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REVIEWS BY THE GORE-MET, MARK R. HASAN, AARON VON LUPTON, GEORGE PACHECO, JESSA SOBCZUK AND TREVOR TUMINSKI.


SCREAM Marco Beltrami


SOUNDTRACK


VARESE SARABANDE It’s taken eons for Marco Beltrami’s com- plete Scream score to receive a legal commercial release (albeit limited to 2000 copies), and fans will be pleased to discover the score glows with a peculiar purity. Drawing from old clichés (stabs, stingers, breathy voices and wild dynam- ics), Beltrami’s approach moves in tan- dem with the film’s deliberate shifts from satire to clean, lean terror. But the music never ridicules the central character of Sidney – a motherless and soon-to-be fatherless virgin whose iconoclastic theme is the ’90s equivalent of the spine- tingling descant from Rosemary’s Baby. Whether played on tender piano, grungy fuzz guitar or as a mordant lament, “Sid- ney’s Theme” also reflects Beltrami’s ability to drift organically between or- chestral modernism and electro-rock. The score’s complexity remains striking, but it’s Beltrami’s brilliance in making the listener cringe, giggle and well up that established the young composer as a leading voice in horror fifteen years ago. MRH 00000


mitted zombie photos, games, cool rotting flesh comic artwork and some funny tweets courtesy of Weisse himself. It’s a little disconcerting then that Zombie! sounds so run-of-the-mill. Well, a little more competent than some of the D.I.Y. devilocks out there, but The Outbreak is really just another collection of Misfits/Ra- mones-inspired tunes about horror movies (in this case, Children Shouldn’t Play with Dead Things, Friday the 13th, , etc.). Dedicated horror punks will hear similarities to Eerie Von’s SpiderCider album, specifically in the lo-fi production and Weisse’s vocal tones. He’s clearly a hardworking dude, but more emphasis could be placed on the audio blood that runs this flesh-eating empire. AVL 00½


will find life among newly apathetic goth wallflowers looking to cut a bat-shaped rug, the band oughta focus on developing a less-familiar musical message. Skep- tics will label this long dead. TT 00½


GOD MODULE Séance


INDUSTRIAL


THE CHANNELING Last Harvest


PUNK


ZOMBIE! The Outbreak


PUNK


MURDER GEAR The one-man band that is Zombie! (a.k.a. Eric Weisse) is more than your average horror punk outfit. Transport your eyeballs over to thezombieriot.com and you’ll see that Zombie!’s music is merely the foun- dation for an entire undead multimedia experience that includes music videos based upon horror movie clips, fan-sub-


AXE ’N’ HEAD If you’re a fan of the Tony Hawk video game series, you might have already heard The Channeling’s “Frighteners” on the 56-song Project 8 soundtrack back in 2006, where the band was listed alongside veteran punk acts such as The Dead Milkmen and Bad Religion. In 2010, the group released its three- track EP, Last Summer, and now the Southern California horror punks are fi- nally unleashing this debut full-length. Tinging each track with a collective love of scary movies and horror culture, songs such as “Coroner’s Report” and “Demonology” explode with energy and melody-driven waves of guitar noise. The make-or-break factor for fans, however, will be Chris Mann’s intense, wailing vocals, which, on tamer tunes such as “Damien” and “Anoxia,” end up competing with the instrumentation, sometimes even changing the style dramatically from a cool Sonic Youth- meets-Joy Division sound to an AFI- esque California punk vibe. If Mann’s whine was pushed further back in the mix, though, The Channeling would be deadly. JS 000


METROPOLIS According to the press release for Séance, the music of Seattle threesome God Module is intended to give listeners “the feeling of hearing their friends being eaten by monsters as they dance in a dark cemetery and realize they have an overwhelming need to fuck someone or something to death.” The group’s fifth full-length begins promisingly by extending a trancey olive branch to the spirit world on “Ouija,” complete with samples from the 1986 film Witchboard, before disappointingly rolling its musical planchette over well-trampled industrial terrain. There’s the token suicide an- them (“Devil’s Night”) and solid dark- wave ass-shakers


(“Rituals,”


“Doppelgänger” and “M.D.K.”), but twelve years in, singer Jasyn Bangert’s shredded, Nivek Ogre-like vocals and the band’s heavy beats and new wave keyboard lines break less new ground than a rookie gravedigger. While Séance


:WUMPSCUT: Schrekk & Grauss


INDUSTRIAL


METROPOLIS Maybe it’s a byproduct of the double- headed dose of danger :wumpscut: toyed with on last year’s impressive Siamese (RM#100) but Bavarian DJ/programmer Rudy Ratzinger’s latest creation, Schrekk & Grauss (roughly translated as Scare & Horror), comes off as musically cohesive but lyrically schizophrenic. For instance, try rationalizing the presence of “Rudolf Wolzek,” a suitably biting cut of noisy electro-industrial about cold-blooded SS Lieutenant Colonel Rudolf Höss, dooms- day mantra “Alles Aus” or the duelling vo- cals of “Jiddish is a Zwillink” – another rumination on WWII-era atrocities – alongside the irksome rooster crows of “Kikeriki” (German for “Cock-a-doodle- doo”), the tongue-in-cheek “Zombikini,”


THE ALFRED HITCHCOCK


SOUNDTRACK


HOUR: VOLUME 1 Bernard Herrmann VARESE SARABANDE Between 1963 and 1964 Bernard Herrmann scored seventeen episodes of The Alfred Hitchcock Hour, and Varese’s must-have set features eight suites of said music, which are very different from his Twilight Zone canon. Herrmann drew from his extensive repertoire of eerie, chilly motifs and dis- tilled them into brilliant chamber arrangements. The themes are original, but now and then one hears a little Psycho, a bit of Fahrenheit 451, the slow chord ascensions from Mysterious Island and occasionally a flavourful dose of Americana. Herrmann’s genius included his ability to grab the listener in any genre, but the fact he could impress using a modest orchestra was proof of his mastery of film, TV and radio scoring. Never before released, these suites are beautiful little mood pieces that stand on their own as concert sketches, and this two-disc set (limited to 3000) is among the most impor- tant releases of 2011. MRH 00000


A U D I O D R O M E 63RM


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