Friday, September 19, 2014

OBLIVIONATION Language of Violence lyrics




I emailed the guitarist of Oblivionation a while ago, asking for a scan of the lyric sheet to their recent album Language of Violence. He didn't have one on hand so he typed out the lyrics to all ten songs for me and then gave me permission to post them here. That, girls and boys, is how you do it.

As I've already pointed out in previous posts about this Massachusetts juggernaut, Oblivionation have some of the sharpest lyrics of any hardcore band currently going. Intelligent, well informed, penetrating and mean as fuck - these are lyrics that lack ambiguity and get straight to the matter at hand. Case in point, album opener "Language of Violence" is a scathing epitaph for a species that is currently waging no less than forty three wars and armed conflicts upon itself.  

You know that feeling that really banging hardcore gives you? When the hairs on the back of your neck stand up, your eyes widen, your pulse increases? It shouldn't just be the music that does that, it should be the words too. Oblivionation get that. Others should take note.

All lyrics by Quinn Dillon (and mucho thanks)


Language Of Violence

When logic fails
Violence prevails
The language of violence we all understand
We decry war
And still we wage more
The language of violence is our native tongue
As we evolve
One problem unsolved
The language of violence is the language of man
Violence won't end
Still we pretend
That somehow man
Is not an animal
Violence won't end
and still we pretend
That somehow man
Is capable of being anything more
Nothing can kill instinct
We react we don't think
Nothing can kill instinct
You're part of our evolution
To make peace
Killing is our solution


Bought and Sold

What does it mean to be free?
It's nothing I feel
When I look around
It's nothing I see
We want to believe
The choices we make
Can't be influenced
By a flat screen tv
The collective unconscious remains
Unaware of the fact
That the illusion of choice
Is burned in our brains
Becoming your brand
It then speaks for you
The politics of purchase we don't understand
We can't distinguish our needs
From what we want
What we want is more
We want what we see
Can't break yourself free
Because we depend upon ads
As the mother of necessity
You're not a person
You're a target
What does it mean to be free?
It's nothing I feel
And I'll never know
Because I'll never be
You think you're immune
But you do what you're told
The compulsion to buy
Starts with being sold


You're Not Pro-Union, Just Pro-You

You're not pro-union
You're just pro-you
Privileged and ignorant
Loud mouth hypocrites
Who don't like to think
Talk like you're bleeding red, white and blue
But your motives are pink
Just right wing "commies"
With no fucking clue
Working class zeros
For free market heroes
You romance the past
But Reagan threw the air traffic controllers
Flat out on their ass
You're not pro-union
You're just pro-you
You right wing "commies"
Just don't have a clue
Socialists you blame
But can't see that you're one too
Take from the greedy
And give to the needy
If the needy means you
Then piss on the poor
For demanding more
Like that's not what you do
The goose scorns the gander
While watching Fox News
What you call a contract
They call a handout
One you haven't earned
Your part of a problem
That you can't stand
But you still haven't learned
For you not enough and for others too much
The loudest voices sound most out of touch
So smarten up
And till that day comes
Fuck you


Crawl Or Be Crushed

They prefer we stay where we are
Under the boot of a system that's gone to far
Belly to ground
Face in the dirt
Our voices stifled by mouthfuls of Earth
Crawl or be crushed
Give up or get out
There's no other choice
How long do we wait for the last straw to break?
How far are we pushed?
How much do we take?
The spirit of rebellion cannot be touched
Our will to survive means crawl or be crushed
Crawl or be crushed
No more
Stand up
Rattle your cage
Or lie in a grave
Push back
Or die a slave
Your voice is a rally call
Our voice
Unites us all
Crawl or be crushed
Our time is now


Gainfully Annoyed

Just keep your head down
Blend in, don't cause any waves
If you don't learn anything
At least learn your place
Don't ask
Don't speak
Don't think
And you'll do just fine
But know it all fucks just like you
Tend to get out of line
Nod your head up and down
It's our show and you're just some clown
We're not gonna ask
You're not gonna tell
So just shut your mouth
Don't care
So don't you
Tell us
What we should try to do
We don't care
So don't share
Your thoughts
Only matter to you
You should thank god
We gave you a job
You're nothing more
Than some replaceable slob
So shut your mouth
Just shut your fucking mouth
Nod your head up and down
It's our show and you're just some clown
With a college degree
Who still hasn't learned
How to shut his big mouth


Fear Breeds Action

Ignore all your problems
It's no use to solve them
Head in the sand
I can't understand
You're just kicking the can down the road
And we both know
You leave it up to others
To reap what you sow
Shirking the truth
Dodging the phone
You're drowning in fear all alone
Stepping over a dead horse
That you refuse to own
Cause what you won't see
You won't believe
Cause if you won't see
You don't have to believe
How far do you think you can get?
Revising the past
Removing the parts you regret
Denying what you know is true
Pretend all you want but the day comes
When life will catch up to you


Salting The Earth

Choking on dust
Gasping for breath
Piles of cinder and ash
Sift through remains
And find nothing left
Give what I get
What I give is...
Get what I give
What I get is...
Nothing
Live life as I'm show
Or life as I choose
An option that's hung like a noose
What I don't surrender
I still seem to lose
Get what I give
What I get is...
Give what I get
What I give is...
I don't give you shit
With nothing to lose
But something to take
I grab all I can
Steal what I can't break
Stripped and clear cut
Stumps rot in the dirt
What's left has no worth
Point of death
No chance of rebirth
The fruit off the vine
Is now what's salting the Earth


No Singalong

Not here for you
It's not your song
Not part of your scene
It's no singalong
We're just square pegs
Who grew some legs
Not part of your scene
But still love Gang Green
We know that kids
Don't care about a song
About life after punk
It's no singalong
We're just square pegs
Who grew some legs
Not playing to peers
But still listen to Poison Idea
Now we're homeowners
With yards and lawnmowers
We "bought in"
Whatever that means
Angry but older
Someone should have told us
The importance of 401ks
Divorces and children
Ass aches and taxes
Are what retired punks go through
You may be laughing
Thinking we're trapped
But the fact is
One day it might be you
Laugh it up, it's the truth
Some might escape it
Most never do
Youth won't last forever
It's sad but true
You'll get old, sad but true


Poor You

We're not playing violins
But you think you've earned them
No one has it easy
You're no different
So don't make it my problem
Life isn't fair
Doesn't mean it's any less fair to you
You nothing special
And it's no one's fault
You can't face up to the fact
You're only problem is you
Everyone faces up to it
The world doesn't spin just for us
Piss and moan about where you're at
If want to point a finger
Then just blame yourself
You like to play the part
But you're no victim


How Far Is "Gone"?

Frantic and scattered
Can't slow down
Brain starts to panic
Can't slow...
Can't concentrate
My mind starts to race
Like I'm on the hunt
But I'm being chased
Deafening noise on a static tv
What's so clear to you
Beats the shit out of me
Won't slow...
Broken connections 
The circuit won't work
A faulty design
Defective since birth
Aimlessly float
A ship with no sail
I don't fail to plan
But plans seem to fail
All the advice I've heard
As hard as I try
I still haven't learned
To escape the fire without being burned


Wednesday, September 17, 2014

Cloudburst




Here's a tasty two track demo, submitted by some of our friends to the north in Yogyakarta, Indonesia. Cloudburst play scorching metallic hardcore with a strong emphasis on the hxc end of the spectrum, just the way I like it. I've been told that the scene up there is exploding, and if these pissed off young punx are anything to go by, I'd better get up there soon to see for myself.




Friday, August 1, 2014

Dick Smith



Makeup fx legend Dick Smith has died.

He gave us one of our most terrifying and enduring monsters in Regan/Pazuzu, as well as his groundbreaking and shocking work in dozens of other movies including Scanners, Taxi Driver and Altered States.

Even though he lived to a very respectable 92 years, I'm still saddened by this news. A horror legend is gone.






Sunday, July 27, 2014

HIGH-RISE




Back in 2010 my fifth ever post on the EYE was about the wonderful Vincenzo Natali being attached to direct the long-in-development adaption of J.G. Ballard's High-Rise. To paraphrase myself:

"Our bizarrely evolving relationship with technology and the urban environment is a theme that runs through my favourite Ballard stories (Crash, Concrete Island and High-Rise), and I don't think that the ideas he played with in those novels have dated at all. In fact I think they're more relevant now than when they were written, showing a real prescience to Ballard's vision of where we're headed as a society (it's not optimistic).

It's heartening to know that High-Rise is in the capable hands of an intelligent, independent film-maker. Too many of Philip K. Dick's works have been reduced to dumbed-down action fests, but with first Cronenberg's Crash and now Natali at the helm of High-Rise, Ballard's cinematic legacy will hopefully fare better."

Well, that was over four years ago, the world has moved on and Natali has been off the project for a while now (I'm rooting for him to get his Neuromancer made, a daunting task to say the least). Sometimes things change for the better though, and as much as I love Natali and think he was a good match for High-Rise (there are striking thematic similarities between Ballard's novel and Cube), I think the film has fallen into even more capable hands now.

High-Rise is a distinctly British feeling science fiction novel, and the alienating, sprawling bleakness of Ballard's London has always set it apart from other 1970's dystopias. I suppose it could be transplanted to somewhere like L.A. (with its dehumanising landscape of freeways), but to really do Ballard's novel justice it should be set in the U.K.

With that in mind, the film's current director, Ben Wheatley, is perhaps the perfect choice. Wheatley, whose Down Terrace, Kill List and Sightseers (I have yet to see A Field in England) are all near flawless gems, has a uniquely English vision that seems perfectly suited to tackling '70s era Ballard.




As a filmmaker he seems genuinely interested in exploring the grimy underbelly of modern British society, albeit from some pretty weird perspectives. Whether by accident or not, the three films mentioned above are perfect examples of the social realism of Ken Loach and Mike Leigh spliced onto modern genre cinema. Be it crime, horror or black comedy, Wheatley has so far managed to effortlessly combine "kitchen sink realism" with whatever genre he sees fit.

This time around he's shifting his gaze from the struggles of the working class to that oldest and most British of conflicts: class war. There is no real proletariat living in the luxurious 40 story apartment complex of the novel, but as things start falling apart the residents quickly find themselves divided into lower, middle and upper classes... whether by choice or not. I can't wait to see how Wheatley handles this incendiary material. Will it remain rooted in naturalistic realism like his previous movies, or will it take a more mythical approach like the similarly themed (and fucking brilliant) Snowpiercer? It's also going to be really interesting to see what Wheatley does with a big budget.

Wheatley isn't the only interesting person involved with High-Rise though. The project has been patiently shepherded for over three decades by one of the most interesting producers in the business, Jeremy Thomas. I saw Thomas speak at length a couple of years ago, and he is that rarest of rare commodities among producers: a man who is genuinely passionate about leaving behind a legacy of art. Without him we might not have some of the more challenging movies from the likes of Nicolas Roeg, David Cronenberg, Bernardo Bertolucci, Jonathan Glazer, Wim Wenders, Richard Linklater, Harmony Korine, Takashi Miike and Jim Jarmusch. Seriously check out this guy's filmography, it's incredible. As far as Ballard is concerned, he was behind Cronenberg's Crash, and back in the '70s almost brought High-Rise to the big screen under the direction of Nicolas Roeg.

With a great cast that includes Tom Hiddleston, Elisabeth Moss and Jeremy Irons, High-Rise is set to blow minds when it finally hits next year. Filming began earlier this month in Belfast, Northern Ireland.




Saturday, July 26, 2014

Death Rattled




That handsome fellow up there is Rocky.

He's a 16yo dingo X kelpie who came into my life 10 years ago (along with his owner, my long-suffering and awesome girlfriend Bowie). Rocky's passions include: farting, trying to hump tiny pugs while their owners look on in horror, peanuts, gorging on fresh possum entrails and blankly staring off into space like the dog from The Thing.

The other one in the photo is Rocky's servant, AKA me.

Aaron, of the consistently amazing DEATH RATTLE blog, recently asked me 13 questions to which I happily replied. Have a read HERE


Wednesday, July 23, 2014

OBLIVIONATION Language of Violence




It seems like forever ago that Oblivionation unleashed that nuclear bomb of a demo on the world. It's been a long time coming (hassles with inept pressing plants not helping), but their first album - Language of Violence - is finally out. Of course it was worth the wait. Ten tracks of stripped back, raging Massachusetts hardcore in the spirit of Out Cold (meaning that like Out Cold before them, these guys are committed to doing it their way - ignoring trends and seemingly not giving a fuck if that relegates them to the fringes of the scene*). Hardcore should always be challenging, raw, urgent and personal. It's so disappointing when you can tell it's being faked. Oblivionation don't fake it.

The boys have put the album up for eight dollar digital download right here. You can also get their ripping Cult of Culture EP for a mere €1.50 from Hardware records' bandcamp page here.

Well, what are you waiting for punk? Have at it!

*to quote Barry Henssler - "scene as in still life, scene as in soap opera".

Sunday, July 6, 2014

LAST CHAOS


photo by Lee Stefen

Brisbane's Last Chaos play mean-as-fuck, primitive hardcore dripping with reverbed out vocals that seethe menacingly under an absolutely scorching guitar attack. Heard live, those guitars sound like a giant buzz saw revved up to the point of shattering into a wall of hot shrapnel. All of which is headed straight at your tortured ear holes. 

A couple of weeks ago, these Queenslanders killed it here in Sydney at the above pictured show with the equally amazing Canine and Thorax. Honestly don't know if I'll see a better one this year (although the Adolescents kind of blew my mind a couple of nights ago). Here's their demo, 7" and split with Vaarallinen at




Wednesday, July 2, 2014

INTERZONE DISPATCHES: Report #3



"I had a very disturbing dream last night. In this dream I found myself making love to a strange man. Only I'm having trouble you see, because he's old... and dying... and he smells bad, and I find him repulsive. But then he tells me that everything is erotic, that everything is sexual. You know what I mean? He tells me that even old flesh is erotic flesh. That disease is the love of two alien kinds of creatures for each other. That even dying is an act of eroticism. That talking is sexual. That breathing is sexual. That even to physically exist is sexual. And I believe him, and we make love beautifully."


Oh. You're back. That's a shame. You have my sympathy... but let's face facts, you knew exactly what you were getting yourself into when you voluntarily exposed yourself to the Cronenberg Signal. You thought the tumor had gone away? That you were in remission? Poor, naive fool. I'm afraid that your neoplasm has metastasized again. No, not to other organs. It's too late to salvage any of that. Way too late. Your Flesh was corrupted long ago, decayed beyond repair. Beyond recognition. No, I'm afraid the disease is done with your Flesh, and the way that it's metastasizing now is more destructive than ever.

You see, it appears to have spread to your thoughts now.

The trick is not to think of it as dying. Just try to think of it as a kind of transformation. I'm sorry, what was that? Will it hurt? Oh, yes. Yes I'm afraid it will.




My first Dispatch in four years can mean only one thing. Some new celluloid Flesh from David Cronenberg. This short, entitled The Nest and featuring the auteur himself as a deranged surgeon, was created as a tie-in to his new novel Consumed, and it's classic body horror era Cronenberg. 

All the elements are present: corrupted science, sexual parasites, coldly detached eroticism, insects and disease. A cool little throwback to the director's horror roots as we await the release of his next feature, Maps to the Stars.



Tuesday, July 1, 2014

Strange Shapes




There's been a link on my blogroll for a few years now called Strange Shapes, and it just so happens to be the most exceptional Alien blog on the web. If you're an Alien fan and you haven't discovered it yet you need to do yourself a favour and go there now.

Strange Shapes is owned and written by one Valaquen, a Scottish Alien fanatic and Xenomorph scholar par excellence. This guy's knowledge of the Alien universe, both in front of and behind the camera, is vast and frankly, a little intimidating. I've been in love with Ridley Scott's movie for 35 years now, but reading Strange Shapes can make me feel like a lightweight.

So whilst scrolling through Bloody Disgusting today I was blown away to find a link to a behind the scenes gallery "curated" by Valaquen. And fuck me, what a gallery it is. I'm always on the lookout for rare Alien pics that I haven't seen before, and this gallery is a goldmine.

Of the 245 images he's posted there must be at least 50 that I've either never seen before or haven't seen for years. Some of the coolest are below, but you should really check out the whole gallery here.


killer promo shot of the Nostromo crew


a nice look at Giger's handywork

HRG with his designs for Jodorowsky's unrealised Dune 

 on the Space Jockey set

 working on the Jockey

with Dan O'Bannon

O'Bannon with Chris Foss

and on the Nostromo's bridge

 closeup of the unused full sized prop for Kane's burial shroud

 William Hurt

Veronica Cartwright

 together on the bridge

 Harry Dean Stanton looking cool

and Yaphet Kotto looking even cooler

Kotto contemplating Parker's fate

Parker and Lambert dead

this appears to be an effects test for Parker's gory demise

Sigourney Weaver looking badass and beautiful during a promo shoot

and posing with a Jones that looks suspiciously unlike the Jones seen in the movie

Weaver and Stanton

 the Narcissus on a workbench with raided model kits in the background

 an amazing look at the underside of the Nostromo coming in to land on LV-426 that was rejected by Ridley Scott. I wish they'd stuck with this one because the final effect seen in the movie is by far the weakest in the film

the Nostromo model on the planetoid set

another angle

and finally, a good look at the detail and texture of the derelict model


Monday, June 30, 2014

Dark They Were, and Golden-Eyed




In the years that I've been writing the EYE, I've always made a point of acknowledging the passing of people who have influenced and inspired me. At the risk of turning my blog into a digital graveyard, I think I do it because I feel a compulsion to say "thanks" to these strangers who have, through their various art forms, given me so much.

As you reach middle age, the deaths of those who inspired you in your youth begin to occur with more frequency. Witnessing the passing of entire generations can become a bit overwhelming, and inevitably a few important obits go by the wayside.

The cool poster above for this year's FanTasia film festival serves as a reminder for me that for various reasons (hiatus, illness, work), I never got to acknowledge the deaths of these three greats.

Three lifelong friends, each of whose contributions to the evolution of modern science fiction, fantasy and horror were so significant that it's hard to imagine said genres existing without them. All three, gone within five years.

I never had the honour of meeting Ray Bradbury or Forry Ackerman, but I did get to shake hands and exchange a few words with Ray Harryhausen when he visited Sydney for a lecture about 15 years ago. Meeting the man and seeing some of his iconic stop-motion monsters up close was a truly humbling experience for me.








Sunday, June 29, 2014

WILLOW CREEK




As a director, Bobcat Goldthwait piqued my interest with 2011's God Bless America, but after seeing his new backwoods horror movie Willow Creek, he's now firmly on my radar as a filmmaker to watch.

Bigfoot enthusiast Jim and his indulgent but staunchly non-believing girlfriend Kelly head into the California wilderness for a romantic camping trip. The purpose of the excursion is to grant Jim his wish of shooting his very own amateur cryptozoology documentary about the popular mythical beast. Their destination is in the heart of Sasquatch country itself, the town of Willow Creek, situated in California's picturesque Humboldt County.

Jim's wish is to retrace the footsteps of famous 'Squatch-sighters Roger Patterson and Bob Gimlin, the men who shot that blurry 1967 footage that has become so ubiquitous. Jim and Kelly spend a day bumbling around in the town itself, enjoying its kitschy Bigfoot related tourist attractions and meeting a few of the local denizens, some of whom are friendly, while others are quite hostile. The next day the couple get back in their car and head off into the surrounding wilderness, but Kelly's patience for her boyfriend's obsession is starting to wear thin. What will they find in the dark wooded hills?

One of the things that makes Willow Creek work so well is the contrast between the first and second halves of the film (this really is a two act movie). The first half, taking place mostly in the town, is sunny, light-hearted and frequently laugh out loud funny. Although there are a few hints of the menace that's to follow, the tone here is more mumblecore mocumentary than horror.




It's when the couple head into the woods that things take the expected turn for the "abominable". What follows is a well disciplined experiment in extremely minimalist horror filmmaking. Willow Creek is very much a spiritual successor to The Blair Witch Project, and as with that film it feels like Goldthwait is trying to test the extent to which you can terrify an audience with as little visual stimulus as possible. And it works.

To even begin to describe the scenes that follow would be to spoil the fun, because the tricks that Goldthwait employs to instill tension, fear and dread in the viewer are so utterly simple. Suffice it to say that Willow Creek's strength lies in its sound design, proving once and for all that our imaginations, when provoked, will conjure up more terrifying imagery than any filmmaker could ever put on screen. 

To cap it off, there's a jump scare buried in that second half that is a text book example of how to do it right. I saw it in a packed theatre and for half a second it was like the entire audience levitated out of their seats!

Wednesday, June 25, 2014

Nothing the God of Biomechanics wouldn't let you in heaven for

Since his death on May 12th, Hans Rudolf Giger has been in my thoughts every day. 

Like so many of my generation I discovered and fell deeply in love with his work whilst devouring the contents of Scanlon & Gross' The Book of Alien in 1979. Ever since, his work has continued to be a constant source of profound awe and amazement for me. I feel privileged to have been able to see his art exhibited twice, at the Galerie Bijan Aalam in Paris in 1979, and again in '93 at the Alexander Gallery in New York. It's a dream of mine to one day visit his bars and museum in Switzerland.

With all this in mind, it's great to see that a new book compiling some of his personal photographs has been released. H.R. Giger: Polaroids looks like it offers a rare insight into the inner life of this enigmatic and brilliant artist. I'm dying to get my hands on a copy.

Read more about it at 032c here.








Saturday, June 21, 2014

Harbinger Down





I love The Thing, and I have no problem with filmmakers assimilating the DNA of Carpenter's classic to bring us more gooey, Thingy goodness. In recent years movies that are heavily inspired by The Thing have started popping up more and more frequently, to the point where it's starting to become a little sub-genre in its own right. As is to be expected, the results have ranged from mediocre (The Thaw), to excellent (The Last Winter, Splinter). Just as I still love Alien rip-offs, I'll never tire of seeing people attempt to emulate the tension and creature effects of that seminal Arctic monster movie.

As such I'm stoked that we've got not one, but two The Thing clones headed our way. The first is Marvin Kren's Blood Glacier (the follow up to his excellent Rammbock), which has already been out for a while, and despite receiving a lot of negative reviews looks like it could provide a few icky thrills. The movie that has me more excited however, is special effects veterans Alec Gillis and Tom Woodruff Jr's upcoming Harbinger Down.

Gillis and Woodruff's Amalgamated Dynamics has turned in some great creature effects over the last 25 years in the likes of Tremors, Starship Troopers and this year's Godzilla. They've also provided terrific effects work for a number of not so stellar movies, and one of those is the woeful 2011 remake/prequel of The Thing. During production of that film, much was made of the practical effects that ADI were utilising to bring the Thing to life, but by the time the movie was finished most of their work was hidden under layers of CGI. Honestly, that was the least of that movie's problems, but the disappointment at seeing all of that great practical work obscured by not-so-great CG was the last straw (just to clarify my position on CG, I'm not completely averse to it and love it when it's done well. See District 9, Elysium, Godzilla '14 etc).




So is Harbinger Down, written and directed by Gillis himself, ADI's response to that fiasco? Is this them going "well that was a disaster, so why don't we unofficially remake it ourselves with no studio interference"? If the frenetic trailer is anything to go by, then perhaps. Said trailer features a number of  glimpses at effects that are very reminiscent of Rob Bottin's famous work, and it's kind of endearing to see how unabashedly they're ripping-off Carpenter's movie. You've got your arctic locale; big chunk of ice containing monster remains; glimpsing the creature through a chain link fence; killing it by burning; charred remains seen in the snow. The trailer is full of imagery that fans of the '82 masterpiece will instantly recognise.

It's also kind of charming that they are being so unpretentious with the film's marketing. Look at the taglines on the poster above: from the creature creators of and a practical effects film. It's seems obvious to me that Harbinger Down was driven purely by an enduring love for Bottin's work, as well as a desire to make a buck from the effects legend's legion of fans, many of whom were likely disappointed by Matthijs van Heijningen's 2011 failure.

Bob and Dennis Skotak are also part of the Harbinger team, making the effects pedigree of this movie truly amazing. Of course it has to be noted that there's a long history of features directed by effects gurus that are just plain awful. Whether Harbinger's screenplay, cast and myriad other crucial elements of filmmaking are any good remains to be seen, but despite those reservations I feel optimistic about this one! I mean, there's going to be some stop-motion fucking animation in this! How can you not love that?

Oh, and did I mention the icing on this gory cake? Lance Henrickson is in it!

Read more about it here, and check out the trailer below.





Thursday, May 15, 2014

GODZILLA





THE KING OF THE MONSTERS HAS RETURNED!

Just saw it and it's awesome! Gareth Edwards pulled it off.

Go see Gojira!