Ah, Valentine's Day is nearly upon us again! And unlike those woeful souls who choose to bemoan this holiday each and every year, here in the Vault, we celebrate it. Of course, we celebrate in a very unique way, because that's just how we roll.
In this case, we'll be cherishing the V-Day time of year by posting some fine selections from Michael P. Spradlin's latest poetry collection, Every Zombie Eats Somebody Sometime: A Book of Zombie Love Songs. This little tome was bestowed to me by a certain Captain of the undead not too long ago, and it's been a constant source of amusement since--so now I'm sharing it with you.
You may recall Spradlin's work from the zombie carols we ran here in the Vault during the 2009 Christmas season, and I assure you, these are just as entertaining. So cuddle close to the one you love and enjoy some brain-munching ballads...
I Want to Eat Your Hand
Oh yeah, I've turned into something, You just won't understand. When I say you're delicious I want to eat your hand, I want to eat your hand, I want to eat your hand.
Oh please, say I'm a zombie, I'm eating your brain pan, And please, don't slay me You'll let me eat your hand. Now let me eat your hand, I want to eat your hand.
And when I eat brains I feel happy inside. It's such a feeling that my gore You can't hide, you can't hide, you can't hide.
Yeah, you've got that large brain, I think you won't understand. When I'll say I'm so hungry I want to eat your hand, I want to eat your hand, I want to eat your hand...
"The Budos Band is an amazing 10-piece funk band from Staten Island. The Wu-Tang Clan is the best hip-hop group ever. Put em together and you get The Wudos Band, produced by Tekst of The Higher Concept, producer/engingeer for artists such as RZA, Inspectah Deck, Kool G Rap, GZA, Sean Price, Remedy, Trife Diesel, and plenty of other notable artists; brought to you by Shaolin’s own Cloud Kicker Original and Emilio Sparks. This is a mash-up of classic Wu-Tang verses over beats sampling the gritty funk sound of The Budos Band." Words & Info [VIA]
John Nolan, animatronics designer and director at Streetlight Films UK, whose credits include Where the Wild Things Are, Harry Potter, Clash Of The Titans, Hellboy 2, Warhorse, Brothers Grimm, Dr Who and Being Human, created an incredible UNKLE robot based on Futura’s Pointmen from the Psyence Ficton and Never Never Land albums.
Its splintered synths and a shuddering bass-line create an aggression and energy which Nolan harnessed within the robot’s marching stomp towards the camera.
Ring-a-ding-ding, Vault dwellers! For those heathens who may not be aware, this past weekend marked what would have been the 95th birthday of the one and only Francis Albert Sinatra, who only happens to be my very favorite musical performer of all time. And so, I managed to coerce both Brutal as Hell and the crew here into dedicating this week of The Lucky 13 Returns to horror musicals and music-related horror films in general.
So pour yourself a Jack & Coke, light up a Lucky Strike, and swing easy, baby! It's what Frank would've wanted...
B-Sol on The Wicker Man (1973)
It's interesting that this film is very often not really thought of as a musical, but it kind of is. It contains a couple of very atmospheric folk tunes from Paul Giovanni ("Corn Rigs" and "Gently Johnny") which totally stop the dramatic proceedings in their tracks. And as with most well-done films of musical bent, this does no harm to the film whatsoever--rather, it enhances it. And of course, we also have the deeply disturbing Middle English rondo "Sumer Is Icumen In" performed during the picture's chilling climax.
So we've established that the British cult classic is very much about music as well as horror. What we also need to establish is what a damn fine horror film it is. But you don't need me to tell you that. The Wicker Man is, simply put, one of the finest horror films ever made, and still has the power to shock in a very real way. Interestingly enough, the movie's sheer shock factor is in direct counterbalance to the hauntingly beautiful music featured throughout. And if anything, that juxtaposition makes the whole thing even more terrifying than it would have been otherwise.
There's a reason this film consistently makes just about every short list of the greatest horror films of all time. And while it's an even bigger deal in the U.K. than it is here in the States, it is definitely the kind of cult classic movie that needs to be seen and appreciated by all who consider themselves serious enthusiasts of the genre. Christopher Lee is at his insidious best, and of course Edward Woodward is so damn powerful in the lead role of Sgt. Howie. If you have never seen The Wicker Man (and I mean the original here--don't bother seeing the remake unless you need a good laugh), then do me a favor and fix that right away, okay? Very good.
When I first watched Wild Zero, I was pretty sure I had stepped into an alternate dimension. I had never seen anything so absurd in all my life. In fact, I am pretty sure I will never see anything quite that absurd. Wild Zero is ninety odd minutes of insanity, and it’s one of the funnest experiences one could have with a movie, but even within all that senselessness, there is something deeper going on.
Ace is obsessed with the band Guitar Wolf (played by the real-life band of the same name). When he witnesses a club owner about to hoodwink the band, he stands up for them. Ace and the band vow revenge on their double-crosser Captain. Meanwhile, space aliens land on Earth causing the dead to rise in rural Japan. As they fight for their lives, Ace falls in love with a young transgender named Tobio.
Yeah, it’s a bit of a convoluted mess, but it’s a pretty incredible one. From Guitar Wolf throwing guitar picks to protect himself to Captain’s incredibly tight hot pants, the film is an experiment in what-the-fuckery. While I might have said those words at least forty times while watching the film, I was still engrossed all the way through.
The factor that holds the whole film together is the love story. Ace and Tobio begin sweetly, but as her trans status becomes an issue the film manages to pull itself out of its own farce just enough to ally itself with a queer agenda—and all before the turn of the century. The film is incredibly entertaining, and while it might not seem like it’s coming out firmly on the side of queer politics, given its release year, it’s really quite ground-breaking. So if you decide to sit down and take in this strange little zombie romantic comedy, look forward to one of the most ludicrous activist films ever made.
C.L. Hadden of Fascination with Fear on Sweeney Todd: The Demon Barber of Fleet Street (2007)
The legend of Sweeney Todd has been immortalized on stage and screen countless times throughout the years, and there have always been questions raised as to the validity of the supposedly true story. Starting out as a penny dreadful in the mid 1800's, it was most recently adapted for the screen in Tim Burton's 2007 version starring Johnny Depp in the title role.
Sweeney Todd: The Demon of Fleet Street is first and foremost a musical, and uses the Stephen Sondheim/Hugh Wheeler music and lyrics made popular in the late 70's Broadway smash. At once dark a dark and sinister production, the songs tell the story of Benjamin Barker (Depp), a simple man - a barber - whose life is forever changed when the corrupt Judge Turpin (the eternally impressive Alan Rickman) covets Barker's beautiful wife and goes to extremes to see her his. He throws Barker in prison on a trumped up charge and moves his heartbroken wife and young daughter into his own home.
Fifteen years later Barker is back, now calling himself Sweeney Todd. He's hellbent for revenge after he finds out his wife has poisoned herself and Turpin has his daughter Johanna (Jayne Wisener) locked away in an upstairs room of his home. He sets up a barber shop above the overly-zealous Mrs. Lovett's (Helena Bonham Carter) pie shoppe with the intent of luring Turpin there. Thing is, Todd isn't just shaving necks, he's slicing them open and sending the bodies to the basement through a trap door in the floor. Once in the bowels of the meat market the corpses are ground up and used in Mrs. Lovett's meat pies. Gah!
Oh the scandal of it all! To think something such as this would be made not only into a movie but into a musical is in and of itself a bizarre notion. But trust me, it works. A bleak and overtly grim London is portrayed in the seediest fashion imaginable, with poverty and hardship duly noted as our characters interact with not only each other but the hopeless city itself. Not a singer by trade, Depp's performance is actually more than just acceptable. He does an excellent job with the material, and had even the most wary critics backing him when the film came out. Bonham-Carter's voice isn't quite as stellar, but she certainly looks the part.
While it may seem to be a far stretch from your typical musical - and it certainly is a graphic little slice of cinema - Sweeney Todd is the musical for people who hate musicals. And it's perfect for horror fans. You do have to wait awhile for the gory carnage to start, but about halfway through the film the red stuff starts to flow freely. How they depict this on stage is beyond me, but Burton's film version not only looks amazing, but pulls off the story in fine fashion and is more than worth a look. After all, the bottom line is they are grinding people up and eating them. Even if you hate musicals, you have to admit that's pretty nasty.
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Join us next week for the Christmas edition of The Lucky 13 Returns!
Why has no-one shown me this band: El Michels Affair before? A whole album doing instrumental covers of Wu-Tang?
Led by saxophonist/organist Leon Michels and producer/engineer Jeff Silverman, El Michels Affair began as a loose collaboration of session musicians (including members of top-selling acts the Dap Kings & Antibalas) that looked to blend some of the vibrant quality of soundtrack records with the recording aesthetic of early reggae, and the rawness of 60’s rock–they called it ‘Cinematic Soul.’
The buzz generated from the album led to an invitation by Toyota’s Scion division for El Michels Affair to accompany the rapper Raekwon of Wu-Tang Clan for a promotional concert. As avid Wu-Tang fans, not only were the band leaders thrilled with the opportunity, but Michels found that the ‘Cinematic Soul’ sound was consistent with the moods of RZA’s gritty soundscapes on the classic Wu-Tang releases. The concert was such as success, El Michels Affair went on to play several more concerts nationwide backing Raekwon and other members of the Clan, and the shows led to the recording of two smash 7” singles featuring instrumental reinterpretations of the Wu-Tang classic songs “C.R.E.A.M.” and “Bring Da Ruckus.” The singles combined to sell an extraordinary amount of over 7,000 units worldwide, and their success led to a contract in 2007 with indie hip-hop powerhouse Fat Beats Records to record an entire album of Wu-Tang Clan interpolations entitled Enter the 37th Chamber.
You only have ONE MORE DAY to submit your answers!!
ESPVisuals have teamed up with Dub Pistols for a competition to give away 2 FREE TICKETS to go see them on their Rehash Tour on 28th October @ Plan B in London.
All you have to do is email us with an answer to the simple question;
"Where is this event happening?"
Please mail your answer to selphespcrew [at] g mail . com The deadline is 10am October 27th so have a long hard think about the achingly obvious answer!....
The Rehash tour will coincide with the release of a new same-name mix album from the Dubs, in which a number of high-profile remixers tackle classic Dub Pistols tracks from their last three albums. Ex-Leftfield man Paul Daley has re-made the second album’s title track, lilting stone cold classic ‘Six Million Ways To Live’, into a new wave electroid roller. Other remixers on the project include Matthew ‘Bushwacka’ B, one half of the acclaimed Layo & Bushwacka duo, and Wrong Tom, who has just released an album of dubwise reworkings of Roots Manuva’s back catalogue, as well as underground DJ/producer hotshots such as Ben & Lex and Kouncil House.
The ‘ReHash’ album will precede the release of the next full Dub Pistols album – their fifth – on Rob Da Bank’s Sunday Best label in May 2011.
Gregory Isaacs, the 'Cool Ruler', has died at the age of 59 after a year long battle with lung cancer. One of the most popular reggae artists of the late Seventies, he released an estimated 500 albums in Jamaica, the US, the UK and was best known for his 1982 hit 'Night Nurse'.
2 very cool CG videos done by upcoming director, Edouard Salier for Massive Attack's newest album....Salier has so far worked for Coke & Nike so look out for his name/work in the near future.
Great stop motion video for Dutch Electro group Nobody Beats The Drum's tune Grindin'.
This sequence of 4085 photo's was patiently created by Nobody Beats The Drum's VJ / visual artist Rogier van der Zwaag. Check out the 'Making of' video below. Oh, and the guys are taking the piss by the way. You'll see.....
ESPVisuals have teamed up with Dub Pistols for a competition to give away 2 FREE TICKETS to go see them on their Rehash Tour on 28th October @ Plan B in London.
All you have to do is email us with an answer to the simple question;
"Where is this event happening?"
Please mail your answer to selphespcrew [at] g mail . com The deadline is 10am October 27th so have a long hard think about the achingly obvious answer!....
The Rehash tour will coincide with the release of a new same-name mix album from the Dubs, in which a number of high-profile remixers tackle classic Dub Pistols tracks from their last three albums. Ex-Leftfield man Paul Daley has re-made the second album’s title track, lilting stone cold classic ‘Six Million Ways To Live’, into a new wave electroid roller. Other remixers on the project include Matthew ‘Bushwacka’ B, one half of the acclaimed Layo & Bushwacka duo, and Wrong Tom, who has just released an album of dubwise reworkings of Roots Manuva’s back catalogue, as well as underground DJ/producer hotshots such as Ben & Lex and Kouncil House.
The ‘ReHash’ album will precede the release of the next full Dub Pistols album – their fifth – on Rob Da Bank’s Sunday Best label in May 2011.
You're the One That I Chomp
