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REVIEWS BY JESSICA BUCK, ALEX DELLER, AND AARON VON LUPTON


THE LAST DRIVE-IN WITH JOE BOB BRIGGS: SEASON 1


Brennan and the Bigfeet


SHIP TO SHORE PHONOGRAPH CO. What’s a TV show without a great theme song? The Twilight Zone without Marius Constant’s two-note guitar noodle? The X-Files without the famous whistling in- tro by Mark Snow? These are the tunes that play in your head when you rush home from work to catch that all-im- portant next episode. Enter John Bren- nan’s infectiously catchy theme to The Last Drive-in With Joe Bob Briggs, the one horror nerds hum as they drag their chips and beer to the couch for some inspired rants by the legendary horror host. Also included on Ship to Shore’s beautiful “Bolo Blue” 7-inch are record- ings of the acoustic version that plays pre-intro, the famous “Drive-In Oath,” and an absolutely hilarious doo-wop number, “Hello Mary Lou: Prom Night II,” that Brennan played live during the finale of Season One. You could call this a non-essential novelty record, but anything Joe Bob-related is pretty darn essential in my book. 000½ AVL


SOUNDTRACK


cussion-based score, original composer Joe LoDuca doesn’t take any significant stylistic departures, keeping the same mouldy and claustrophobic atmosphere while expanding on it with added ex- citement and instrumentation. Opening with “A Nightmare Reimagined – Over- ture,” LoDuca sets the tone with mourn- ful melodies before frenzied strings tear into the audience on tracks such as “Au- tomatic Writing” and “Panic.” Though it was originally released in 2018, Mondo/ Death Waltz has come up with new convention-specific variants, includ- ing a MondoCon tri-colour swirl (“snot green, red swirl and pink”), housed in a deluxe package featuring outstand- ing artwork by original Evil Dead poster artist (and now, Rue Morgue cover boy) Graham Humphreys, complete with a “Necronomicon” stylized outer sleeve, and insert booklet with liner notes from LoDuca, Bruce Campbell, and producer Robert Tapert. Groovy! 0000½ AVL


pressed on red-and-green “Freddy’s Sweater” vinyl with ingenious artwork by Mike Saputo. 00000 AVL


ering what an important work Yuggoth was; one that prefaced Lovecraft’s fu- ture tales At the Mountains of Madness and The Shadow Over Innsmouth. The score itself can be enjoyed on its own on this 160-gram LP's B-side. The re- lease also features absolutely gorgeous artwork by Jeremy Hush in a quality package that’s consistent with the bulk of Cadabra’s releases. 000 AVL


H.P. LOVECRAFT/ ANDREW LEMAN/FABIO FRIZZI


I Notturni Di Yuggoth CADABRA RECORDS


A NIGHTMARE ON ELM STREET


Charles Bernstein


THE EVIL DEAD – A NIGHTMARE REIMAGINED


Joe LoDuca


DEATH WALTZ RECORDING COMPANY Remaking or “reimagining” a score is normally a risky proposition, especially with a film like The Evil Dead, revered as an undisputed ’80s VHS splatter classic. In going back to his original sparse, mostly string, piano, and per-


SOUNDTRACK


DEATH WALTZ RECORDING COMPANY All good slashers need a killer theme, and it was Charles Bernstein who gave Freddy Krueger his musical calling card with the now-iconic, instantly recog- nizable ten-note theme. The childlike, music box melody functions as a nod to Krueger’s young victims during his pre-supernatural pedophiliac days. Un- dercut by buzzing distortion and twisted keys, the brilliance of Bernstein’s score is that the sound remains akin to a child’s nightmare. Though synth-driven and using then-state of the art equip- ment like the famous Yamaha DX7, today the music sounds a little dated, but that just pulls at the nostalgia heart- strings that much harder. Taken from the first record in Death Waltz’s mas- sive 2017 Box of Souls collection, with the same slew of great-sounding bonus cues, this new single disc release comes


NAME: Horror Movie Talk Podcast THEME: Horror Movies FREQUENCY: Every Wednesday FORMAT: Review Show


In a world where there is a podcast about seemingly everything, two self-described schlubby guys have


cut through the noise with their simplistic show Horror Movie Talk. Hosted by Bryce Hanson and David Day, this “accidentally funny” weekly offering has a straightforward format: horror movie reviews. Aiming to inform, they focus primarily on new releases, though they’ll include mention of a related classic on occasion. Scared of spoilers? Fear not – Hanson and Day give their thoughts on the major points of the film before launching into a clearly defined “spoiler section” for the finer details. Fans of all stripes will appreciate their educated viewpoints and inspired interpreta- tions that are never too pedantic or snarky, while packing plenty of hu- mour. Chances are you won’t agree with every opinion, but Horror Movie Talk will give you plenty to chew on next time you’re wondering what’s worth seeing in the cinema or waiting for a rental. 000½ JB


AUDIO DROME 57 R M SOUNDTRACK


Spoken word horror factory Cadabra offers a unique proposition on this re- lease: the famed H.P. Lovecraft poem, I Notturni Di Yuggoth, read by Lovecraft Historical Society head Andrew Leman to the sounds of Fabio Frizzi playing acoustic guitar. Lovecraft wasn’t really known for his poetry and Frizzi never recorded a full acoustic guitar set, but it all comes together here. For the music, Frizzi composes eight “Guitar Nottur- nos,” taking the listener back a centu- ry, as if reading by gaslight on a warm summer night. Admitted- ly, chills are lacking in both the performance and music, especially consid-


ALONE IN THE WOODS


Kwaidan CADABRA RECORDS


Electronic duo Alone in the Woods takes on a whole new kind of horror project with Kwaiden, an album of instrumen- tal music based on the Japanese ghost stories of Lafcadio Hearn. According to legend, Hearn was born in Greece, fell in love with New Orleans, and ul- timately found home in Japan, and Alone in the Woods brings that sense of worldliness into the project, using a variety of instruments both organic and electronic, most notably the biwa – a


INSTRUMENTAL


SPOKEN WORD


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