Halloween Horror Marathon: Deathgasm

Posted in metal, movies, reviews on October 6th, 2015 by Nick – 1 Comment
poster - deathgasm We were supposed to review Spookies today, but two things conspired against that happening: 1) The copy we were able to get our hands on had audio, but not video and 2) We got a screener of Deathgasm in preparation for an upcoming From & Inspired By podcast. So, given the chance to watch this movie we've been jonesing to see for AGES, we lept at the chance. There's an album by Ghoul called Splatterthrash, and I can't help but feel that portmanteau is what most pefectly sums up the spirit of this New Zealand movie. Sure, there's been "splatstick" forever, going back to the early work of Sam Raimi and Peter Jackson, and director Jason Lei Howden owes more than a nod or two to those directors (especially to something like Jackson's Dead Alive), but while the gore is definitely played for fun, the main metalhead characters of Brodie and Zakk are rather deadly serious. You've comedic foils in Dion and Giles, but this isn't so much a horror comedy as a horror dramady. You've essentially taken your usual high school drama-comedy, wherein your lead character is an outcast with a small group of loyal friends who must overcome in order to secure their place in the social order, as well as winning the boy or girl -- i.e., every John Hughes film set in Shermer, Illinois. In this case, there's a lot more corpse paint and bullet belts, to say nothing of gallons upon gallons of stage blood, but the basic premise is the same. The soundtrack rips (especially the titular theme by Bulletbelt, which you can hear below). Mondo/Death Waltz is releasing a soundtrack for it soon, and I can't wait to get my hands on a copy. It's fully death metal in terms of the music, which is refreshing -- it's nice to have a niche represented in a way that demonstrates that this music means something to some people, and isn't just noise. [embed]https://www.youtube.com/watch?v=wdSebJy_ERw[/embed] And, honestly -- it's fun. There's something heartwarming in the sense of a group of outcasts banding together against first, the forces of assholery in their town and second, the forces of evil which could potentially destroy the world. They treat each other like shit -- or, rather, Zakk's a screaming dickhole whom my wife repeatedly wished horribly, screaming death upom at multimple times during the movie -- but, that's sort of standard teenage behavior, and the ending sort of wraps all of that up nicely. deathgasm brothers in steel The gore is exceedingly wonderful. It's a mix between practical effects and CGI, and works best when the CGI is used to augment the insanely violent deaths suffered by the various demon-infested townspeople. The practical always looks far more realistic than the CGI, with blood splatter never looking quite as effective when rendered by an algorithm, as opposed to the random spray of pumping corn syrup. It's another excellent release from Dark Sky Films, who in the last year have released this, We Are Still Here, and Starry Eyes, which is an amazing run all on its own, to say nothing of House of the Devil, the Hatchet franchise, or Willow Creek. So, yes: Deathgasm is fun as hell, and you should totally go see it. See this with friends, though -- it'll be a blast. It opens this weekend in Kansas City at the Screenland Armour, where it runs Friday, October 9, through Thursday, October 14. [embed]https://www.youtube.com/watch?v=n6H3smk5sqc[/embed]

Halloween Horror Marathon: It Follows

Posted in mp3 on October 5th, 2015 by Nick – 4 Comments
poster - it follows Each week, Halloween Horror Marathon does some themed posts. We go back to work on Mondays with a recent release. We call it New Movie Mondays. What nobody ever mentions about It Follows -- except, evidently, me when incessantly and effusively praising this movie after I finally saw it -- is the constant movement. Watching the film, I never felt scared, per se, but definitely felt a sense of tension. It Follows is a movie whose tautness is its real weapon, and it comes from that constant movement. Said movement could be the characters in a scene: either talking, fiddling with their hands, swimming, or otherwise involved in an activity. However, it could just as likely be the movement of the camera: zooming in, pulling back, panning, or following the characters as they sit. It's that incessant motion which gives It Follows the unyielding anxiety that makes it so very watchable. The Disasterpeace score places further strain upon the viewer, as well. It's the sort of music which has melody to hook you, only to disintegrate into digital noise at the end of each section. It's beautiful and haunting in its more lovely moments, but absolutely intimidating when it wants to menace. What's great about the motion of the camera or the characters onscreen is that it's entirely at odds with the pace of the plot itself. It unfolds at a relatively slow pace -- some would say glacial -- similar to the likes of '70s or early '80s films like Zombie Flesh Eaters or The Living Dead at Manchester Morgue, wherein you spend time living with the characters in between moments of supreme violence. It's not rapid-fire hit, hit, hit in terms of violence. It builds and builds and builds between each instance. if_01 And, of course, the open interpretation of so much of It Follows is what really allows for repeated viewings. Are we going to consider the religious imagery this time, or possibly the mutable timeframe in which the movie takes place? Every instance adds a different perspective , and you could easily waste an entire afternoon reading the various think pieces. Add in the female lead of Jay, as portrayed by Maika Monroe, with demonstrable agency of her own, and you've a modern horror film that manages to still seem timeless. For sheer entertainment value, as well as repeated, multi-faceted perspectives, It Follows is definitely my favorite movie this year, and possibly in the last five. I can't think of another film which not only lived up to the hype which preceded it, but also surpassed it to such an extent. It Follows is available on Blu-ray and DVD, but I suggest getting the Blu, because goddamn, it looks amazing. We also suggest snagging Disasterpeace's score on vinyl, as released by Milan Records. [embed]https://www.youtube.com/watch?v=QX38jXwnRAM[/embed]

Halloween Horror Marathon: The Dead Next Door

Posted in movies, reviews on October 4th, 2015 by Nick – 3 Comments
the dead next door header Each week, Halloween Horror Marathon does some themed posts. We sleep in on Sundays, then watch a zombie flick. We call it Resurrection Sundays. The Dead Next Door has always been one of those zombie movies which popped up on lists of lesser-known cult flicks, but never really ever came up as a best-ever. When I watched it the first time, it obviously didn't make much of an impression, because I couldn't remember much before this viewing other than "I know I've seen The Dead Next Door before." Within five minutes, it all came rushing back, and I remembered that this is what I want every zombie action movie to be! It's late '80s vintage, but this scrappy little Ohio movie readily predicted quite a bit of the modern zombie Rennaissance. There are elements of The Walking Dead (except it's not boring), World War Z (book, not movie), and lifts from the finest pieces of Dawn of the Dead and Day of the Dead. I really hope the cult leader's look is supposed to be a Deathdream homage, too. The Dead Next Door is b-movie sci-fi horror all the way through. There's a level of science that seeks to cure the zombies, or allow them to speak, but never actually goes so far as to actually explain any part of the contagion. In addition to being a delightfully weird zombie flick, it works as an action movie, too. Think 28 Days Later -- but fun, instead of nihilistic killjoy boring. Once you learn that Sam Raimi worked as a secret producer, The Dead Next Door's tone makes a lot more sense. dead next door screencap The tone's not quite splatstick, because rarely is there a wink or nod to the camera. It's played fairly straight, but then again, every bit of dialogue being looped in post helps keep it from being something you'd take too terribly seriously. Still: it's got a sense of internal logic, there's a definite scruffy style to the whole affair, and it's not just a mish-mash amalgamation of disparate pieces. It's a ridiculous movie, yes -- much like Night of the Creeps, characters are named after famous horror directors -- but it's way more entertaining than most films at ten times the budget. It kind of peters out at the end, but I enjoyed the hell out of myself, and given the enthusiastic devotion to the bizarre plot, you'd think this would be way higher on the list of must-see zombie flicks. It looks like Tempe Video will release a definitive Blu-ray / DVD combo later this month, which also includes the soundtrack on CD. They still have a few copies of the 2005 DVD release, as well. [embed]https://www.youtube.com/watch?v=nRpPDGHeFqs[/embed]

Halloween Horror Marathon: Psycho

Posted in movies, upcoming events on October 3rd, 2015 by Nick – 2 Comments
poster - psycho Each week, Halloween Horror Marathon does some themed posts. We kick off the weekend by seeing a movie in the theater. We call it Cinematic Saturdays. We were supposed to see Eli Roth's new cannibal flick, The Green Inferno, with our brother, but he's in Wichita for a wedding. Rather than sit by ourselves and feel grossed out, we're going to talk an upcoming cinematic screening. I've had the experience of watching Alfred Hitchcock's Psycho in a variety of situations. I'm pretty sure the first time I saw it as a kid, I already knew the basic premise, but the film is so well done, it really didn't matter -- and, honestly, the real kicker is that even if you know the shower scene is coming, nothing really prepares you for its rapid and confusing savagery. Then, after said big to-do, there's still an awful lot of creepy, disconcerting film to come, made all the more odd by the fact that you'd become quite invested in Marion Crane as a viewer. Now what? Everyone knows the first part of the film, but while that's a bit of a crime caper, the vast majority is a typically taut and engaging Hitchcockian thriller. Calling Psycho a horror film is pushing the boundaries of the genre somewhat, but I feel that, as giallo and other psychological thrillers like Eyes of a Stranger have horrific elements to them, it's a valid inclusion. As a matter of fact, I saw the movie in not one, but two classes in college. The latter was a class called "Pop Culture of the 1960s," which makes perfect sense, but the first class was entitled "Literature of the Gothic." Psycho as Gothic seems almost more absurd than outright horror, until you consider Gothic's tropes. psycho house There's the uncanny, which is there in spades. There's what's referred to as "a pleasing sort of terror," meaning that you're frightened, but pleasantly so. And obviously, the double, as well as the idea of the architectural setting of the story reflecting the characters of the story. Given that the rather more modern Bates Motel sits below what is essentially a Second Empire home, there's a mirroring of modernity and the past. Add into that the fact that the interstate left the hotel on what is now a rarely-used side roaad, and there's another layer. Psycho is a film that offers up new things every time one sees it, and even though the basic plot points mean that seeing the big setpieces will no longer surprise even the youngest and most naive viewer, it's a gorgeous piece of economical filmmaking. Hitchcock's use of his television crew means that he gets the most out of a lean budget, squeezing every scene for the maximum allotment of discomfort. This is all a roundabout way of saying Lawrence's Liberty Hall will screen Psycho on the big screen tomorrow, Sunday, October 4, at 7:00pm. Tickets are $8.00, and more information is available here. It's also available as a quite-affordable, very loaded, extremely gorgeous Blu-ray, which you can purchase right here. [embed]https://www.youtube.com/watch?v=Ps8H3rg5GfM[/embed]

Halloween Horror Marathon: Don’t Torture A Duckling

Posted in movies, reviews on October 2nd, 2015 by Nick – 3 Comments
Dont Torture a Duckling poster Each week, Halloween Horror Marathon does some themed posts. We wrap up the work week with the films of Lucio Fulci. We call them Fulci Fridays, and for those, we team up with Liam O'Donnell of Cinepunx. This week, we look at Don't Torture A Duckling. Nick The real mark of a zonkers Italian flick is being able to watch it over and over, reveling in its strange visuals and plot twists, and having fun with the absurdity of the violence. The first time through, Don't Torture A Duckling is an enjoyable watch, but the second? Man, knowing the ending and all the twists just make for a slog. It's good, solid, filmmaking, but Fulci hadn't yet learned to be fun at this point. There are moments of ridiculousness, like a naked woman mocking a young boy, or repeated zooms on a Donald Duck toy, but nothing really goes into "nasty because we can" territory. I appreciate that, at heart, this is proto-Fulci. Notably, it’s the gore effects that you’d see in his later works. When the villagers corner the village witch, Maciara, and attack her, take a look at the way she’s beaten with the chain: seven years later, in The Beyond, it’s pretty much repeated when the villagers attack Schweick. You also have your woman with no agency until a man takes charge -- in this instance, Barbara Bouchet as Patrizia (you could also include Irene Papas as Dona Aurelia Avallone, the priest's mother). That's a pattern that repeats in each and every Gates of Hell movie, as well as the likes of The New York Ripper. It does get delightfully fucked-up in the middle, while the witch confesses and speaks, but it's otherwise a blip in the middle of an otherwise pretty bog-standard thriller. Once her very disturbing, and hallucinogenic death scene is over, it's back to boring until the end. For the five minutes it lasts, it's quietly disturbing violent intensity. The ending is great pay-off if you’ve been watching attentively, but if you’ve seen it once, that’s enough. don't torture a duckling screencap Is it giallo? There's a mystery, there's highly-stylized violence, very pointless nudity of very beautiful women, and strangely-framed shots. And, much like a giallo, the actual plot is pretty negligible -- but, in this case, not full enough of absurdly psychedelic imagery to make being able to ignore it a possibility. That's what separates this from Fulci's Gates of Hell trilogy: in the case of those films, you don't need to know what's going on to enjoy them. Don't Torture a Duckling is too much detective story to be able to just sit back and zone out on the oddity unfolding in front of you. But having watched it a second time, there is something a little more which can be sussed from the film, beyond the action highlights. For instance: is there something we're supposed to take from the opening scenes of the town witch, holding a child's skeleton in her hands, standing within view of the modern highway? Absolutely: the film's as much about the battle of a small town against encroaching modernity as it is a search for the killer of these young boys. If you really want to read into it, you can reduce the film to being about trying to freeze time in a specific mileau, be it the city trying to cope with modernity (even as they hide their own perversions or stone a witch) or the priest "saving" the boys from their own adolescence, or even when they intersect in the priest's lecture on the people who watch TV or read the news, and how "certain magazines" don't make it to town. There’s a line in this old Video Watchdog review that sums it up perfectly, saying that Don't Torture A Duckling "transcends glib finger-pointing to speak truth to a culture unbalanced by having one foot planted in an ancient world of saints and martyrs while the other is set in a modern age of lonely people without a vocabulary to express their sadness." Liam I am not gonna lie, this is one of those Fulci films which, for whatever reason, I entirely missed. I am not sure if it is the “giallo” nature of it, or perhaps the simple fact that it is an early movie which is more difficult to find. However, while I have seen the Gates of Hell trilogy so many times they feel like home, this film was not even on my radar to watch until you suggested it. Don’t Torture a Duckling is a real head scratcher when you consider the entire breadth of Fulci films, and I am not sure how I feel about it. I agree with your basic idea that, while this movie is well made, it lacks a lot of the ridiculous aspects of Fulci’s later work, the strange and cruel elements that make those movie so unavoidably entertaining. I think though, when it comes to questions I have about Fulci, this film is now at the top of my list of examples. In fact, if one is concerned about the ways Fulci depicts gender, and issue only further complicated by stories of his behavior on set, this film doesn’t help. I cannot think of another of his films I have seen in which women are so clearly objects of both fear and derision. Not to say that a film like New York Ripper does not have many of its own problems. What gets to me here though is how many varieties of stereotypical female characters are on display here, and how many of them are negative. From the loud and large prostitutes to the young drug addict, and of course the witch who is murdered so brutally, the film seems to have no little anxiety about women. don't torture a duckling screencap 01 This of course bleeds into a second aspect of the film, which is its anxieties around sex. Here though, I suspect your idea about the old/new dynamic, or rather the traditional smashing into the modern is really at play. Still, while Fulci wants to use sex in his film in the same entertaining and sultry manner of many giallo, this film drips with a certain awkward attitude about sex. The scene which really stuck with me was the one of the hip young women with the young man. Yes, there is more going on in this scene, but there was also some really strange sexual tensions in it. I was impressed by it in some ways, but taken as a whole I am not sure what to make of it. I was reminded again of New York Ripper in that it is the only other of Fulci’s films I could think of in which sex plays such an important role thematically. Yet, it was entirely different. Of course, I am reading far too deeply into this one, as is my tendency. Unfortunately, what Don’t Torture a Duckling suffers from, for me, is more plot turns and reveals than interest. Giallo are deliciously lurid, disturbingly violent, and stylistically masterful. For a director who, in many ways, is one of my favorites specifically in his stylistic mastery, I was disappointed at how bland the film is. The small bursts of gore are very satisfying, and the murder of the witch is as you described. A nightmare scenario hinting at some of the beautiful insanity that was to come later in Fulci’s career. The final reveal (spoiler: the priest!) speaks for me very much to this anxiety around the old Italy and the modern. In this I am not referencing the most recent scandals around the catholic priesthood, though this film may remind any of us of that for sure. No, but they are also not unrelated. In Italy, if not around the world, for many the priesthood represents some sort of hold over from another time. An entire class of people living off of superstitions that for many seem not only irrational, but archaic. The reveal of his murderous rampage is not entirely unsympathetic, but it does hint at this feeling, that old Italy must make way for the new. In this case, the old is literally killing the future, in the form of the very young men it was meant to protect and prepare for the future. There's a pretty great Don't Torture A Duckling DVD you can get from Blue Underground, while there's a discount version from Anchor Bay with lesser video quality, but it comes as a two-pack with City of the Living Dead. [embed]https://www.youtube.com/watch?v=M_M3a3m6wOc[/embed]

Halloween Horror Marathon: Tourist Trap

Posted in movies, reviews on October 1st, 2015 by Nick – Be the first to comment
tourist trap header We're not off to a good start with this year's Halloween Horror Marathon. I basically haven't been home any night this week before 6:00pm, and there's been something waiting for me every night. I barely watched Tourist Trap in order to get this written, and I feel like I'm basically trying to write about something only vaguely half-remembered. That said, I love this movie, and I need to watch it more often than I do. Why more often? Because I can't remember character names or any of the particulars right now, but suffice it to say, Tourist Trap is a movie that I both can't believe isn't bigger than it is, while also being confused that as many people know it as they do. It's a movie that is simultaneously '70s and '80s. The creepy weirdness of everything in Tourist Trap lines up perfectly with other movies of the era, especially the likes of Phantasm, which was released the same year. However, it also presages the sort of strange things director David Schmoeller would later to go on to do. Watch Tourist Trap, then consider Puppet Master. By no means will you be surprised that they're by the same man. It's just so fucking uncomfortable, while at the same time run through with a sense of levity that doesn't actually ever release any tension. While watching, you know that you're supposed to laugh at this, but you're just wondering whether or not the intention of all of this is deadly serious. The music in the film, especially the copious amount of slide whistle, really makes this seem like a funhouse gone wrong. The mannequins are obviously creepy, but the strange psychic powers (very '70s) are what really makes this flick bizarre. Things are never quite explained, and watching it, you're just left to assume that everyone has gone mad and just accepts that it's happened to them. People deal with crazy, horrific shit, and then move on by living with plaster versions of their loved ones. No bigs. I think it's particularly telling that Pino Donaggio did the score. He did movies that were just weird -- The Howling, The Barbarians, The Black Cat, and especially Crawlspace, amongst others -- and seeing his name after "Music By" usually means that you're in for something astonishingly uncomfortable. The score is on sale as of yesterday via Waxwork Records. You can snag the LP right from their shop on blood red with black marble vinyl. You can also grab the movie on Blu-ray for pretty cheap. [embed]https://www.youtube.com/watch?v=nQGui4LUwDw[/embed]

The 2015 Halloween Horror Marathon

Posted in movies, upcoming events on September 29th, 2015 by Nick – 4 Comments
T658363_03 The Halloween Horror Marathon returns to Rock Star Journalist, starting this Thursday. Once again, we're doing a weekly team-up with Liam O'Donnell of Cinepunx for his Journal of Fear. You can find the complete list after the jump. We're doing some thematic things this year: Resurrection Sundays, with zombie movies; New Movie Mondays, covering films that were released in the last year; Fulci Fridays, where we do a Lucio Fulci film with Liam; and Cinematic Saturdays, where we cover a film we saw in an actual movie theater the night before. GET HYPED. 1 Tourist Trap 2 Don't Torture A Duckling # 3 The Green Inferno ^ 4 The Dead Next Door + 5 It Follows * 6 Spookies 7 Witchboard 8 Slither 9 Zombie Flesh Eaters # 10 The Final Girls ^ 11 Living Dead Girl + 12 Housebound * 13 Dead & Buried 14 Frogs 15 Madman 16 Cat in the Brain # 17 Crimson Peak ^ 18 The Living Dead at Manchester Morgue + 19 Cooties * 20 Lurking Fear 21 Dead Pit 22 Dolls 23 The Black Cat # 24 The Last Witch Hunter ^ 25 Anthropophagus + 26 We Are Still Here * 27 Curtains 28 Hollywood Chainsaw Hookers 29 Eyes of a Stranger 30 A Lizard In A Woman’s Skin # 31 Scout's Guide to the Zombie Apocalypse ^ + Resurrection Sundays (zombie movies) * New Movie Mondays (recent releases) # Fulci Fridays (with Liam O'Donnell) ^ Cinema Saturdays (movies in an actual theater)

Celebrity Art Party with Travis Falligant

Posted in art on August 24th, 2015 by Nick – 1 Comment
Celebrity Art Party is a semi-occurring feature, wherein the artists we enjoy interpret their favorite song. This installment features Travis Falligant, whom we've become a big fan of on Instagram, mainly because of his excellent style and subject matter that ranges from horror movies to The Golden Girls. You probably saw his "Scooby-Doo Lost Mysteries" all over the web last summer. If we could afford it, we'd buy everything Fallgant put up in his shop. As it is, we had him talk about his favorite song for Celebrity Art Party, and it's a heartfelt tale of a first crush. Travis Falligant - Foreigner 'I Want to Know What Love Is' web Song title: I Want To Know What Love Is Artist: Foreigner Version of song (live, album, remix, etc.): Agent Provocateur album [embed]https://www.youtube.com/watch?v=raNGeq3_DtM[/embed] Why this song? I have to clarify: this is not a favorite song. It’s a song that holds a strong memory for me. When did you first hear it? I had heard it before but the moment this song made an impression on me was in the car on the radio. I was 8 years old and was riding in the car home from the grocery store. My mom had bought the Official Movie Magazine of Dune for me. I was in the back seat and flipping through the pages and looking at images of actor Kyle Maclachlan. "I Want To Know What Love Is" came on the radio and I remember closing the magazine and staring at him on the cover and hearing the music and getting that feeling in the pit of my stomach, the butterflies. It was the feeling of getting my first crush on someone else and it was overPOWERING. I felt like I was becoming an adult at that very moment, hearing Foreigner belt out that '80s power ballad. How does music such as this inspire you in your work? I think it’s the era in which I heard this song (the 80’s) that really inspires my work. Music from the '80s (my childhood) influences my work just as much as film, art, pop culture does from that era. It was a time of comfort and inspiration for me. Being that age and being surrounded by so much great pop culture: it was a good time to be alive. It’s the optimism of that time period. As a kid growing up in the '80s, I was exposed to bright color palettes, uptempo catchy pop songs, and unforgettable corporate mascots and merchandising (toys, film tie-ins). When I create, I tend to draw from nostalgic, warm memories. I like to refer back to that simpler time not only in my personal life but also in my work. How has this song changed for you since you first heard it? It hasn’t changed for me. EVERY TIME I hear this song though, I am transported back to my 8 year-old self, dangling my legs off the car seat in the back of my mom's car and flipping through that movie magazine. What upcoming projects do you have? I am working on some new IBTrav art for sale (stickers, tee designs and movie poster prints) and am gearing up for the month of October and my next "31 Days Of Halloween" sketch series. I almost might do a return to "The Lost Mysteries" series to celebrate the upcoming Halloween holiday. Stay tuned! Travis Falligant's work can be found at his website, which contains links to his Facebook, Twitter, and Instagram pages, as well as his online store.

Celebrity Art Party with Amy Abshier Reyes

Posted in art, video on July 27th, 2015 by Nick – Be the first to comment
Celebrity Art Party is a semi-occurring feature, wherein the artists we enjoy interpret their favorite song. This installment features Amy Abshier-Reyes, whom we'd never met before being introduced at a Spoon show a few months back, but quickly discovered her to be a fantastic and interesting person. Abshier-Reyes' work is a collection of haunting portraits, and her piece for Celebrity Art Party is no different. Amy Abshier-Reyes - Joy Division 'Ceremony' web Song title: "Ceremony" Artist: Joy Division/New Order Version of song (live, album, remix, etc.): I really love the New Order 12" version, originally released in 1981 on Factory Records. [embed]https://www.youtube.com/watch?v=rVWO6yE_c40[/embed] Why this song? This has been one of my favorite songs since I was in my teens. It's always struck a chord with me, pun intended. When did you first hear it? I must have been 14 or 15; I honestly don't remember. I think it crept into my subconscious and just sort of simmered there until I was ready for it. How does music such as this inspire you in your work? There's always music in my studio, in my car, in my home, in the back of my mind... It can alter my mood, letting me settle down into a receptive, creative zone. I'm not a musician, but music is one of my oldest loves. It's a huge part of my life and I listen to so many different kinds. Everything from shoegaze to bossa nova to punk to old country to new wave to psychedelic to electronica ... I could go on and on. How has this song changed for you since you first heard it? I don't know that it has; I still feel the same emotions and sensations that I remember having listening to it as a kid. I sometimes joke that this better get played at my funeral, or someone's gonna be in trouble. What upcoming projects do you have? I'm always working on new pieces. I love painting eyes, so I paint a lot of single eye portraits, almost like the miniature lovers' eye portraits that were popular in Georgian times. I generally have work available to view at the Blue Gallery in Kansas City. You can find more information about Amy Abshier-Reyes at her Facebook page or buy things from her via Etsy.

Podcast #137, “Doomed to Repeat”

Posted in mp3 on July 20th, 2015 by Nick – Be the first to comment
sisyphus In which your host tells of plans to come, and things which might change. In the meantime, electronic blips, dance-y bloops, and sludgey dirges. Podcast #137, "Doomed to Repeat" Mike Armstrong, "House of the Devil Opening Theme" (House of the Devil soundtrack) Magnetic System, "Escape" ("Godzilla" single) Gershon Kingsley, "Popcorn" (Music to Moog By) Carlo Maria Cordo, "M31" (Pieces soundtrack) --- Richard Denton And Martin Cook, "Tomorrow's World" (TV Sound and Image Volume 1) Gil Trythall, "Folsom Prison Blues" (Country Moog (Switched on Nashville)) Black Devil, "Follow Me" (Disco Club) Wolfmen of Mars, "All Those Terrible Times" (Gamisu) --- KISS, "God of Thunder" (Alive II) Uncle Acid & the Deadbeats, "Death's Door" (Blood Lust) Minibosses, "Metroid" (Brass) Ebn-Ozn, "The Dawn" (Feeling Cavalier)