REVIEW: Demoni - Day of Demoni/Night of Demoni

Demoni is a psychobilly/horror surf band from Boise, Idaho... where there are a lot of psycho hillbillies and no beaches to surf. Don't let this deter you from checking them out, though. These guys do a lot right.

I'm, personally, not a big psychobilly fan. However, there's something different about Demoni. Their knack for throwing in instrumental surf, along with actually knowing how to play their instruments, rather than learning tricks for live shows helps set them apart from the droves of similar bands.

Rather than having an overly-raspy vocal approach, singer Andy Agenbroad has a somewhat soothing voice for the genre. This invites you in and makes you feel comfortable. Just when you're feeling at ease, the lyrics catch you for the slaughter. With every song being horror-based, those smooth vocals are only masking the killer hidden in the lyrics.

The choruses in Demoni's songs are so straight forward and catchy that you're singing along the second time they comes around. It really doesn't matter if you've seen the movie the song is about or not, the lyrics roll off your tongue without thinking.

The band tours somewhat regularly and, having seen them live, I highly suggest you see them if given the chance. They've played multiple dates with the reigning kings of horror rock, Calabrese, and slayed the crowds.

First, I'll touch on Day of Demoni.

This album was the second full length released from the band (initially released in 2011), but the first with a steady lineup. While the band was still in it's early stages, the members have played for a long time and know how to put a song together. It's evident from beginning to end that this band is up there with some of the premier horror rock bands out there.

This album was initially a vinyl-only release out on P.I.G. Records, but thanks to the UK's Graveyard Calling Records, it will see a cassette release in August, as well. This should be a great introduction to a new audience who will most-likely welcome Demoni with open arms.

At first, the guitar seems maybe a little low or "small" in the mix. With every listen, this is what I think at the beginning. However, as the album goes on, it feels just right. All those killer surf riffs are really perfect for defining the overall sound of Demoni. The standup bass has that clicky sound that is predominant in rockabilly/psychobilly stuff. However, the bass, itself, is heard rather than just those clicks. It really helps bring out the quality of Evil Ethan's bass playing. And let's not forget Cody Casket's drumming. It's right on the whole way. Elements of punk rock in the surf songs and those of surf in the psychobilly stuff really puts these guys on a pedestal. It's hard to find stand out tracks since every song is great. I will say that I'm a sucker for an Ed Gein song, though. So, when "No Pain No Gein" came on, I was definitely excited. Great storytelling in the lyrics coupled with Agenbroad's vocal style really bring it all together.

"They Crawl" and "Night of the Creeps" are fun tracks that will have you chanting along in no time. They're just so damn catchy. I, also, can't skip on mentioning the lead guitar work in "Laid to Rest". It's the perfect compliment to the song. It's not overly complicated at all but something about it is like a slap in the face saying, "this is what it's all about!"

"Beware the Moon" is a great tribute to one of the best werewolf movies of all time, An American Werewolf in London. The pace is steady and the lyrics urging to "stay on the track and don't turn your back" are engrained in the brain as soon as it's heard.

"Black Lagoon" is a surf masterpiece. The fact that it's obviously an ode my all time favorite creature feature, Creature from the Black Lagoon, doesn't hurt, but this song really does show the influence of The Ventures and Los Straitjackets so well. Everything in this song comes together perfectly.

With songs about A Nightmare on Elm Street, House of 1000 Corpses and a barrage of horror, slasher and creature feature films, there's no reason for any horror fiend to pass on giving this album a fair shot. The surf intertwined really helps break any monotony that you may be feeling when listening, though every song really is just a blast to listen to.

7.5 out of 10 skulls

Now, on to Night of Demoni...

This album doesn't have a release date yet. The band is currently in talks with a handful of labels you've probably heard of for it's release, though.

From a recording standpoint, this album is just about flawless. The overly-clicky sound that comes standard with rockabilly/psychobilly recordings is more subtle on this album. This is a welcome change of pace to me. It also makes it even easier to hear just how good Evil Ethan really is at playing this standup bass.

The lead off track, "Are You Scared?", is a great way to open this album. It's also the single that you may here on some of the better independent horror and rock radio stations and podcasts out there. The blistering guitar and smooth vocals cut like a knife in this one.

Overall, this album is deeper than the others. Not like "sellout" deeper. It just shows off different sides of the band. Case in point, "Martyrs". This song is a slower, brooding, moody song. And it's awesome. One of the best songs Demoni has ever put out. If you're not singing "what did I do wrong?" when you listen to this and think you might want to hit the back button to listen again, there might be something wrong with you... and not in a good way.

Something else that stands out here is "They Live", aptly named after the movie. To my recollection, I haven't heard a song based on the movie before. More horror themed bands should follow suit. This is a rockin' surf song about one of the most kick ass movies ever. The only lyrics are "Eat, Consume, Obey!" What more does it need? Nothing at all. That says it all.

I know what you're thinking; "...but do they have a song about Halloween?" Well, of course, they do. "The Beast Within" is a killer rockabilly song that sort of stalks then bursts with musical fury, much like Michael Myers with his beloved blade.

The bite of the guitar in the main riff of "Black Nails", the brilliance of the chorus on "Girl in the Bathroom", the sludgy surf stylings of "He Never Came Back"... this really is just the top of the iceberg but I can't just go on forever here. Day of Demoni put the band on par with The Koffin Kats, The Nekromantix and Mad Sin, but Night of Demoni is a work that surpasses anything I've heard from similar bands.

8.5 out of 10 skulls


Day of Demoni is available from:
http://demoni.bandcamp.com/album/day-of-demoni

Reviewed by Chris Cavoretto

REVIEW: Michael Wandmacher - 13 Sins (Original Motion Picture Soundtrack)

Since 1986, Michael Wandmacher has been scoring films. His résumé includes some somewhat bigger movies such as Legend of the Drunken Master and 2005's Cry Wolf. Over the last 10 years, though, he's really started picking up steam with movies like Train, My Bloody Valentine, Piranha 3D and Drive Angry.

There are elements in this score that remind me of Christopher Young's Sinister score. It's not quite there for me on the overall creep and awesome factor, but it's reminiscent. That is also no slight on this score, as Sinister is one of my absolute favorites ever.

The opening track, "13 Sins (Opening)", is a great setup for what's to come. All the elements in the score are on display in this song. It's over quickly but it's got a strong gothic industrial vibe and hits on the levels of atmosphere that are further elaborated on throughout this entire work.

The second track, "Kill the Fly", starts off frantic with huge drums. After this section it mellows to an atmospheric section that builds nicely to a close.

The next several tracks are very atmospheric. Nice melody with big drums mixed in gives it all a sense of worth. Tension, beauty and an overall sense of panic are brought together very well throughout the score.

When "Pervert" hits, it hits like a ton of bricks. It's very tense action sequence music but it sounds huge. After the initial take off, it slips back into the atmospheric vibe.

"Amputee" is another standout track. More great gothic industrial type vibes in this one. The only problem is that as soon as it starts drawing you in, it's over.

"Amputee" sets us up perfectly for the highs and lows in the next song, "Surrender" (no, not a Cheap Trick cover). This one is very drum driven. It's packed with rhythm and tension.

These rhythmic drums and tense atmospheres keep up with "Hostage Situation", "The Opponent", "Only One Winner", "Just an Employee" and, finally, "13 Sins (Reprise)". These songs are all fantastic with phenomenal ups, downs, twists and turns. They also get the blood flowing.

The first half of the score dwells a little more on the vulnerable feel with intensity slipped in while the second half hits sort of the opposite. Each time I listen, I think it's really good but wonder what really grabbed me about it. When that second half pops in, it's obvious. Wandmacher knows what he's doing and it comes across in this collection.

There are songs that, if simply listening to the score, seem like they're just there, but they add the right dynamic to the film. This is what great score composers do. It may be a bit forgettable but the drums and noises throughout make this an enjoyable listen for anyone who loves horror scores. Eerie, melancholy and a whole lot of rhythm are all on display and Wandmacher blends them all seamlessly.

7.5 out of 10 skulls


Available from:
http://moviescoremedia.com/screamworks/2014/04/15/13-sins-michael-wandmacher/

Reviewed by Chris Cavoretto

REVIEW: Dr. Hell – Drunken Zombies

Yikes! I would not want to run into this ghastly bunch in a dark alley.

Dr Hell's 11-track offering Drunken Zombies is a catchy, fast-paced and, above all else, angry collection of monstrous punk rock genius. Scoffing at the idea of ripping off Danzig vocally and spitting on the idea of radio-friendly melodies, Dr Hell instead let rip with eleven songs of visceral, ruthless aggression that sounds like a group of pissed off monsters have somehow found themselves at an open mic night.

Even if we ignore the music, which is admittedly difficult considering this is the musical equivalent of having a Werewolf snarling in your face, the song's titles alone are just...awesome! Charming little titles like 'I Won't Pay For Sex With Rotten Bitches' and 'Carl The Metro-sexual Werewolf' should give you some sort of clue as to what's on offer here.

Drunken Zombies is one of the most exciting horror-themed releases I've heard in a long time. It is angry, audibly vicious and downright awesome. It's a shame that more horror-themed bands don't sound as punk rock as these guys do. I'd love to see these guys in a live setting, though part of me does worry I wouldn't come out alive!

If there is a demon festering away inside you just screaming to come out, this is the release for you. I hope they get their name out there because they've been hiding under the bed for far, far too long!

8 out of 10 skulls


Available from:
http://bloodypunkrock.bandcamp.com

Reviewed by Ben Smith

REVIEW: The Newton Brothers - Proxy (Original Motion Picture Soundtrack)

Prior to this release, I was not familiar with The Newton Brothers. Doing a little research, it seems they've been composing for films for nearly 10 years. The biggest horror release they've done, from what I can tell, is the newly released Oculus. Proxy is set to be released soon and is billed as a Hitchcockian film. The synopsis sounds to be much more psychological than most horror/thriller movies of late. This is very welcome by me. Something that makes you think a little is good once in awhile.

When I first played this album, it was apparent that the movie, itself, is not the only thing Hitchcockian here. The Newton Brothers have put together a score that could have been in just about any Alfred Hitchcock movie. These guys really pulled off something great.

From the beginning of the first track, "Prelude for Proxy", I was transported to a time when the screen was black, white and shades of grey. Back to a time when you actually had to think when watching a horror/thriller movie. As do most of the songs in this score, this one feels very much like it could be a lost track from Psycho.

I'd go so far as to say that you could throw any of the first nine songs in with a remastered Psycho score and ninety-five percent of the people who heard it wouldn't even notice. That is how remarkably similar this is to the Hitchcock scores. I, also, can't stress enough that it's not just similar, but very well done.
The tenth track, "Group Counciling" is a bit more sorrowful. It feels different than the rest. There isn't much of a Hitchcock vibe to it but the strings bring it home as one that sticks out from the soundtrack but still stands out as a great one.

Towards the end of the score, there's a little more of The Newton Brothers, themselves (I'm guessing), mixed in with the songs. It still sounds like it could be from a Hitchcock movie, but there's something a little different and updated going on.

"End Titles" is another great piece. It starts with the strings swelling in a "newer horror" sort of way with the crescendo dropping out to a very "Hitchcockian" solo, low note. After this, it takes a trip into a Danny Elfman-ish world with a slightly deeper tone than what they had done before this for the score. The tensions builds again to a Hitchcock-like finish to end the score brilliantly.

The Newton Brothers didn't reinvent the wheel here. They didn't even make a score that was completely different than anything that has been done before. However, they put something together that, because it's different than anything in any current movie, is a standout score overall. It's not a new sound, but it's a refreshing sound and it was done so well. I'm definitely thinking it's time to seek out more of their work.

8 out of 10 skulls


Available from:

http://moviescoremedia.com/screamworks/2014/04/15/proxy-the-newton-brothers/

Reviewed by Chris Cavoretto

INTERVIEW: 13 Questions with Michael Daniel

Michael Daniel is a composer who recently won an award for his score for the feature film, Blood Rush. Here he answers 13 questions for us on his experience in music and horror!

1. What was your first experience of watching a horror film?

The first horror movie I ever saw was Jaws. I was in the third or fourth grade and it remains, to this day, one of my favorite movies, horror or otherwise, of all time - and one of the best film scores to boot.

2. What can you tell us about your musical upbringing?

My mother was a piano teacher, so music was an inevitability in my household. I was playing the piano as far back as I can remember. Mom didn’t teach me herself, but she had one of her other piano teacher friends take me under her wing, starting around the age of five or six. I continued to take piano lessons until I was fifteen, at which point my parents let me trade out piano lessons for music composition lessons. I started writing musicals pretty much instantly. I started writing my first rock opera, an adaptation of Frankenstein, around sixteen.

3. How did you come up with the idea of doing a musical about Victor Frankenstein and his monster?

This one started in high school when I just started composing music. I wanted to write a musical ever since I saw a Phantom of the Opera and my passion was re-ignited when I saw a local state college production of Sweeney Todd. This inspired me to do something horror-themed and I considered stories like Jekyll and Hyde or The Hunchback of Notre Dame - Dracula was a close second, but I finally chose Frankenstein because I always preferred science-fiction horror.

4. Your other genre musical is Sleepy Hollow which was done a few years later. What did you learn in the time that passed?

Frankenstein took me two years to write because when I started writing I had no idea how to go about formatting the score for a musical. This was mainly because I always had to go back and redo things I've already done - now I knew better. My compositional style also changed greatly, Sleepy Hollow is a lot more experimental - I discarded all the harmonic rules and played with the notes until I got something nice in the end.

5. Were these musicals ever produced / recorded. If yes, how can we hear them?

So far the only musicals of mine that have been produced are three of my comedies, The Show Must Go On, Alone and Miserable Lesbians (a parody of Les Miserables). I recorded Frankenstein as a demo with me singing all the parts (badly) - some of it is available on my homepage, but it's not something I would make readily available. If I ever had all the time and money necessary, I'd love to have good quality recordings of both Frankenstein and Sleepy Hollow.

6. Let's talk about your new score, Blood Rush, a cool zombie flick whose soundtrack was issued by MovieScore Media. What's your favorite zombie film/story?

I will probably outrage the readers by admitting this, but my favorite zombie flicks are the more comedic ones: Shaun of the Dead, Fido, Pride and Prejudice and Zombies and so on. I enjoy the “serious” zombie horror films, too, but personally I’ve always kinda found zombies more comedic than scary, so I really enjoy it when other people show that I’m not alone in that. That’s one reason why I enjoyed working on Blood Rush.

7. How does Blood Rush compare with/differ from other zombie films from the last few years?

One thing I really liked about the concept of Blood Rush (and in the recent trend of zombie flicks) is that the zombies can actually MOVE. They aren’t those drooling, sluggish zombies that we usually think about when we hear the term movie zombie - these zombies can run, they can think and they can tear your head off!

8. How did you get involved with scoring Blood Rush?

I met filmmaker Kerry Marlowe(at the time, Kerry Finlayson) at the Toscars, a fun short film competition that poked fun at each year’s nominees with brief parody videos. We kept in touch and a few months later I saw Kerry posting that she was looking for actors for a new zombie film. I replied that she probably didn’t want me acting, but that if they needed some music, they could give me a call. Few more months down the road, she and Evan sent me a clip of the scene with the cat (no spoilers!), they had me write a mock-up for that and this got me the gig!

9. How did working on this film differ from your previous experiences?

I only had one more “professional” experience before to Blood Rush and that project was somewhat frustrating. The director was like all the student directors I had know - he didn’t know what he wanted, but he didn’t want to admit that. We had a lot of discussions, but then ended up with a two hour film with less than 20 minutes of music! Kerry and Evan are the exact opposite of this; they understand the importance of music and that it intensifies the experience and doesn't detract from it. Evan gave me interesting guidelines like like, “I want this to sound like frogs jumping in a frying pan” or something like “the sound of a dolphin being strangled to death.” Perhaps this explains a lot about the score.

10. What’s your favorite sequence from the film?

It's very hard to pick only one, but here it goes. There's a scene where an old, injured guy is lying on the ground, doing this five minute rant about he was separated from his son on his birthday and so on. While he's going on and on, there's this zombie just standing there, looking hungrily at him and our hero Danny is just shaking his head, not wanting to interrupt the guy, but he also realizes that if the he doesn’t shut up, they’d get eaten. That was great scene to score!

11. You've recently completed Horror House for the same team of filmmakers. What can you tell us about that score?

Horror House was a real blast to work on. Perhaps the most challenging thing about it is the fact that it's an anthology picture, so Evan wanted me to come up with a completely different instrumental palette for each piece. One dominant instrument from one scene couldn't appear in the others - but I enjoy a challenge!

12. What is your most recent score?

In terms of film scoring, my most recent work is a new horror/soap opera web series called Bennington Gothique. You can see the first three episodes online at www.benningtongothique.com. My score has been nominated for best original score in the 5th Annual Indie Series Awards.

13. Are you planning on doing more horror themed musicals?

Yes, I've just started working on a new musical called Dark Lord: The Musical. My co-writers and I are still only in the draft stages right now, we aren’t putting out too much information plot-wise, but I would describe this musical as if the Doctor Horrible’s Sing-Along-Blog was about a fantasy super villain (think Sauron or Voldemort) instead of a comic book super villain. The website should be up later this year, but you can already follow us on Facebook at: https://www.facebook.com/darklordthemusical

The score to Blood Rush is available now from Screamworks records:

http://moviescoremedia.com/blood-rush-michael-daniel/

For more information on Michael Daniel, check out:
http://michaeldaniel.net

Chris Cavoretto - "My Top 10 Horror Soundtracks/Scores"

Coming up with a list of favorite horror scores/soundtracks is tough.  There are hundreds, maybe thousands of quality soundtracks out there.  The hard thing is trying to figure out which ones you remember the whole score to and which ones you remember one theme to.  Some almost made the list but after rethinking, maybe the movie was dark in tone or content but not necessarily horror.  Everyone single one of you who reads this list is going to be like, "how come (insert title you're appalled isn't on this list) isn't on this list?!"

  I've adjusted and readjusted and still had to leave out some greats.  This list contains soundtracks and scores I can listen to pretty much all the time not get sick of any of them.  Let's face it, this could easily be a top 20 or even 50 and I'd still end up leaving out some near-perfect selections.  So, without further ado, here are my top 10 horror soundtracks/scores:

10- Suspiria

Goblin did a phenomenal job scoring Suspiria.  It's creepy and driven.  A great combination for a horror score.  There is a lot going on here and haunting moments are everywhere.

9- Hard Rock Zombies

I'm not sure a movie has been made that makes less sense than this one and it's score is just as weird.  Paul Sabu and Holly Moses captured every sense of nonsense with this one.  The love ballad, Cassie, is just pure cheesy, hair metal gold.

8- A Nightmare on Elm Street

Such a great score.  The synths all over this one are so perfect for an 80's slasher film.  It's easy to make synths fun, not always so easy to make them creepy, but Charles Bernstein did it.

7- Zombie (aka Zombie Flesh Eaters aka Zombi 2)

Fabio Frizzi was the perfect composer to do this score.  The theme has become a cult classic but it's got so much more throughout.  Jungle rhythms as well as 70's horror synth collide to make a classic score here.

6- Halloween

Now, the theme song is probably the most recognizable horror theme out there but this whole score is great.  John Carpenter was great at setting tone with a reoccurring theme brought back throughout a movie and knowing that repetition can bring a sense of panic.  This is a masterpiece.  The tension you get from songs like The Shape Stalks is just awesome.  Nothing bad about this one at all.

5- Maniac (2012)

This is a mix of throwback 80's style horror synth and a new breed of horror synth.  Rob captures what few do (John Carpenter being the HUGE exception) by bringing back a melody throughout so many of the songs.  It adds a theme for the whole score.  Doll is automatically one of those songs that, if you dig 80's-style horror synth, you're going to love it.  The rest keeps up nicely and the song Juno somehow manages to pull you in even though you know you shouldn't like a song like it.  It's just so goddamn good.

4- City of the Living Dead (aka The Gates of Hell)

Fabio Frizzi had a hell of a score under his belt with Zombie, but his work on City of the Living Dead is just a touch better in my opinion.  The theme melody comes back more.  While the music seems to have more repetition (with some songs not being different enough from others to tell which is which), it's just amazing.  The tension is great and a few songs are sort of a throwback to Zombie while others break down walls to lead you on new paths.  For me Zombie was quite a bit better than City of the Living Dead but the scores tells a different tale.

3- Chopping Mall

I have to admit, I don't own this score.  I have the theme song and it's on several of my playlists.  I've only heard the score in the movie.  With that said, it's still good enough to have made number three on my list.  Chuck Cirino knocked the synth thing out of the park for this.  Every bit of the movie was made more awesome by his music.  The only copies I've found online for sale are a partial score with the score from Death Stalker 2.  However, Waxwork Records will be giving it a proper reissue this year.  Great news for anyone who loves horror synth.  This one is just plain fun!

2- Sinister

Christopher Young usually has big, orchestrated scores he composes.  This time he went with computers and synthesizers.  What he ended up with was some of the creepiest, most intense music I've ever heard.  To get the full effect, I suggest you do what I did and seek out the other songs used in the movie.  The score, itself, is amazing.  Adding the soundtrack songs is even more amazing.  Sure, it makes it over an hour and a half but it's well worth it.  Songs by Boards of Canada, Sunn O))), Aghast, Ulver, Judgehydrogen and Accurst are just as intense as Young's work and a huge part of the film.  The movie was pretty okay for a new horror movie but the music within is some of the best of any horror film.

1- The Fog

It seems this film has grown in popularity the last couple of years.  Rightfully so.  It's one of the true classic horror movies.  John Carpenter made it all the better with his score.  Like Halloween, everything fits perfectly.  This one is just a little better.  The recent full score reissue by Death Waltz Recording Company gives you everything.  Like much of Carpenter's work, the melody themes are present throughout the entire score and it ties the whole thing together so well.  If you need creepy music for any occasion, look no further than this score.  Pretty much any track off of this can be played over anything to give it a sense of eeriness.  I used it as walk-up music outside for trick-or-treaters last year on Halloween.  The score for The Fog is what every horror score composer should aspire to.  Period.

By Chris Cavoretto, the synth-fiend behind Werewolves in Siberia! http://werewolvesinsiberia.com

REVIEW: Zombina and the Skeletones - Charnel House Rock

Coming back from the grave (not that they weren’t still busy!) and bringing you the latest blood-drenched-bubblegum noises from their crypt; Zombina and the Skeletones had a lot to live up to since their 2008 release, Out of the Crypt and into Your Heart, and they definitely did much more than that. Featuring the usual horror punk structures and sounds, all the organs and brass/horn you could hope for, spacey-electronics and theremin to top this horror masterpiece off.

We begin our gruesome journey with “Tonight, There Will Be No Survivors” and it really kicks off the album with a bang. From the screeching, jazzy guitars and fast-paced drums that it starts with, to the country-twang feel, you get what you really crave from the Skeletones right from the beginning. One of my next favourites off of this release is “Mortuary Academy”, which has a heavier, punk sound to it, wailing organs to compliment it and such a great sing-a-long chorus that you’ll have stuck in your rotting noggin all evening!

“Walk with Me”, another solid hit on this amazing album, really hits on all the things I love about Danzig and the Misfits kind of sound, with Zombina herself sounding as though she may be Danzig's younger sister. “Don’t go into the Light” is one I must speak about, as it is such a great song with a big horn and guitar intro that leads into a dark, horrorpunk/rock n' roll sounding track that really makes you feel as though you’re in an undead jazz club. Finally, “Ginferno” really rocks this album over the top with surfy, reverb-drenched guitars and amazing sounding horns, once again polishing off the soundscapes.

Overall this album front-to-back is a killer. It doesn’t have a single weak song, with each progressing track getting more and more interesting. From the tribal sound of “How to Make a Monster”, to the upbeat, more pop-punk style of “The Negative Zone” (talk about a juxtaposition!) it just rocks and rolls its way along. It’s a must have if you dig Zombina and the Skeletones, and if you like horror-themed rock and roll or punk as well. Even if you are a rockabilly or just a country fan there’s a solid track on there for you!

Rating: 9/10 Skulls


Available on CD/digital from:
http://zombinaandtheskeletones1.bandcamp.com/album/charnel-house-rock-2

Reviewed by the Ghoul

REVIEW: Christopher Young, Todd Bryanton & Joel Douek - The Tall Man (Original Motion Picture Soundtrack)

Three composers were brought in to score The Tall Man.  I'm not going to lie and say I'm familiar with all of these guys, I've not come across Todd Bryanton or Joel Douek before, but the one composer here that sticks out big time, is Christopher Young.
Young has scored some big productions, both in and out of the horror realm.  Let's just throw a few names out there; A Nightmare on Elm Street 2, The Fly 2, Hellraiser, Hellraiser 2... and I wouldn't dream of skipping mentioning the creepy score for Sinister (one of my personal favorites of the last couple years). His accolades aside, this is a piece all on its own and it will only work if the full score works well together. Bringing in less-known composers alongside Young will possibly elevate them in the future if this works.

Until I got this score to review, I had put off seeing this movie.  I stayed away for a few reasons: one, it's a newer movie and those are almost always terrible; two, Jessica Biel is the "star attraction" to the movie and I honestly just don't care for her; three, the title makes this sound like some sort of Phantasm rip-off (spoiler alert: it's not). Now, with this review looming, I had no excuse not to watch the movie. I'd have to say it was a lot better than I expected. The music definitely helps out the mournful scenes as well as some big jump scenes. All in all, it just fits really well together.

I actually listened to the score by itself before I watched the movie.  I did this because a score for a terrible movie can still be a great score.  The score can also be used horribly by the filmmaker and thus put it in your head that the score, itself, isn't any good. Luckily, that isn't the case here, but let's get to the music.
This score immediately takes me back to the main theme from Friday the 13th (by Harry Manfredini).  As I listened more, the "big scare" parts reminded me a lot of the new Evil Dead score (by Roque Baños). Regardless of what you thought of that movie, the score is amazing.
If you're looking for a soundtrack full of pop songs, this isn't for you.  If you're looking for a score you'll hum along to, again, not for you. This is a huge, orchestrated score. It really does sound immense. I didn't even hear about this movie until it hit Netflix so I have no idea what the budget was but this is way bigger than I expected it to sound.

Each composer brings something different to the table. After listening through a couple times, you can pick up on which composer did which piece. I do wish it hadn't been sectioned, more or less, by composer and been in actual movie order instead. This allows the listener to sit back and see the movie as it happens in their head time and time again with each listen.
Bryanton's songs seem to be quiet to build tension and make way for some big, loud crashes. Swirling strings provide the perfect soundtrack for frantic running scenes. It's a formula used time and time again for horror movies. The reason for this is that it works. It does here too.
"Julia Chases the Tall Man" and "The Dog Attacks" are a couple of my favorite songs of his on this soundtrack. They do a great job of keeping a good tense, understated song going while adding some melody to it. It really helps give these songs a little more to the listener.

What we get that isn't quite so normal, is a few softer pieces. These are the songs from Douek. The piano and string-based songs he put together really open the whole thing up. There are a lot of scenes in The Tall Man that need a softer touch and that's exactly what we get.
Douek's "We Got Too Comfortable" is one of those cinematic gold-type songs. It's probably the closest this score comes to having a "theme song". It's soft and you get the feeling of desperation and confusion, then comes a great melody that just screams "theme".
There are a couple of songs intertwined in the soundtrack that are from performers other than the three composers. These are more background pieces from Pascal Laugier, George Acogny and Dale Williams. The Dale Williams piece has some vocals but is an easily forgettable one minute piece, as is Pascal Laugier's "Tall Man Lullaby". However, the lullaby is pretty creepy sounding. While there's a specific place in the movie for each of these songs, they're haunting on their own. The George Acogny song is a quick acoustic/piano piece that fits nicely within the layers of the soundtrack as a whole.
Christopher Young's five tracks come at the end of the soundtrack and as great as this stuff from Bryanton and Douek has been, Young really takes this in a more profound direction.  The solemness, tension and beauty his songs bring forth are a cut above the rest. I'm not demeaning the other composers at all. There's just something more memorable and heartfelt to this section.

In older movies (horror and not), we have a song instantly identifiable with the movie. You can watch Halloween, The Fog, The Good, the Bad and The Ugly, Superman, Batman (1989) and so many more just once and if you hear the theme a year later, you know what it was from. Unfortunately, we don't get that here. It doesn't diminish the soundtrack a whole lot, it's just kind of a bummer to not get that very much anymore.
If you want a huge, orchestrated soundtrack that brings forth horror, vulnerability and tension, this is definitely for you.  For a movie that escaped the masses upon initial release, I really didn't expect that this score would sound this immense. Adding Christopher Young was a great move in the fact that Bryanton and Douek have put together great pieces with big scares and creepy vibes throughout but Young brings a more meaningful (for lack of a better term) side to the whole thing.

Rating: 7/10 Skulls


Available on CD/digital from:
http://moviescoremedia.com/the-tall-man-todd-bryanton-joel-douek-christopher-young/

Reviewed by Chris Cavoretto

REVIEW: Bloodsucking Zombies from Outer Space - Toxic Terror Trax

Most of us are used to hearing small EP’s and short demos these days, but from BZFOS comes a 19-track delight that never lets up. It's definitely different from the rest of the releases they have put out, featuring lots of sampling work throughout for intros and whatnot, as well as other elements that are not at all out of place in these songs, including: organs, theremin, keyboards and I believe (don’t quote me on it) I heard some brass in one particular track. They have a very defined style for sure, though I can definitely see the influences from bands like Calabrese, Nekromantix, and of course a lot of classic Punk and Psychobilly.

Starting off strong right away, the disturbing, perturbing and oh so lovely intro sets the rest of the album up perfectly, with keys and organs that really draw the listener into this world BZFOS have created. “Radio Active” is the next delicious number and another strong one at that; it definitely has a classic psychobilly/deathrock sound to it, in addition to some punky and even almost synth-rock parts. The music video that goes along with it is a must-watch as well, featuring some very ghoulish colour schemes and as always from these guys, amazing looking special FX/make-up.
“Werewolf in a Girls Dormitory” is another solid track from the album with its hopping, jumping rhythms and beats that make you want to dance with the dead! As always it has a catchy sing-along chorus, like many of the tracks on this killer release. Not to discredit the album, but it does have a lot of tracks, and I cannot talk about how much I love them all here… So to end of on a solid note, a final (and possibly this ghouls favourite) track; "G.H.O.U.L." kicks off with a barbershop quartet-style vocal intro and then almost shockingly drops back into the psychotic chaos that is the Bloodsucking Zombies.

This is definitely a highly recommended release, especially for how many tracks you’re getting! Who puts out 19 track albums anymore?! Regardless, it’s a must-have if you know anything about BZFOS or if you find that you have an inkling for horror-themed rock/punk.

Judge for yourself, though I think it's their best work to date!

8.5/10 Skulls

Available on CD and double-vinyl from:

http://www.zombies.at

Reviewed by Ghoulshow

REVIEW: Funereality – Bloodsucking Freak

For some of us, the first time any of us read the lyrics to a Cannibal Corpse song, we might have thrown up a little, let alone when we looked at the artwork to some releases. Yet that didn't stop us secretly listening to the music, making sure our parents never found those album covers, because it was dark, and it was heavy. Lyrically, it was the musical equivalent of The Texas Chainsaw Massacre. That's what you get with Funereality; straight up, no-holds-barred, old school death metal, with plenty of widespread influences for good measure.

Funereality is a one-man band featuring Joachim Eversholt. Started as a side project, he has released two E.Ps since 2010, and “Bloodsucking Freak” is the combination of the two of them. As Joachim himself claims, the project is “Totally unabashed AUTOPSY-worship!” He’s damn right with this one, and I have to give him credit on it. That doesn’t mean though that you should go listen to Severed
Survival though. Maybe Joachim doesn’t realize it, but there’s plenty on this album keeping things fresh.

Opening with the sounds of rape and ultraviolence on “Funeral For A Fuck” we kick into some thick guitars, thrashing drums, and gore-drenched lyrics. Setting the tone for the album, it’s a simple but effective start.
As the album continues, the song structures become slightly more complex, becoming reminiscent of the great Chuck Schuldiner’s writing style. The album also takes influence from outside the death metal scene. Note particularly “Master Of The Foul Arts.” Hinting at early Norwegian black metal juxtaposed with a doom metal bridge. Don’t light that bong just yet though, ‘cause we’ve still got plenty of riff carnage to get through, which truly shines through on “A Grave Vacancy.”

The album’s production is its only letdown, although for some, this may well make it more interesting and nostalgic. At any rate, it’s certainly not so bad that it will start to bother you. I’m also a huge fan of the one-man band concept, which just makes this all the more impressive.

Overall, this is a great album. If you love sick, gory lyrics for the sake of… well, sick, gory lyrics, then you’ve got it. The bone-breaking riffs, interesting song structures, and genre diversity all make this a sick release; and for $6.66 (about four squid for the UK) you can’t complain!

Rating: 7/10 skulls


Available from:
http://hpgd.bandcamp.com/album/bloodsucking-freak

Facebook:
https://www.facebook.com/FunerealitySWE

Reviewed by Calum McCorkell

REVIEW: Mr.Underhill - The World Through X-Ray Eyes

Cast your mind back to 2002;  George W Bush signed the No Child Left Behind Act, we saw the first official release of the Mozilla Firefox browser (suck it Internet Explorer!) and The Lord of The Rings – The Two Towers, Harry Potter and the Chamber of Secrets and Star Wars II – Attack of the Clones dominated the box office. It was also the year that Vancouver vamp-rock band Mr.Underhill (made up of the three Kirkham brothers – Chris, Robbie and Anthony) were due to release their 4th album. This didn't happen however, as the band split up and two new acts were born – Chris Kirkham became Nim Vind and Robbie Kirkham formed The Vincent Black Shadow.

Fast forward to late 2013 and Mr.Underhill's lost album The World Through X-Ray Eyes is finally given a proper release, now available digitally and on vinyl in extremely limited quantities featuring 13 tracks of the band's trademark vampire punk rock. Listening to it through, it is clear that the record was unfinished, but the rawness of the production adds an edge to the songs that further studio refinements may have eliminated. "5000 Fingers of Dr.T" features 50's pop harmonies and lifts a guitar riff straight from D Generation's "No Way Out" whilst "My Middle Eye" and "Pistol Whipped and Bloody Lipped" see the band exploring a more subdued rockabilly/flamenco guitar style a la Tiger Army.

The band are at their best when songs are played fast, kept short, and there is less opportunity for the vocals to warble uncontrollably and this is the case on both "The Grange" and "The Crush". The one negative I can pick out is that Chris' vocals are all over the place and something he has addressed with his solo work.

Whilst it is great that The World Through X-Ray Eyes has finally seen the light of day, the reality is that the music subsequently created by the bands it itself spawned, make this record sound dated by comparison. One for the completists only I'm afraid.

Rating: 6/10 skulls

Available on vinyl(sold-out)/digital:
https://www.facebook.com/mrunderhilmusicl


Reviewed by Steven Farkas

REVIEW: Frank Ilfman - Big Bad Wolves (Original Motion Picture Soundtrack)

When first asked to review the soundtrack for the recently released Israeli thriller, Big Bad Wolves, I was expecting a traditional compilation record with the usual contributions from horror-themed bands, but I couldn’t have been more wrong. This is actually the classical score to the film, taking what I thought would be a pretty simple review to a whole new experience. Listening to something that has been created to work with visuals, but without the plot of the film to follow is difficult - it’s a bit listening to an audiobook in a different language; you can sense when the pace quickens, or something dramatic happens, but you don’t really have any idea what is really happening.

All that said, the music compositions are very slick and impressive and (I imagine) work seamlessly alongside the film. As you’d expected, they are all orchestral pieces of varying pace (depending on the atmosphere being created), with strings playing a very prominent role. This is especially noticeable in those sections where drama is building, as in The Chair of Horror as well as in The Chase, where percussion adds an even more thrilling element.

I have to admit after numerous listens, I begin to appreciate the monumental amount of work that goes in to creating a collection of music that can tell its own story and also work in the separate context of enhancing a visual experience. The meticulous level of detail that composer Frank Ilfman has shown is truly impressive, and whilst this was not what I was expecting to review, it was a pleasant experience nonetheless.

Rating: 7/10 skulls


Available on CD/digital from:
http://moviescoremedia.com/big-bad-wolves-frank-ilfman/

Reviewed by Steven Farkas

REVIEW: Little Miss Stakes - Monster Party Hits

Have you ever been stuck at a really dull Halloween party and sat imagining a much cooler one in your head? Oh. Well I have and this would be the soundtrack to it.

Monster Party Hits is a four track collection that 45 Grave would be proud of. Sounding like monsters have raided an episode of Top of the Pops, this release comes complete with catchy as hell hooks, fifties and sixties style backing vocals and riffs that just scream for the air guitar to come out. I defy anyone to not have a good time with this record.

Opening track "Killer Klowns From Outer Space" – taking its name from the 1988 Chido Brother's cult classic – makes me wish this record had been released in time for the film's release. It would genuinely serve as a much better theme tune than the the Dickies' classic did.

"The Ghoul Next Door" and "Mina" are perfect pop tunes guaranteed to get even the dead dancing in their graves.

"Drag Queen Dracula" is a much more vicious affair. Vocalist Mick Van Dyke spits the lyrics out like the angriest monster you've ever heard in your life. Sounding at times like a really pissed off version of 45 Grave's Dinah Cancer, at others like a possessed version of a fifties pop singer, Mick offers a truly exciting and fun alternative to the Glenn Danzig-clones horror rock is so often littered with.

I don't know whose bed Little Miss Stakes have been hiding under, but I'm glad they've unleashed themselves on we puny humans!

Five screams out of five!

Available from:
http://littlemissstakes.bandcamp.com

Reviewed by Ben Smith

REVIEW: There's No Escape From Governer Grimm and the Ghastly Ghouls

Governor Grimm and the Ghastly Ghouls - There's No Escape From..., the debut EP from Ohio based horrorbilly band Governor Grimm and the Ghastly Ghouls, is an impressive first-outing, featuring five original songs. In an already crowded genre they don't add anything particularly new to the mix, but what they do offer is a high level of musicianship and solid songwriting.

The lyrical themes are as expected for the genre, but the stories they tell are well constructed and don't feel forced in any way. The balance between simplicity and storytelling is perfectly struck and the music itself is the same; cool guitar riffs, pounding bass lines and excellent use of the moog, which is easy to overdo in this genre. "Raise the Dead" and "I've Seen Myself Die" are stand out tracks, especially the former which features a seriously awesome guitar lick and verses that almost forcibly drag you up to stomp and clap along. The rest of the tunes are certainly solid, if not a bit forgettable.
Quality vocals are another area where many horror/psychobilly bands are found lacking, and I'm pleased to report that this is definitely not the case with GG & The GGs. James Madison follows the Glenn Danzig school of vocals, but that's no bad thing– his vocals really elevate this band above the pack.

7/10 Skulls


Available on CD/digital from:
http://governorgrimmandtheghastlyghouls.bandcamp.com/

Reviewed by Steven Farkas

REVIEW: Thirteen Shots – Tales That Start With a Whisper

Thirteen shots are a horrorbilly 4-piece band from Birmingham, England. They offer everything from high-paced, surf-rock riffs to slower, eerie, more jazzy kind of segments, with plenty of garage sprinkled in. One can definitely hear that these ghoulish rockers take influence from such horror greats like Nekromantix, Calabrese, and The Meteors so if you find yourself gravitating towards such music, “Tales that Start With a Whisper” is an album worth checking out.

As Thirteen Shots are a new band for me its hard to say how they’ve evolved, but from listening to prior material (as well as they entirety of “Vaudeville” as included in the European tour edition of the album) I get the feeling the sound isn’t changing a ton, but rather getting more clean, crisp and tighter as a group altogether. They bring a high energy, party rocking from the grave feel to the forefront of their music, which is particularly apparent in the tracks “Death Jam 2000”, “Nekrosexual”, and the title track “Tales that start with a Whisper”. As well for the more rock/punk oriented boils and ghouls out there, they’ve got the spooky intro and crushing, catchy chorus of “Bewitched”, and for the more jazz/blues inclined, “Psycho Jukebox” brings a rockabilly and spooky underground jazz club vibe to the rest of the album.

All in all, Thirteen Shots did a great job putting together a collection of catchy, rocking, horrorbilly tunes and on top of that some really simple, yet effective artwork to tie everything all up. If you have any interest at all in classic psychobilly and punk, rockabilly, horror punk or anything of the like, “Tales that start with a Whisper” is a must listen! 

7.5/10 Skulls (8.0 for the European Tour Edition)

http://thirteenshots.bandcamp.com

 Reviewed by Ghoulshow

INTERVIEW: Wolfman Chuck & The Spookalele of Doom!

Wolfman Chuck and the Spookalele of Doom make horror/gore-inspired ukulele songs. TBW writer Demetrius, loaded with silver bullets, hunted down the Wolfman himself to ask a few questions about what drives this monster!

Demetrius: Alright, so for your project Wolfman Chuck And the Spookalele of Doom- What was the thing that made you say "I'm doing this right-fucking-now"?

WOLFMAN: Wanting to get back out there on stage and showing other the wonders of the Spookalele. I have been in a lot of bands, but they always fell apart...my ego I guess. Some say a Danzig complex - I say - fuck you! Also, I don't have to show others how to play what I write - less aggravation!

D: I guess that's a pretty helpful perk eh? Collaborating with hardheaded people sucks ass, I think everyone who has tried starting a band knows that feeling.

D: Whose music do you feel you incorporate when you write? Say artists like Cancerslug, Doosh Bucket, Danzig... The sound you produce - Who would you like to thank for that?

WOLFMAN: Lyrically I would say GG, Cancerslug, Doosh Bucket, Necrophagia, Misfits. Really hard to say. I mean I listen to those bands so obviously they are an influence. Comics and Movies also. I usually get this idea in my head and go with it to the extreme, it happens naturally. Musically/instrumentally I am just throwing chords together that I like the sound of. Shit I play a uke my sound will be MY sound.

D: Good answer!

D: You know of Cancerslug of course and how the slug cult is like a second family. Where do you want Wolfman to be in the next couple of years with his fans? And do you want that kind of dedication from your fans?

WOLFMAN: I want to still be making music. Others like my music then that's great, we then have a bond and a reason to shoot the shit together. If you don't like what I do - I really don't give a shit. You're probably just a tool anyways. When it all comes down to it, I make my tunes for me.

D: To all the people that complain about the quality of the music (audio or video files). does that make you more reluctant to record a studio album or does that give you more of a reason to record a studio album?

WOLFMAN: Personally I would like to record with studio sound. Always wondered what it would sound like. But I'm fucking broke. As of now I record with a rock-band microphone I found in the trash and the program Audacity that was free online. The sound I am making as of now is fine with me though!

D: Fucking right Wolfman! Well thank you for taking the time out of your day to speak with me and I, as well of the rest of us, look forward to some new tunes!

WOLFMAN: No problem bro and remember- it's all about the love songs!

Check out Wolfman Chuck and the Spookalele of Doom here!

Fogcreature - "How I Got into Horror Music"

When i was a kid, my parents kept me and my sister in day care while they worked. One place we stayed hosted a halloween sleep over. They let the older kids watch awesome, bloody, horror movies. I wasn't old enough to watch, because I was seven, so i snuck into the room where the movies were playing and watched Pet Semetary all the way through. I was behind a bookshelf, scared to death. From then on I was hooked on horror movies. I've also been drawing bloody, gory pictures since kindergarten. Every school that I attended, I got into trouble just by drawing. If a teacher made me mad, I sent them into a death factory complete with chainsaws and circular saw blades (on paper). That evolved into a comic character named 'Blademan' who i would send to decapitate my enemies. Between drawing bloody pictures, reading Chaos! Comics and watching horror movies, I was pretty content.

I always hear musicians talk about their root influences, which are most of the time the same four bands: Led Zeppelin, Black Sabbath, the Beatles and the Rolling Stones. Well, those bands really do nothing for a kid obsessed with horror movies and comic books in the 90s. That's when my love for music really took off. I was twelve/thirteen and in middle school, so round about seventh grade. The school took an overnight field trip to our state capitol, Columbia SC and were allowed portable tape/cd players for the bus ride. Regretfully, I was listening to some Green Day, the Cranberries and other alternative crap when my friend, who I cut up with in science class, threw me a tape. One side was an Adam Sandler comedy record that talked about boobs and said 'fuck' a few times which was cool. The other side was White Zombie - La Sexorcisto. I instantly recognised some sound clips from Dawn of the Dead followed by enough head-banging grooves to change my perception of music for the rest of my time on this planet. I couldn't believe that someone had combined horror movies, heavy guitars and Ed Roth artwork. I begged my friend for the tape and wore the damn thing out in my walkman. As soon as I got home I bought every piece of White Zombie music I could get my hands on, hell, I still do that!

Through high school, along with taking drugs, I was playing drums in a band and sewing Halloween shit all over my clothes like a White Zombie fanboy. I like lots of bands, lots of different genres but I'll always go back to White Zombie for inspiration. White Zombie is my Led Zeppelin, my Black Sabbath. That sounds lame but it's true. For me they are the perfect band. I love horror anything really, love metal, love almost everything Ed Roth ever did. Ed Roth is the father of the rat fink and designed custom cars like the Dragula in the 50s and 60s. I would have loved to meet Ed Roth before he died. Having said all this I'm not a huge Rob Zombie fan. If he were walking my way down the street I'd run the hell away. Because I'm willing to bet my left nut he's a douche, and I'll just be damned if I let anyone ruin La Sexorcisto or Astrocreep 2000 for me.

Fogcreature is horrorstep-producer from the US. You can check out his tracks here!

Ghoulshow - "How I Got into Horror Music"

My whole life I've been fascinated by horror music and its ability to make one cringe or shiver and how the music can cause you to feel the same terror a character is going through. For as long as I can remember horror film scores have captivated me, I can remember as a child, falling in love with scores from movies like Gremlins, Nightmare Before Christmas (or anything composed by Danny Elfman) and Beetlejuice. Since hearing them I had pondered for hours how one goes about creating such beautifully twisted music, and what thought processes must be occurring for such eeriness to exude from a person’s mind.

I spent hours learning about horror music, watching copious amounts of horror films, listening to their scores, and listening to other horror artists and musicians around the globe on CD and on the net. Some artists had a huge impact on the way I view and hear horror music as a whole, such as Nekromantix, Zombie Ghost Train, Nox Arcana, The Meteors, Midnight Syndicate, Calabrese, Camille Saint-Saens, Creature Feature and the like. These artists’ lyrics and music really stuck with me because of its ability to remain catchy, unique and at the same time deliver something that all good horror music does, and that’s fear.

Many films and television shows over the years have had plenty of impact on my ability to create and perceive horror music. Usually it’s a soundtrack to a movie that will grab my inspiration rather than the film itself. The rare few movies and shows that do visually and literally inspire me are flicks like Killer Klowns from Outer Space, anything by Tim Burton, Tales from the Crypt and Creepshow. On top of all this, horror in other media like video games, novels and comics really facilitate a wonderfully spooky mood.

All in all I’d say horror music rather than horror film has a greater effect on how I go about making music as an artist. I draw inspiration from soundscapes and sonic paintings produced in my mind when I hear any kind of music, but seeing something soaked with blood definitely doesn’t hurt the process either!


Canadian producer Ghoulshow makes spooky electronic music which you can check out here!

Tommy Creep's Top 5 Albums of 2013

I must've been living under a rock because I didn't hear about the Spookshow splitting up and forming Miss Behave and the Caretakers until months after this had been released. Since the last Spookshow album came out 9 years ago, I was pretty psyched to hear it. Not at all disappointed, fast horror punk songs with great vocal melodies but with a bit more diversity than the Spookshow.

More awesome horror-themed bass-music from Figure. Switching between hard-hitting drumstep and funky-yet-epic electro-house tracks, all laced with the signature horror-trailer voiceovers. This volume introduces 50s B-Movie-themed tracks and creepy interludes into the mix. Can't wait until next Halloween for the Volume 5!

Big Hoodoo raps about black magic and monsters over well produced beats, not much more to say than that but definitely worth checking out!

A bit of a shock at first, the music is a lot less dark than their previous albums and the horror references are more subtle, but the songs are catchy as hell and the crooning vocal performances couldn't be any better. Definitely a more commercial sound, but if any band deserve to make it big, Calabrese do and if they do so with a vampire-biker themed album, even better.

The usual brilliant exotica-influenced horror-surf tunes. Highlights include the Western-influenced, Less Playboy, More Cowboy and a cover of the classic halloween-novelty, Rockin' Zombie. If you haven't heard of Messer Chups before then this is a good album to start with before checking out the earlier, more experimental, equally awesome albums.