB) - Keluar (D/GB) - King Dude (USA) - Klutae (DK) - Koffin Kats (USA) - L'ame Immortelle (A) - Last Dominion Lost (AUS) - Lisa Cuthbert (IRL) - Majdanek Waltz (RUS) -Minuit Machine (F) - Mono Inc. (D) - Morthound (S) - Mushroom's Patience (I) - Nosferatu (GB) - NZ (A) - Orphx (CDN) - Otto Dix (RUS) -Polaroid Kiss (GB) - Rabbit At War (D) - Rezurex (USA) - Roma Amor (I) - Samsas Traum (D) - Sólstafir (IS) - Seasurfer (D) - Skyforger (LV) -Snog (AUS) - Soko Friedhof (D) - Sol Invictus (GB) perform the album "In The Rain" - Soror Dolorosa (F) - Spencer (CH) - Stoneman (CH) -Substaat (N) - Sweet Ermengarde (D) - Terrorfrequenz (D) - The Exploding Boy (S) - The Other (D) - The Present Moment (USA) - The Saint Paul (D) - Two Witches (FIN) - Unterschicht (D) - Unto Ashes (USA) - While Angels Watch (GB) - Wrangler (GB) -

The festival will take place this year from 22nd May until 25th May. For more information please visit the official Wave Gotik Treffenwebsite.  


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Tuesday, 17 March 2015

Review: Zoax – 'Is Everybody Listening?'



ZOAX
'Is Everybody Listening?'
CENTURY MEDIA


London-based quintet Zoax may only be on EP number two with the release of 'Is everybody Listening?' but the bands subtly groovy heaviness has been making a few ripples. They have already got two appearances at Download festival under their belts as well as scoring support slots with the likes of Cancer Bats, Polar, and Architects. You might be forgiven for thinking that's enough of a statement to adequately sum up the band. But you'd be wrong.

Yes, the band base their sound in a post-hardcore formula, but they find themselves at the artier end of the spectrum by infusing quiet and discordant – almost jazzy – interludes as well as an ever present groove that underpins the tracks and which recalls the likes of Glassjaw and Thrice with hints of Deftones brooding.

Aside from the quiet curve-ball of the untitled intro, the album proceeds with speed through tracks like 'Lonely Soul', 'Zero Point Seven', and 'Innocent Eyes', which thrash and writhe under the emotional strains of the lead vocals that switch from screams to thinly melodic at the switch of the hat.

The band are striving for their own identity, and they certainly have the talent to do it... but the fact remains that their less aggressive side is more expressive than the post-hardcore heaviness that is their obvious selling point. They have a strongly progressive, even experimental potential that serves to set them apart, but is still stifled by an unnecessary reliance on fashionable heaviness. The band have skill and depth and would really benefit from pushing themselves in a less formula-driven direction.

There will be many out there who will cry out that with a confident display of power and emotion such as this, that the band have sprung from the Earth fully formed. True, they sound like they could be on their third album already.... but therein lies the crux of the problem. It's still too familiar. Too safe. There are the potential elements here to really make themselves stand out from the crowd, but as of now they're just rudimentary quirks to their sound. They could stick with this formula and with the backing of a label like Century Media sell some respectable units. Or, they could go for broke and really push themselves beyond what everyone else is doing and break new ground. Time will tell.

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Review: The Dreaming – 'Rise Again'



THE DREAMING
'Rise Again'
METROPOLIS RECORDS


Comprised of former members of Stabbing Westward, LA-based dark rockers The Dreaming already have a lineage that creates certain expectations for this new endeavour. However, as their last album, 'Puppet' showed, the band have all the tool they need to solidify their name in their own right. Last year's lead single 'Alone' was a good indicator of where the band were looking to take their third album 'Rise Again', and it sounded very promising.

Fast-forward and the album is here, and the band are definitely living up to that promise. The album kicks off with the explosive 'Alone', which is just as strong as the bands, new wave-meets-darkwave style gets. It's a great song that sets the album up nicely and is built upon by anthemic numbers such as 'Painkillers', 'Empty Promises', 'Throw It Away', 'Blink Of An Eye' and 'Rise Again'. The album is heavy on sing-a-long choruses, emotional lyrics, dance-friendly electronics and great guitar riffs which makes it instantly accessible to anyone hearing them for the first time.

There is a set formula that the band don't really deviate from too much. But they do manage to bring things in for the odd slower and softer number. But ultimately it doesn't break ranks with the up-beat electro rock that informs the majority of the album. And while that creates a strong unified sound, it does leave a question mark as to whether this is their comfort zone and whether they will throw any curve balls at us, as they have the talent and musicianship to do it and still be great.

The album is extremely well produced and could easily hold its own against a bigger budget, major label band on the radio. The synths and guitars never swamp each other and vocals soar through the mix with ease.

With this level of song-writing the band have upped their game on 'Rise Again' and will safely put to rest any comparisons to Stabbing Westward. The album is strong, accessible, memorable and relevant. And with a label like Metropolis backing it should be a firm footing from which the band can establish themselves internationally. 

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Monday, 16 March 2015

Live Review: Wednesday 13 – Rescue Rooms, Nottingham 14/03/2015



WEDNESDAY 13 (+ Rival State)
Rescue Rooms, Nottingham
14/03/2015


Wednesday 13 has enjoyed a level of longevity that can only be mentioned in the same breath as the likes of Alice Cooper and The Misfits. But unlike Cooper and The Misfits, since his international breakthrough with the Murderdolls on their 2002 début 'Beyond The Valley Of The Murderdolls' Wednesday 13 has been consistent in the quality and frequency of his releases. Even before this, he laid the groundwork for his psychotic horror inspired blend of punk and metal with bands such as Maniac Spider Trash, as well as the now legendary Frankenstein Drag Queens From Planet 13, and this formula has carried through into his solo discography, finding a willing audience with every release.

Looking at the crowd tonight its easy to see that despite being a 20+ year music veteran, Wednesday 13 still finds favour with a young audience as well as keeping his long-time fans happy. His latest UK tour in support of his sixth full-length solo album, 'Monsters Of the Universe: Come Out And Plague', sees Wednesday on perhaps the strongest form of his career so far.

First off though, we have support act Rival State. This New Zealand formed, now UK-based quintet seem like a good fit on paper. Their punk-tinged grungy metal formula complete with mosh-friendly riffs and sing-a-long choruses arouse the interests of a few members of the audience. Their energetic performance, especially that of their frontman, is a by the books exercise straight from the pages of rock 'n' roll 101. But despite all of this they seem rather generic.

The songs are pretty standard, and even the band's “black jeans + black t-shirts + frontman in a leather biker jacket = RAWK!” presentation just comes off as totally derivative. It's one of those situations that, while there is nothing wrong with their set, it just doesn't stand out in any way from a myriad of other bands. As a result you can't help but list in your head all the other domestic bands who would have complimented the headliners more.

When it comes time for Wednesday 13 and his band to take the stage you know you're in for a real show. From the opening bars of the intro 'Death Arise' the band embark on a furious and theatrical set that compliments the conceptual charge of the new album. Complete with masks, makeup changes and mood lighting Wednesday 13 holds the audience's attention through every song and shows just what a performer he is as he creeps about the stage like a twisted monster from outer space.

The set is heavy on new cuts from the band's latest, and heaviest, album with the likes of 'Keep Watching The Skies', 'Astro Psycho – Galactic Blood Drive', 'Serpent Society', 'Bombs, Guns, Gods – This Is A War' and 'Monsters Of The Universe' getting a welcome airing. But he also makes plenty of room for fan favourites such as 'Look At What The Bat's Dragged In', 'Skeletons', 'Hail Ming', 'Get Your Grave On' and 'Scream Baby Scream'. The encore also gave a rare airing of the Frankenstein Drag Queens classic 'Scary Song' as well as the undeniably brilliant 'I Walked With A Zombie' and ' Bad Things'.

The band were tight throughout the set and Wednesday's vocals sound as good as ever with only the lead guitar sounding a little high in the mix in places, but not enough to swamp the rest of the band. It's a very strong outing befitting a performer of Wednesday 13's calibre and one that proves he is the king of schlock 'n' roll... and long may he reign too. 

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Thursday, 12 March 2015

The best of Record Store Day 2015


It's just over a month until Record Store Day arrives again. A day where lovers of physical formats can grab bargains and a slew of limited edition vinyl, CD and cassette releases for one day only. Record Store Day came into being in 2007 when over 700 independent stores in the USA came together to celebrate their unique culture. The UK followed suit and 2015 will see the eighth celebration of the UK's unique independent sector.

There are over 200 shops across the UK participating in Record Store Day 2015 and the official website has a handy store locator so you have no excuse from visiting your nearest shop and grabbing yourself a bargain.

But with hundreds of releases slated to go on sale on Saturday 18th April there's too much choice to get your head around. With this in mind we've made a shortlist of recommendations that will hopefully tempt you to part with your money and keep our beloved record shops open.


ADAM & THE ANTS
"King Of The Wild Frontier / Ant Music"
7” Vinyl 

BRIAN ENO
“My Squelchy Life”
Double Vinyl

CATHEDRAL
“VIIth Coming”
Double Vinyl

DAVID BOWIE
“1966”
Vinyl

DEEP PURPLE

“Black Night / Speed King”
7” Vinyl

ELECTRIC WIZARD
“Time To Die”
Double Vinyl


ERASURE
“THE VIOLET FLAME REMIXES”
12” Vinyl

FIELDS OF THE NEPHILIM
“FALLEN”
Vinyl


HEDWIG & THE ANGRY INCH
“Original Cast Recording”
Vinyl 

IAN DURY
“New Boots and Panties!!” Expanded Edition
Double Pop-Up Vinyl 

IGGY POP
“Shot Myself Up”
Vinyl & 7”


JIMI HENDRIX
"Purple Haze / Freedom"
7” Vinyl


JOHNNY CASH 
“Man Comes Around / Personal Jesus”
7” Vinyl

KILLING JOKE
“LIVE AT THE HAMMERSMITH APOLLO 16.10.10”
Vinyl

MANIC STREET PREACHERS 
"The Holy Bible"
Picture Disc

MARK BURGESS 
“View From A Hill”
Book & Download Code

MASTODON 
“Atlanta”
12” Picture Disc

MINISTRY 
“Trax Box!”
7 CD / Vinyl / Book


MONTY PYTHON 
“Galaxy Song (Stephen Hawking Version) / Galaxy Song”
7” Vinyl


MORBID ANGEL
“Juvenilia”
Vinyl


ORCHESTRAL MANOEUVERS IN THE DARK
“Julia's Song (Dub Version) / 10 To 1”
10” Vinyl 


THE ROCKY HORROR SHOW
“Original London Cast”
Vinyl

PERE UBU
“Elitism for the People Pere Ubu 1975-78”
4 x Vinyl Box

PUBLIC IMAGE LTD
“LIVE AT THE ISLE OF WIGHT FESTIVAL 2011”
Vinyl

THE RESIDENTS
“SATISFACTION”
7” Vinyl

ROBERT PLANT
“More Roar”
10” Vinyl 


ROSE MCDOWALL
“Don't Fear The Reaper”
12” Vinyl

ROXY MUSIC
“Ladytron (Previously unreleased unedited vsn) / The Numberer (Steven Wilson Stereo Remix)”
10” Vinyl 


RYUICHI SAKAMOTO & DAVID SYLVIAN
“Bamboo Houses / Bamboo Music”
7” Vinyl

SEX PISTOLS
“Never Mind The Bollocks (Picture Disc)”
Picture Disc


SIOUXSIE AND THE BANSHEES
“Join Hands”
Vinyl

SLAYER
“When The Stillness Comes/Black Magic (Live At Wacken 2014)”
7” Vinyl

SWANS
“Swans EP”
12” Vinyl

SYD BARRETT/R.E.M 
Dark Globe” 
7” Vinyl 

T. REX
“Light Of Love”
Picture Disc

TEST DEPARTMENT
“Tested Product”
Vinyl

THE JESUS & MARY CHAIN
“Psychocandy. Live. Barrowlands.”
Vinyl


UK DECAY
“Rising From The Dread”
12” EP


VENOM
“From The Very Depths”
Double Vinyl 


THE YARDBIRDS
“Rarities EP”
7” Vinyl


We hope that makes your choices a little easier for you. A full list of releases is available to download HERE. Keep an eye on the official Record Store Day website for new release updates, and follow them on Facebook and Twitter to make sure you don't miss anything.

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Review: Je$us Loves Amerika – 'Falling' EP


JE$US LOVES AMERIKA
'Falling'
ARMALYTE INDUSTRIES 


Following on the wings of their previous two EPs, Je$us Loves Amerika finishes up their '3 Colours Trilogy' with 'Falling'. Unlike it's predecessors, this EP is a sombre and fitting end to the band's latest opus, with it's title track being more of an industrial ballad. With synth samples taken from The Beatles 'Lucy in the sky with diamonds', it creates a dreamscape of euphoria that gives the listener nostalgic pangs of lost love. What starts as a moment of clarity fast becomes anger within hidden emotions.

Remixes come in the form of label mates Paresis, Digicore and i!. Paresis turns the song sinister and menacing whilst Digicore makes it a stealth fuelled masterpiece and wouldn't be out of place on a trailer for a thriller flick. i!'s two mixes are a combination of the avant garde and the down-right odd (which is what you'd expect from them).

The real gem in this record though is it's finale. Called the 'vocal mix', this nine-minute dub track of 'Falling' takes on a mind of it's own. It is more evenly played out than it's original counterpart and is reminiscent to the Killing Joke remixes back in the 90's. It's only downfall is the fat synth that lands on top of it two-thirds of the way in, creating a wall of noise that simply does not work for this song, but you can still enjoy the track as an experience.

In all it makes for a good set of tunes in the '3 Colors Trilogy', if you were to put them together you'd have good enough tracks for one EP. You probably won't like all the stuff you hear, but you can easily pick and choose your favourites.

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Wednesday, 11 March 2015

Review: En Esch – 'Spänk!'



EN ESCH
'Spänk'
DISTORTION PRODUCTIONS


It is hard to believe that thirty years into his career as one of the most recognisable names in industrial music, that En Esch is only on solo album number two. With fifteen years service with KMFDM, as well as tenures in Pigface, Slick Idiot and recent collaborations with Mona Mur, the German multi-instrumentalist only dropped his, until now, one and only solo offering back in 1993 in the form of 'Cheesy'. It may be a little overdue but En Esch's body of work speaks for itself with fans successfully funding a Pledgemusic campaign to make this album happen. And their faith is definitely repaid.

Kicking off with a stomping single in the form of '12345', which sees him collaborate with former band-mate and Ex Marilyn Manson member Tim Skold, he sets the album up to be a strong mix of heavy guitars and catchy electronics that recalls the heyday of the 90s Wax Trax! Scene of which he was instrumental.

Songs such as 'Give The People What They Want', 'Do Me', 'We Love To Hate', 'No Guts No Glory', 'Ich Bin Ein Berliner', 'Spaenk' and 'This Party Ain't Over' cover everything from dance-friendly electro-industrial, through to hard and heavy NDH. He even throws in a curve ball with the annoyingly addictive and demented 'I Hop'. The album presents a full cross-section of En Esch's strongest song-writing styles and some memorable collaborations with the likes of Guenter Schulz, Erica Dilanjian, MMTM .

The album doesn't throw up anything particularly different or controversial in its content compared to what we are used to from En Esch, and as such it feels instantly familiar. But at the same time when you consider the number of artists he has collaborated with over the years, there isn't a style he hasn't touched on at some point and has made its way into this album.

The album does have one or two points that need raising. Firstly is some of the intros to the songs, particularly in the first half of the album can be a little weak in places and repetitive. And secondly, it is a long album – the full 80 minutes on a CD. Now personally I think this is great when a lot of artists struggle to give you an hour of music, but in the digital age it may be too much for some people's attention spans.

At the end of the day though, 'Spänk!' Is everything we hoped it would be. It is a well written, diverse and well produced album that shows off the full extent of En Esch's skills and experience as a songwriter. Hopefully we wont have to wait twenty years for solo album number three!

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Review: Green Elder – 'Offering'



GREEN ELDER
'Offering'
SELF-RELEASED


Neofolk can be a divisive genre for some. For others though it is a a pure expression of of emotive songwriting that is simple in its construction, but heavy on its atmosphere. A natural bedfellow of, doom, black metal and industrial, there has been much cross-pollination over the years, so its no surprise that the man behind Appalachian atmospheric metal band Twilight Fauna has chosen to build his other project Green Elder around the genre.

'Offering' is a two-track EP built around two sides that musically conveys the atmosphere of the brief Summer months. The first side contains 'Mountain Storms' a track built around a simple repetitive guitar riff augmented by flourishes of samples and accordion, with very soft vocals occasionally rising up before fading back into the mix.

The second side, 'Cairn Of Starlight' builds upon the guitar lead for a more complex but ultimately lighter traditional folk framework that keeps the soft vocals the blow through like the wind. This then fades into a a delicate extended outro that captures the atmosphere of looking up at the stars on a clear Summers night.

The EP may be a completely self-produced and self-funded exercise, but in terms of its production you wouldn't know. It's light and delicate construction has been mixed down with care so as to yield the maximum atmosphere, and it shies away from any glaringly low-fi elements that can crop up in recordings of this type.

Green Elder captures what good neofolk is all about. It is simple, haunting, beautiful and inspiring. It conjures images and narratives in the listeners mind with only the most basic of tools. Fans of the genre will undoubtedly enjoy this. And hopefully there will be more to come from this project in the future. 

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Come to Daddy: 5 Things we want to see in the new Hellraiser (and 5 things we don't)

"You opened it, we came" - The Lament Configuration

For the last two years horror master Clive Barker has been giving us little to no clues to what lies in store for us with his final chapter on the reboot of his classic horror series 'Hellraiser'. Barker hasn't really been involved since the third film, calling most after 'Hell On Earth' a bastardization of his work, but with the new movie on the horizon here's what us fans would like to see, and not to see happen to our favourite slice of darkness.


Things we'd likes to see 

1) Classic Barker
Since he left the 'Hellraiser' franchise back in 1993, Barker has been keeping himself busy. With cult success from movies like 'Nightbreed' and 'Candyman' to the Books of Blood series and other works of literature. His last few films have had little notification, with 'Midnight Meat Train' possibly being the stand out of the bunch. The last thing we want is for him to write something that will easily be forgotten. To any who have read the book 'The Hellbound Heart,' you will know that it is filled with stuff that at the time could not be conceived at that point in movie history. The first chapter alone with Franks' re-birth and awakening to the world changing around him once he opened the box, was changed to a more brutal, yet still satisfying scene. We hold out hope for a bigger budget so he can realize the tales true potential.


2) A sturdy origin tale
As Barker was not involved in the writing or creative background of the fourth installment to the franchise it was up to new blood to create a new twist for the origins of the Hell we had seen so far. Doug Bradley's character as the enigmatic Pinhead had been given a good origin story in 'Hell on Earth', so the only conclusion was to go even further back for a good story. 'Hellraiser: Bloodline' is about a man on a spaceship (yup, it's one of those sequels) that comes from a long family line starting with a toy maker who made the puzzle box. Known as the "Lament Configuration" (after it's creator) it is a box that once opened will bring forth the soldiers of Leviathan and send you back to their world for more than a bit of slap 'n' tickle. There are two tales told of the box. The first is told partly in The Hellbound Heart' and is given an epic backstory in the comic book series. The other comes in the fourth film, where space-age Lamerchand must call forth Pinhead and his army to put a stop to the curse on his family once and for all.
We have been tantalized by Barker that he will be doing his own origin story in the new film, where it shall be set on Devils Island with Lamerchand. Other than that it's anyone's guess on what will happen, but lets hope it's good.


3) Doug Bradley returns!
Good news people! It has already been announced that Doug Bradly, the man behind the pins, shall be returning to the role of Pinhead in this reboot. Barker has stated that there was no question on who should play the head of the Cenobite family (he bowed out when it came to the last film). It's good news for fans as he was the only thing keeping the franchise alive after Clive left for pastures red. Bradley had once admitted that the only reason why he took the role in one of the later films was because his wife said they needed a new fridge(!) so lets hope he's back on form for when the chains fly.


Lets not make this mistake again...

4) A Great score
In the first film the iconic music score was written by Christopher Young. Although it is a well known piece it was not the first choice. Originally the job had fallen to Industrial duo Coil, who wrote something so terrifying Clive Barker called it "Bowel churning"! It was rejected, but still released as an EP, and Young took on the role and wrote for the first two movies, gaining a Saturn Award for best music for his troubles. Since then he's been keeping busy, making scores for horrors such as 'Nightmare On Elm St. 2: Freddy's Revenge' & 'Drag Me To Hell'. Barker would be a fool to miss out on the opportunity to bring back that epic orchestral score that kept us awake at night. Failing that Mr. B (see what I did there) can always ask some of the more modern composers. Charlie Clouser ('Saw', 'Resident Evil 3'), Danny Lohner ('Underworld') and maybe even Trent Reznor (Nine Inch Nails, 'Tetsuo: The Bullet Man', 'Gone Girl') would probably jump at the chance (Reznor being a huge fan and even writing a song inspired by Books Of Blood).


5: Leviathan
Not much is known of the God featured in the second installment to the franchise. Seen as a giant diamond in the sky, the omnipotent being decides upon whom shall become one of his army of Cenobites, and even shines a black light over you to discover your secret sins. After the box was closed inside Hell, causing him to close into itself, we saw no more of this gargantuan figure. Perhaps after Barker left so did the inventive way of writing, rendering the series less of a journey through a persons soul to more being a thriller or gore-fest. We hope to find out more about this dimension and what else it may hold.


Hell has no time for health & safety, just don't look down.

5 Things we REALLY don't want to see 


1) CGI
We may be safe on this one, but it depends on what the film companies and producers say. Barker has always hated CGI, and any true fan of the film series will solidly agree that it has little to no place in the new film. When the first movie was made it was all done through animatronics, and it still holds true today. From Frank's return after drinking Larry's spilled blood, to the skeletal dragon that takes the box away, it still has a gripping effect and will engross and amaze even the new younger fans. If CGI was added it would ruin the realism and would ultimately cost more, leaving little creativity on set and less fun for the cast and crew. If you don't believe me go back to the first one, go on. Head over to your DVD collection, pick it out and watch all 93 minutes of it and tell me it still doesn't kick ass!


2) Changing the movies' theme
The major buzz-kill for near enough every Hellraiser fan was watching the fifth film, 'Hellraiser Inferno', and finding that gone were the intricate plot lines over good and evil (and the questioning of what WAS good and evil) and in it's place was more a gritty cop thriller. What followed was a dull head-fuck that left us bored and unsurprised by it's ending (I won't give it away if you haven't seen it, I wouldn't want to waste the word count). The only good thing to come out of it were some creative Cenobites (that didn't even get a lot of air time) and the fact that the lead character of Detective Thorne was played by Craig Sheffer. The ardent Barker fan would remember the name as he had played the lead role of Boone in Barkers' earlier work 'Nightbreed'. The films after that just got even worse. Even a reprise role of Kirsty Cotton and even another glimpse into the world of the Lamerchand linage wasn't enough to keep us sated, and when 'Hellworld' came along it was a gracious attempt at a clever story, but only if it had been done ten years previous it may have gone down A LOT better... I shall even spare you from the horrific 'Revelations'. I'm just glad I live in the UK where I don't have the autistic yearning to buy the piece of stool. Venting aside, I think we may be safe on this one. The only person who hates those movies more than us is Clive Barker himself, but once again he has to face those dreaded movie execs.


3) Pointless gore or 'Jump scares'
In modern day 'horror' the genre is split into two themes. The first are the jump scares, mostly coming from "found footage" movies like 'Paranormal Activity' (yawn). The second is UBER GORE! AKA lets take an original film and take it to the hilt to see if anyone gets grossed out or pissed off at it's content (*cough* 'Evil Dead' *cough*). Both of these have no place in the 'Hellraiser' world. Sure the original trilogy had a lot of gore, but it all served a role. Adding unnecessary gore to this new film would be like a Steampunker adding cogs to a coffee mug. If it doesn't serve a purpose then it will just end up looking silly to the serious fan. Same can be said of the "jump scare". It's lazy writing and gives the viewer a little scare only to ruin the true horror ahead of them. It would be like Pinhead hiding round the corner and then going "BOO!"


Watch out, he may be hiding in that cupboard in the dark room!

4) A small release
After all the hard work of keeping the execs at bay from the script, Bradley spending hours in the chair, all the SFX people working tirelessly to make this dream come alive, wouldn't it suck if the movie was given little to no promotion and just ended up as a straight to DVD/Blu-ray/Netflix release? The biggest thing that makes a movie lose credibility is the lack of backing from people in the industry. If this movie were to get over-looked due to yet another remake in 3D being promoted by a different big film company then it would be a true kick in the nuts to all the fans out there. We want posters, figurines, hell maybe even a lunchbox! What would be heaven would be after all the dust had settled, an amazing box set would appear, featuring all the films (good and bad) along with bonus features and remastered versions of the original trilogy. Failing that, perhaps an epic release by Arrow Films, with their own artwork and a sprinkle of the fairy dust that makes their company amazing. Seen as the UK aren't getting 'Nightbreed' any time soon I think we're deserved it.

(On a side-note also making the movie 3D can sod off as well.)


5) and lastly NO SEQUEL!
This has been Barkers' idea from the very beginning. Too many times has his work been given "new life" by means of an opening at the end of every film. Clive now wants to put this masterpiece to bed and wants it to go out with a bang, so who are we to question him? We don't want to sit through what could be the most amazing horror movie we will see next year (well I'm not 100% on the release date, but then again no one is) only to have Pinhead's withered hand twitch whilst under a pile of burning rubble at the finale. Saying that, if Pinhead is to well and truly kick the bucket we would want to see it done on an epic scale!


Coming soon: 'Hellraiser 11: Franks' Revenge'

Let us trust in the creator and hold out hope that this film is going to be as amazing as the rumors have got us constantly checking for updates. On the plus side a good thing to do while you are waiting for this movie to come out is get your mitts on the quite amazing documentary coming out next month via a Kickstarter campaign. 'Leviathan: The Story of Hellraiser and Hellbound: Hellraiser II' is an amazing feat of fan engineering. Hailing from Birmingham (UK) it features nearly three hours of interviews by everyone involved in the first two movies. They leave no stone un-turned, even including a bonus feature about the Coil incident, as well as amazing artwork and booklets. It shall be available to pre-order 6th April on the teams' website: www.leviathan-hellraiser.co.uk

As for the new film, lets hope Mr. Barker has some sights to show us...

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Tuesday, 10 March 2015

Review: Dødheimsgard – 'A Umbra Omega'



DØDHEIMSGARD
'A Umbra Omega'
PEACEVILLE RECORDS


One of the most visionary bands to have emerged from the Norweigien black metal scene of the 1990s. The name of Dødheimsgard (AKA DHG) is now one of the most respected avant garde metal acts around and, at one time or another, has counted some of the scene's top musicians amongst its personnel including members of Thorns, Zyklon-B, Code, Hexvessel, Immortal, Dimmu Borgir, Darkthrone, Satyricon and Emperor.

It has been eight years since the band's last outing on 2007's 'Supervillain Outcast'. In that time the various members of the band have germinated other acts that all draw from the avant garde and experimental complexities fostered by DHG. Eight years is a long time in the music industry, but there has been a whole in the extreme metal scene that only, DHG can plug and their new album 'A Umbra Omega' looks set to do that.

Those who were expecting 'A Umbra Omega' to pick up where 'Supervillain...' left off will immediately see this as a left turn by the band. The industrial and electronic elements are pulled right back and the band's technical prowess is pushed to the fore across six sprawling and progressive-tinged tracks. It recalls the band's 1998 outing 'Satanic Art', however the sound is cleaner, leaner and the band find themselves completely free to let their warped imaginations run riot.

Tracks such as 'Aphelion Void', 'God Protocol Axiom', and 'Architects of Darkness' evoke elements of progressive rock, black metal, post-punk, jazz, folk, neoclassical and ambient distilled through demented vocals, frenzied riffs, blast beats and more sonic detours than most bands would dare to dream of. It is spellbinding in its skill and definitely destined to preserve that most DHG of traditions by pissing a lot of people off. Perhaps no track on the album achieves this better than the closing number 'Blue Moon Duel' with its schizophrenic construction giving way to full on prog indulgence.

The album is kind of all over the place in terms of its influences. But the band condense it all into a well executed and intelligently presented album which benefits from a strong production job and an even mix that allows each element to shine through with ease.

'A Umbra Omega' is a welcome return to service for DHG that keeps in their tradition of not keeping with tradition. It is a beast that demands attention, whether you like it or not. It's ultimate strength lies in its diversity as it continually forces a little bit more into the genre and thus take it to another level. 

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