Sunday, 11 March 2018

RIXE




This newish three song promo tape is Rixe's best stuff yet. Addictive, infectiously hooky Oi! from this crew of left-wing Parisian skins. I'm gutted that I missed getting a ticket to their Melbourne show with Total Control (sold out in minutes), but I'll definitely be venturing out on a Wednesday night to see them here in early May.




Sunday, 18 February 2018

TENEBRAPHOBIA




Finally unleashed today, this five song EP is a project that Bowie (my incredibly multi-talented partner / love of my life) and I have been working on for many months. At times, its creation has been a process as frustrating as it's been fun, but we're both really stoked with the end result.

TENEBRAPHOBIA is a tribute to the throbbing synth scores that are the defining signature of so many '70s and '80s Italian and North American horror films. Scores by the likes of Goblin, John Carpenter and Fabio Frizzi.

Bowie's take on the genre is gnarly. Horror synth as filtered through a punk attitude. These tunes rock.

All tracks/recording/mixing by Ms. Raffan. Concept/titles, logo/design, and grumpy muse: your's truly.

Enjoy, share, but whatever you do, turn it the fuck UP!








Wednesday, 14 February 2018

FEB 14


Maybe I'll just post this every Valentine's Day, because why the fuck not?







Sunday, 4 February 2018

Decade of Decay: MARTYRS / INSIDE




Has it really been 10 and 11 years respectively since MARTYRS and INSIDE turned the world of horror cinema, kicking and screaming, on its head? And 9 years since I was gushing and ranting about both films on this blog? Unbelievably, the answer to both questions is yes.

In that time we've seen the watered-down, sanitised US remakes come and go (into much deserved obscurity), as the careers of Pascal Laugier and Maury/Bustillo have sadly failed to live up to the promise of their early masterpieces (but I'm still rooting for Laugier's new one, GHOSTLAND).

Regardless of those negative observations, the impact of these two modern classics hasn't diminished a bit. In the decade since they were unleashed on the world, have we even seen another truly comparable film? Their blend of feminism and arthouse sensibilities, colliding head on with pitch black, extreme gore was, and still is, pretty unique.

To celebrate the occasion, here's a pulpy Spanish one-sheet for INSIDE that I don't think I've ever seen (above), and some nice MARTYRS tributes from Gary Pullin (top), Nathan Thomas Milliner (middle) and Trevor Henderson (bottom).












Sunday, 28 January 2018

THE ENDLESS poster




This week saw the reveal of this fittingly beautiful and trippy poster for THE ENDLESS, Aaron Moorhead and Justin Benson's impressive followup to their cult hits RESOLUTION and SPRING. All three films (which can loosely be referred to as the Shitty Carl trilogy) are essential viewing for fans of Lovecraft, the arcane and the eldritch. THE ENDLESS will hopefully hit local cinemas later this year.

Feel free to help yourself to my slightly unhinged reviews for SPRING and THE ENDLESS. But, you know, do what thou wilt.


Friday, 26 January 2018

Morricone Youth: NIGHT OF THE LIVING DEAD




Last night I pushed through a haze of post-work fatigue to attend a screening of Romero's NOTLD (first time on the big screen for me!), with live accompaniment by New York's Morricone Youth. The band are here in Sydney to perform their re-score of the Pittsburgh lensed zombie classic, as well as Miller's MAD MAX. Having done zero research on the band beforehand, I went into the screening unsure of what to expect. Rock? Synth? Chamber orchestra? Taking my seat, third row from front, it became immediately obvious from the setup (bass, guitar, drums, two keyboard/synth rigs, vocals) that my secret hopes were to be rewarded: I was in for some proggy goodness, ala Goblin.

Morricone Youth delivered on that promise in spades, at points almost outplaying the Italian masters at their own game. What they've essentially done here is to give NIGHT a sister score to Goblin's iconic cues for DAWN OF THE DEAD. Mounting waves of pounding rock, throbbing synth and spooky glockenspiel, elevated to euphoric levels by some fantastic, operatic vocals (performed by a woman who I can't find a mention of anywhere, what gives?). Some research this morning reveals that they recently toured with Goblin in the States, and have previously re-scored a number of other cult films.

It's a shame that last night's haunting, powerful vocals are barely represented on the vinyl release of NOTLD, because their impact, live in front of the film, was immeasurable. The word transcendent comes to mind, making this my favourite viewing of Romero's seminal classic to date. The experience gave me a new and deeper appreciation of the film: the radicalism of its civil rights theme, its gorgeously lit black and white cinematography and wonderful editing, both courtesy of a young and hungry Romero. It throws into sharp focus just how talented and utterly electric the young Pittsburgh artist was. This film was dangerous, and exactly half a century later is still vitally important.

If you get a chance to see this show (especially with vocal accompaniment), don't sleep on it!