just asleep

Tragically late with this.

Boyd Rice and Friends - People

Boyd Rice and Friends - People
I can’t say I care much for mixed drinks.

Billy Woods - Tinseltown

Billy Woods - Tinseltown

I love you C/∆/T - Corvx de Timor - Ice Out - C/A/T Returns, but I’ll say it: changing up your name is fucking up your following. why not stick with one?

with music by Carpenter Brut? beautiful

Cornerstone Mixtape #173 DJ Prince Paul & DJ PForReal ‘Like Father Like Son’

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First coming to attention in the early 1970’s, the Italian group Goblin managed to succeed in two different realms of the music world, both as a popular rock group and as a composing team for various horror films (particularly those of Dario Argento. Like Ennio Morricone, who will be forever remembered as a composer of western scores (although his works have covered all categories of film), Goblin will be fondly recalled foremost for their contributions to the world of splatter films. Since the group has been disbanded, their presence is even more sorely mimed, although they are still around working as individuals.

To be certain, Goblin was unique, offering a strange assortment of chimes, groans, unharmonious, garbled sounds and high-pitched wails with tremulous, blaring, heavy metal music. While the two seemed uncompatible together, the arrangement worked, not just once, but repeatedly. Looking like throwbacks to Woodstock, the longhaired hippies known collectively as Claudio Simonetti, Massimo Morante, Fabio Pignatelli and Agostino Marangolo completely captivated Europe, then with the film DEEP RED, the world. Marangolo was the drummer and percussion expert; Morante the guitar; Simonetti the organ, piano, and string instruments; and Pignatelli the precision instruments. Composition was a team effort.

Even though Goblin itself is no more, many of their albums may still be found in the soundtrack or import sections of large record shops. Most of their films are also available on video; so those of you unfamiliar with their weird brand of music are still able to check them out with relative ease. They are well worth the listening pleasure (picture the strange scores of Ennio Morricone or John Carpenter with a Pink Floyd rock beat and you get some initial idea of what they are like). For the uninformed, a list of their best efforts in the horror line follows.

DEEP RED — A release made by Dario Argento prior to his THREE MOTHERS series, this psycho story involved David Hemmings trying to track down a harchet-swinging killer (revealed to be an old woman at the end, who aptly gets beheaded herself). Argento, who had made a habit of using Ennio Morricone to score the films he’d done earlier, used Goblin this time around. From the onset, when the opening credits came on amid a blood red background, people were fascinated. The strange, instrumental hard rock seemed inappropriate at first; but it blended well with the mood of the film as the story progressed, rising and falling with the action. The group proved their variety; for along wirh their ear-splitting rock scores, they also played a childish lullaby type of melody, enhanced by voices of choirboys and chimes. Whenever “flashback” sequences were shown, this irritating “jump rope” music would be heard, grating on your nerves, but creating unbelievable tension.

SUSPIRIA — With the positive effect Goblin had upon DEEP RED, Argento reused the boys for SUSPIRIA, the first of his Mothers myths, involving witches at a German dance academy. The opening song, heard throughout, consisted of weird chimes (few people noticed the melody to be a twisted version of the old children’s church song, “Jesus loves we this I know. For the Bible tells we so…”) creating subliminal messages within the brains of the viewers and making them all the more aware of “something evil” in the dance hall, even before the killings and Satanic rituals start. In this masterpiece, a hissing “devil voice” is also heard at points “singing” in time to the music with a wicked La-La-La-La-La-La-La. Added background voices, dubbed into the score (possibly a tactic copied from Ennio Morricone or suggested by Argento) include a repeated cry of “witch!” and the “devil voice” muttering barely audible blasphemies about Jesus Christ. The tone of this powerful main theme, one of Goblin’s most popular creations, completely overshadowed all other lesser pieces of music in the film.

DAWN OF THE DEAD — The Dario Argento slaughterfest about a group of humans making a last stand against the rest of the world, which has become a zombie-infested snake pit (ZOMBIE was the original title of this film in Europe), makes for plenty of gore, spills, and thrills. Goblin is right there again, only this time they get to show a wide variety of musical scopes and talents. The album is still circulating in some stores. The film score ranges from a slow, ambling march at the beginning and end to match, presumedly, the walk of the lumbering undead scattered throughout the movie. Other variations include a slow saxophone melody during romantic moments; a lampoonish Keystone Kops type of melody for when a group of bans are picking off zombies and even hitting some in the face with pies; and, overall, only remote similarity to the pounding songs heard in previous credits. Certainly this would be the film in which Goblin showed the audience its wide variety of composing talents.

TENEBRAE — While Argento used Keith Emerson for INFERNO, he had Goblin back for TENEBRAE, a psycho-killer story involving a razor-slicing, woman-hating maniac at loose in Rome. Since the plot was somewhat similar to DEEP RED, so was the music. Loud, blaring rock scores at the beginning, end, and in-between sequences where the killer arrived on the scene; an annoying flashback theme, which (instead of the choirboy song from DEEP RED) offered an assortment of strange sounds, much like a worn out music box: and heavy reliance on keyboards made this a classic in European slasher films. The poetic, flowing music matched well with Argento's poetic, flowing spurts of blood. As in his other works, the Argento/Goblin connection was a marriage made in heaven.

PATRICK — In the United States the greatest controversy surrounding this film, which dealt with a comatose villain who possessed psychic powers, was not whether it was any good or not but exactly who composed the score. While the American version of the movie credited music to Brian May (as did a soundtrack album), a series of records came out in Italy, which were imported into the USA, carrying the same logo and film credits, except with Goblin listed as the composing artists. This mystery of duo composers took quite some time to answer, although the explanation was simple. Italian distributors reportedly did not like the soundtrack accompanying the original film (keep in mind just how heavy the emphasis on film scoring is in Italy with the likes of Ennio Morricone, Francesco De Masi, Nino Rota, Nora Orlandi, Bruno Nicolai, and such enjoying more popularity than many actors or directors). Thus, Goblin was hired to rewrite the score and their adaptation was used throughout Europe in places where Patrick played. Rather bland as compared to SUSPIRIA, DEEP RED, and so on, this was not one of their best musical scorn.

BURIED ALIVE — An absolute shocker, combining a psychotic killer with a mother fixation and a liking for dead bodies, with bringing stiffs back to life via a shot (as would later be seen in RE-ANIMATOR), this film received little play in the USA until it came out in video form. The heavy metal, typical Goblin score blended well with the heavy duty violence of the film. The chimes, the hypnotic rhythm, the odd assortment of Morricone-type sounds all molded and shaped to cause the right effect at the right time. In all, the film score was better than the actual film.

While the aforementioned are the major horror films scored by this group, others exist which offer equally interesting musical highlights, but have far less impact on the fans of splatter. These include:

CREEPERS — A more recent chiller by Dario Argento, which featured Jennifer Connely, Donald Pleasence, and a host of killer bugs. Goblin only composed a portion of the music for this utilising instrumental scores, heavy rock music and chimes as in SUSPIRIA and DEEP RED. Other musicians and bands involved with this flick include Simon Boswell, Motor Head, The Andi Sex Gang and Bull Wyman. As with BURIED ALIVE, the film soundtrack was better than the actual film.

STORIES TO KEEP YOU AWAKE — Only sparce information is available. Evidently, this was an Italian television program like “Night Gallery" or "The Dark Room,” called “Sette Storie Per Non Dormire.” The theme song they composed, aptly titled “Yell" was a big hit as a single and sold on 45’s throughout Europe.

WAMPIR — By accounts, a vampire flick that may or may not have been released in America under a different title. Only one song from this film has been released in record form, “Roller,” which has appeared on various Goblin albums. Regrettably, this correspondent has been unable to find other details. The title song is indeed chilling. It starts off with the DEEP RED/SUSPIRIA rock sound then stops and an organ solo is heard, like something out of the Haunted Mansion ride at Disneyland, before the song comes to a close with the rock melody resuming. Wild, to say the least, and unfortunately more details haven’t cropped up about the film.

During Goblin’s reign there were other film scores and monumental works not related to the horror category but, nonetheless, effective. These scores include SQUADRA ANTIGANGSTERS, a crime drama which used disco beat music for most of the scenes where music was required and I LOVE YOU, I LOVE YOU NOT, a tear-jerker starring Maximilian Schell, Terrence Stamp, and a then-unknown Jacqueline Bisset.

In summing up, fans might be unaware of the Goblin logo (a demon in a crouching position playing on a violin) and what it means. This symbol, adorning their records and merchandise, came from en old painting titled The Devil And Tartini, based upon a European horror tale. Supposedly. the devil appeared one night, crouching over the bedposts of this man named Tartini, playing a violin. As the story has it, the devil wished this man to realize he could become a great composer and thus should take up music as an art. How the story ends is beyond me.

Whether or not the members of Goblin saw the devil at their bedside playing a guitar or set of chimes in like fashion is not known, but the greatness they achieved in the world of horror film, with or without Satan’s help, goes without saying. It is only hopeful that one day they will band together again, particularly if Argento finally puts together the final part of his Three Mothers series, sending The Mother of Tears on a terror spree through Rome. If such ever transpires, then no one better than Goblin could conceivably give her music to create mayhem to as she goes about making life miserable for mankind.

Hopefully. Argento will take the hint!

from Deep Red magazine #6, March 1989

from Fangoria #1; “famous cyclopian alien from Allied’s Atomic Submarine”



by Dale Pierce

Dale Pierce is the author of two current novels, THE WIND BLOWS DEATH and PLAY ME THE SONG OF DEATH. Dale has lived in Arizona since 1969 and is an ardent aficionado of bullfighting and wrestling.
Amando De Ossorio may not be the best known director or writer of screenplays to newer fans of the horror genre or to American fans, but in Europe he is a highly regarded, veteran film figure, noted particularly for his BLIND DEAD series, which dealt with a series of unseeing, zombie-like creatures wrecking destruction upon mankind, usually with graphic results. His “big three”—TOMBS OF THE BLIND DEAD, HORROR OF THE ZOMBIES, and NIGHT OF THE SEAGULLS—occasionally crop up on American television, usually in toned-down form, and, to an extent, have provoked interest from fans of the genre. In Europe, however, the Templars—the uncanny zombies of his films—have a much stronger cult following and the name of their creature is well known.
Living in Madrid, Spain, De Ossorio speaks no English and does business with the outside, English-speaking world through the help of a secretary, who handles translation of mail and business. Our conversation was a pleasant one, although other people in the place we were dining occasionally stopped to stare at us when De Ossorio imitated the way the Templars jerked and twisted around. An articulate gentleman, who “looked like someone who might be involved with horror films” with that sombre, slightly sinister Lovecraft/Poe look about him, his comments lose something in translation, but are nonetheless interesting, both for fans of his BLIND DEAD series and for those unfamiliar with his projects, hearing of him for the first time.
DR: First off, your prize creation would have to be the Templars, who made the BLIND DEAD series. For those unfamiliar with these monsters, could you describe them?
ADO: The Templars are a cross between zombies and vampires, but are not fully either. They are a mythological group of creatures who are blind, walk very slowly, only come out at night, and use the legends of blood renewal to keep a frightful eternal life. In the films, the Templars were once a fierce group of soldiers for the cross during the Crusades, yet during their travels outside Europe, they learned the secrets of black magic and demonic worship. While holding to Catholic beliefs by day, at night they practiced witchcraft in Portugal and Spain, until they were caught and excommunicated. The Templars kept on with these practices in the black arts, until they were caught doing ritual sacrifices. They were put to death by hanging and their bodies were left outside for everyone to see. The crows ate out their eyes, which was how they became blind.
The bodies were buried, but at night the Templars continued to rise from the dead. Rotting, petrified corpses, dressed in the costumes of the soldiers of the cross, they are unable to see, but guide themselves by sound. Even the beating of a human heart can be sensed by them. They feel their way around and are very slow in moving, but frightful to watch. One of the key elements that makes suspense build in the films is because they move so slowly and the tension mounts a step at a time. Viewers know the Templars are coming, but they have to wait and wait and wait. This makes the films all the more frightful because suspense and mounting tension is the secret to making a horror film frightening.
DR: Could you briefly summarize the BLIND DEAD series, starting with TOMBS OF THE BLIND DEAD?
ADO: In TOMBS OF THE BLIND DEAD, a young girl gets off a train in Portugal, after a fight with friends, and accidentally stumbles upon the Templars, camping out in the graveyard and mission where they are buried. The Templars rise from the grave and eventually kill her. They drink her blood by tearing away her flesh with their teeth and when her body is found, it is covered with large bite marks. Her friends then investigate, learn of the myth of the Templars, and meet them firsthand.
Unlike many horror films, where the good guys survive, they do not beat or defeat the Templars. The only person who survives the encounter is one girl and she is driven mad. The climax comes when the Templars board a train in which she is escaping and kill all the passengers. The train pulls into the station without an engineer and a soldier boards it to stop the train. The girl is found in the coal car, quite mad, and the film ends as the massacre in the passenger section of the train is found. The Templars are still at large at the end of the film.
ADO: The Templars again materialize, but in a different manner. Instead of rising from their crypts and walking or riding, on horses as a grotesque army of the dead, as seen in the other films, they circle the globe in a ghost ship, a Spanish boat. A group of people discover this ship and attempt to learn the mysteries of the Templars, but wind up being destroyed themselves. In the end, the Templars come to shore and once more are left at large, as the film ends with all the heroes killed.
DR: The last and most popular of your series would be NIGHT OF THE SEAGULLS. In this, the special effects were better and there were some changes. Could you talk about these and the plot of the film?
ADO: This time, a group of devil worshippers are making sacrifices to the Templars and the actual ritual is shown, where the human heart is torn out of a woman’s breast. In this film, strangers once again stumble onto the Templars and are placed in danger by them; but in the end, these creatures are finally outwitted. Although they die with the rising sun, there is still no conclusive end and some day, once more, the Templars might rise. Although the film concludes with a hint that the reign of the Templars ends, this is not definite.
DR: What do you consider to be the most unique element of the Templars? After all, there have been many vampire, zombie, and undead pictures. What makes the Templars so unique?
ADO: Their blindness, most definitely. To appreciate this, you have to see the film in the theatre more than in video or television. In the theatre, the people watching panic when they see the people on the screen face the Templars and start to scream. You keep wanting to shout at the people in the film, ‘Be quiet, don’t make noise, or they’re going to get you!’ Like I said, the Templars are sensitive to sound, with this supernatural sonar. They hear the breathing. the heartbeat, and especially the human voice and they react. They jerk around and start for where the noise comes from. (Here is where he did his Templar imitation, which provoked some stares.) Because they are blind, they move very slowly, which is one of their weak points. Once they get you, however, you’re as good as dead. I know there have been many vampire films, zombie films, and the like, but I believe the Templars to be unique. They are not vampires nor ghosts nor zombies, but a combination of all these things.
DR: Where were the graveyard scenes shot in the BLIND DEAD series? Where was the temple of the Templars?
ADO: The footage was shot at the Monostario Celcon in the province of Madrid, Spain.
DR: The music also does a great deal to set the mood for your BLIND DEAD series. Who composed the music?
ADO: I assume you are thinking of the main theme that you hear throughout the three pictures, the one with the slow, systematic chanting, right? That was composed by Antonio Pena Abril; and in Europe, it has been as closely associated with the central theme for the Templars as has the familiar James Bond music for the 007 series and the whistling in the Italian westerns. The music, in the case of the BLIND DEAD series, was perfect. It set the mood because the tone was so sinister sounding. It was sacrificial music, created to make the movie all the more intense and to make the Templars all the more sinister.
DR: You mentioned the western films from Italy and the music. Why is it these films aren’t being made any longer? Is it simply no longer in demand, with horror replacing the western?
ADO: It is not just a fall in demand that keeps people from making westerns anymore. It is also the high cost of production. One big expense is the cost for the rental of horses. In the westerns, you use many, many horses sometimes. The cost for this is astronomical, sometimes costing even a higher price than it costs to hire some of the actors. Economics is one of the main reasons why no one is making westerns anymore and most producers have switched to other themes. The horror theme has always been popular, not just in Europe, but around the world.
DR: You aren’t limited just to writing or directing horror films are you?
ADO: No, of course not. I just finished a picture recently, but it is not horror. I have made films in Italy, Spain, Portugal, and other countries and not all of them have been horror, but it is for the BLIND DEAD series that I am best known. I was even in America once, working on a picture. Even though I do not speak English, I had no trouble getting around or getting things done because I was in Miami, Florida and there I found a lot of people knew how to speak Spanish. I did not have the problems I thought I was going to have at first.
DR: Do you feel on an international level that Spain has been overlooked as an important cultural center for art such as literature and film. Other countries such as France and Italy tend to be more romantic, so to speak, when it comes to the arts.
ADO: This is not true because Spain has long been an important cultural center that has produced not only many fine film stars, writers, poets, and other personalities, but also draws the artists to it like a magnet. In the center of town is a very famous dining establishment called El Callejon, which is famous because all of the film personalities who visit Spain eat and drink there. It was once frequented by Ernest Hemingway, the American writer, and by many other people. There are many other bars and meeting places where artists in various fields hang out. Spain is just as cultured, if not more cultured, than any of these other countries. It is also an important center for the film industry in Europe.
DR: Going back to the Templars once more. How was the makeup done?
ADO: After eating, you can visit th studios and, see some of the props, masks, scale models, and other things used for these and other films. (I did and it was fascinating.) I can explain every thing then. Make-up credit for the BLIND DEAD you can get right off the credits of the film. The makeup man was Carlos Paradela.
DR: You are very enthusiastic about special effects, aren’t you?
ADO: The special effects or the lack of them can also be a decisive factor in what makes or breaks a film. Special effects now are far better than ever and I personally love to experiment with new techniques to use in film, dealing with these effects. The BLIND DEAD series gets better and better with each sequel, climaxing with the sacrifice scenes in NIGHT OF THE SEAGULLS, where human hearts are ripped out during the sacrifice scenes, and in the end when the Templars are dying, as they fall through the ground and blood comes out of their skeleton mouths, noses, and empty eye sockets. Techniques have become even more advanced since then. Constantly, the world of special effects continues to make advances, getting better and better all the time. I, personally, place a lot of emphasis on special effects, because that is one of the main points the audience is looking for in these times. The better the special effects, the larger the crowd. Sometimes it is the special effects in itself that will make a movie popular. People watch the film and marvel at the realism. You can really tell when you’ve got a good film when you take the impossible and have the people sitting in the theatre forgetting about reality and believing, for the moment, what they are seeing. When you have them caught up in that momentary fantasy, where they are one with the action on the screen, you know you’ve done your job well as a director.
DR: Do you have any future plans or projects you would like to talk about concerning film?
ADO: Just keep watching the advertisements and you should be seeing some new works by me shortly. That is all I will say.

from Deep Red magazine #4, September 1988

Nas; Freddie Fox - Turn Off The Mics

Nas + Freddie Foxxx - Turn Off The Mics