Holy crap! Stay off my lawn you little snot-nose kids! I am pretty certain that these guys are dads that are just fucking frustrated with the day today of all the banal globs of garbage that we go through. Their music is refreshing and nuanced hardcore that harkens back to the early days when it was cool to go outside the lanes. “I Don’t Care” starts off with ripping guitars and then the chorus “who are you?, I don’t wanna know” I feel it and agree. I was talking to my pal Will last night and I told him I have enough friends. I don’t really want to meet or make room for new people and somehow Headcheese was able to fit that entire sentiment of that conversation into 52 seconds and capture the tone and emotion perfectly. By the time they get to cut 3, “Po Po”, all bets are off, all guard rails have been removed. It just explodes with an amazing and ridiculous and Animal-esque TM perfect drum intro which feeds right into “you got a dad, and he’s the best, he got you ice cream, when your aced test, he’s wit the Po Po, that’s a no- no”. “12 years of working fucking hard, and the only thanks I get is when I manicure a yard” from the song “Invalid” addressing school and jobs and the lies we’re fed as children and adults wherein if you work hard you’ll “be the best”. Here’s the thing about this that put it a cut above a lot of hard-core and music in general right now. It has an aggression to it that is rooted in the despondent and boring life. The energy of the music is the chaos of the universe and the lyrics are arranged in a way that is self conflict between wanting to do more /be more and also giving in to your life as the arc of time decides where you’re going to be no matter what you thought in the beginning. It’s as though the endless boredom has given way to a biped stumbling from a dried riverbed’s alluvium on its way to harness the dim power of it’s larval pin sized brain funneled into “day in and day out” to feeling that it can be more and bigger but in the end, it is what it is. Seriously, I got this record and I heard it and I loved it so much that I ordered another one for my buddy Derek. I feel like Headcheese would be best buddies with the Thee Elder Gods from Kalamazoo, MI.
Well the wait is finally over. This is the second 12” from these Seattle pounders and it has me nodding along to the really slow sludge parts, then playing air drums to the ripping fast parts. The drums are what really make this band/record for me. Dude is a machine. Vox are stellar as well… I know I should really read the lyrics but I literally don’t care what this cat is screaming about, I just know it’s angry and mean. At first listen I was a little bummed on how short this 12” 45 is, but I’m on my third listen (to digest it and review it) and I feel like it’s the perfect length for a band of this style. I know a lot of people hate the term in which the style of music these folks are playing, but its pretty much PV that does not completely rip off or steal a sound from a specific band. Yes they probably like Crossed Out, MITB and Infest but it isn’t a direct rip. I’d really like to see them live someday if the world of shows ever opens up again. The label that put it out is from my old ‘hood of Albany /Troy NY so I’m proud that Closed Casket Records got on board to make this record happen. More kick ass art work from my brother Mark McCoy, the images are perfect for this platter. (NW)
Hit me up on Instagram if you want to send me your release for review at:nate_gloom
This is LMI’s third LP (first two were CD only, but whatever) and I feel that this band is at a very intriguing point in the ark of where the band started and where they are now. This is a style of hard-core that has a crossover metal tinge with some surprisingly great upbeat hooks and LMI do a very good job of it. I feel as though they’re at a point where if they stay exactly where they are, with the slightly muddy production, great bass playing and dual vocals that they will add fans. However, if they decide to overextend themselves and get a little more technical and add clarity to the production, they might collapse from rising start to black hole. Lyrically, it’s the sort of angry poems that a kid would write in high school and the delivery is dependable. Here’s where I struggle, it’s a great record, there’s no doubt about that. However, compared to some of the other Handstand Records releases I’ve heard, and combined with the overall latest batch of stuff that I reviewed, there’s nothing about it that stands out. This is a very good record to put on while you’re doing stuff and it will definitely keep your heart rate up and moving through the day. If you’re trying to get your 10,000 steps in or you have to prep for a dinner party and you just need your chopping skills amped up a bit, then this is the record for you. Conversely, if you’re looking to sit down with something and read along and feel like you’re part of the experience, this doesn’t quite have me connected in that way. Some of the guitar lines are melodic and catchy for the style of music and for a power trio, it’s uniquely complex. Let me be clear, I’m not an expert on this but I do know what I like, and I think a very simple thing that could connect me to this are the lyrics. I like to sit down and read along with the record and with the vagueness of some of these, it’s hard for me to really find an attachment to the band. Musically, I think that they are great and if the singers could just maybe consider adding something personal about themselves, their day, or to be more precise, identify a theme of a song whether, specifically what you don’t like, what you do like, the way a tree looks in winter, a crush on Jessica Rabbit…I dunno. It’s that the constant anger and sorrow pushed off in vague ways with the standard adjectives isn’t quite grabbing me like it usually something like this would. I felt that somewhere along the way there wasn’t really that suffering and anger they are trying to express but moreover they are trying to stay within the sonic guardrails of the music is that they are making. Again, this is a great musically thoughtful record but could it have been more moving and captivating as an instrumental record for me, maybe. I like words and I appreciate when lyrics are authentic even if they are silly or hurtful or uncomfortable.
I do recommend you check this band out and decide for yourself. The musicianship is terrific and it’s entirely possible that I’m being overly critical considering I am well aware that overall lyrics in hardcore have become uninteresting and less evocative. (JD)
The gatefold cover, the printed inner sleeve, the download code card and the he creamy yellow of the vinyl are all visually stunning. I feel like this record should have come with a set of game pieces, rules and directions to uncover the mysteries held within the elaborate artwork. I was so distracted with the gatefold that I didn’t look closely at this record and put it on at 33. I was so struck by the opening guitar that I had to sit down. My first thought was that their opening song was a cover of “Mercy Seat” by Ultra Vivid Scene. What a way to start a record, with an obscure cover of one of the best Shoegaze songs ever written and with both bands being from NYC, it made perfect sense. However, as the song played on I realized that it was similar to “Mercy Seat” but the song was their own. No matter, I still liked it. It was around the last song on side A, “Animal” that I started to think that the singer was dragging a bit and there could be two reasons for this: 1. The dude drank a bottle of Robitussin and it’s starting to kick in. or 2. I have this on the wrong speed. Sure enough I looked at the spinning 12 inch record and saw a bright red 45 spinning at 33.
Restarting from the beginning this record now has a completely different feel and it’s catchy as hell. Imagine taking all the great Shoegaze songs and speeding them up to a Buzzcocks velocity and whamo! you’ve got Kissed by an Animal. Now that these songs are at the proper speed and have the hooks hitting in time doesn’t mean that it’s all sunshine and flowers. There is a subtle sorrow and darkness to a few of these tunes, a longing and lamented mistakes vibe, yet playful at the same time, as if to reassure the listener that mistakes are ok and keep making them. There was a label called Plan-it-X Records in the mid-90s (a little research shows that they are still a label…well what do you know … ¯_(ツ)_/¯ ) that filled out their catalogue with bands that parallel the sound of Kissed By An Animal. However, where the difference lies is that, well, let’s say a bunch of Planet X bands found a pot of gold, they would return it to the leprechaun and ask him if he wanted to join them in a meadow to play kickball. I get the feeling that if Kissed By An Animal found that same pot of gold they would ring the doorbell, leave it on the porch of the leprechaun, watch and giggle from the bushes as he realized that all of his lost gold had been peed and farted on. This is another Killer release from Handstand Records and if you mix up the speeds, like I did, you get two records for the price of one! (JD)
Drilling for Blasting – Fingers Are the Best Eyes LP This record knocked my socks off. I’ve been a fan of Doug Ward since, I guess, 1986 when I heard the song “Bella Lugosi’s Not Dead (You Are)” on a mix tape from my cousin. After hearing that, I couldn’t find flaws with anything he’s touched and that includes a collaboration with Ben Weasel, from the band Screeching Weasel. The times I saw 8-Bark left me staggered but let’s get to the band at hand, Drilling for Blasting.
There is a recurrent problem with people who stay in a music community for a long period oftime. A.) Staying relevant. B.) Keeping the same level of torment and fury that you had in your teens and have it be authentic and compelling. Drilling for Blasting manages to do that with a message and delivery that hits with each note and syllable. Doug’s guitar is at times, very direct (what you’ve come to expect from a punk veteran) however, at other times, there is a blues influence that jolts in, adding to the angst and anger of the lyrics. For me, what gives this superiority over peers and the general quagmire of music these days is the drumming of Kammy Lee. Her drumming has me on the edge of my seat. There’s a mountain of weighted tension waiting for things to fall in line but she’s staggering her rhythms, adding punch precisely where it’s needed and not backing down. She lets off the gas enough to let you know she’s in control of this ride. The song “Run Out” has my favorite drummer rock trick of all time and that’s the sound of clicking wood on metal. Then this bass line that’s seems to be from outer space drops in (although they have no bass player, like The Doors). Lyrically it’s encapsulating everything I’m feeling right now in these peculiar times; sarcastic, dumfounded, hollow, unsteady, bored, busy, anger, confused, etc. There are a few more surprises on this but I want you to enjoy your own discovery. I’m floored by this record. Please go buy all the copies. (JD)
Do you remember that husky fella that ran the magazine that made fun of everything? Well as it turns out, he doesn’t just have a speaking voice that seems a higher pitch than you think would come out of a person that displaces that much air in the room but he also does a record label. I recently grabbed 9 of his releases and we are going to go through them right now in 3 parts.
BLACK HELICOPTER – I’ve never heard the band Black Helicopter but I listened to an MP3 of the cover of the good Bullet Lavolta song, “Dead Wrong”. I like that good Bullet Lavolta song so I decided to take a chance on it. When I dropped the needle I was surprised to hear a relatively clean 90s pop song with a female vocal and nearly Ted Leo(ish) when Ted hits those high notes. This Black Helicopter band was great from the start but I began to notice that her phrasing seemed a little off and by the end of the song. I consider that maybe this two song record is actually a 33 instead of a 45. As it turns out, this record is supposed to be on 33 and now I feel like I got 4 songs for the price of 2. Everything is coming up roses. On 33 it has a little bit more of a swing feel like a more upbeat Codeine. There’s some beautiful and haunting guitar work on this. So now I’m curious to flip it over and check out their version of the good Bullet Lavolta song “Dead Wrong”. I love it when a band takes a cover song and truly makes it their own. However, usually there is a little part of the original that you can latch on to but I don’t recognize this song at all. I listen through it a few times to see if maybe I just didn’t remember the lyrics or how that good Bullet Lavolta song goes. As it turns out, I contacted the record label and there was a mistake. This band isn’t even Black Helicopter. This mystery band with Black Helicopter labels in a Black Helicopter sleeve and not being Black Helicopter or the good Bullet Lavolta song, this band has a new fan in me. In defense of the label, they did say that if I wanted to send it back they might be able to dig up a proper Black Helicopter record with the one good Bullet Lavolta song on it. However, I chose to just keep this. I haven’t heard Black Helicopter but because of their name, I’m hoping that they are a bunch of drunk uncles sitting around band practice talking about how the JFK assassination was an inside job. I want to keep that thought with me and maybe never hear them. I’m completely happy with this record and If I get a hankering to hear the good Bullet Lavolta song, I’ll just grab the OG from the shelf. The Real Black Helicopter
A DRUG CALLED TRADITION– Warning Lights b/w Cotton Fever I put this on and it sounds familiar because guess what… this is what had Black Helicopter labels on it. So please see the above Black Helicopter review to read about what this sounds like and how to get more bang for your buck. The not Black Helicopter but still great
A couple of these records were for a birthday party In Athens, GA for the band H2O and their 50th release on Revelation Records or something like that. I get the event details mixed up but what’s important is how they sound.
TAR/ MAN…OR ASTRO-MAN split 7in. Here’s a thing that I messed up on. Back in the 90s, I associated people with music that they liked and I ended up missing out on a bunch of cool stuff. For example, because Jordan was a total fucking jerk and Jordan liked the band Tar, therefore, Tar must be a band that only total fucking jerks liked. I know that the math doesn’t quite work out and because of that, I really missed out on the band Tar. Even though they were on a split with Jawbox, I never listened to the Tar side because, ya know, Jordan is a fucking jerk. So now I have my regrets and I’ve been trying to gobble up Tar records whenever I see them. The Tar song is called “Feel This” and it’s killer! It has all the elements that make bands like Crane and Jawbox terrific while never losing their identity by falling into milquetoast as some of their peers have done. As for Man…Or Astro Man, again I missed out on this band. To be honest, I don’t quite hate myself for it but I do dislike myself a little bit for not giving it a try. To be clear Jordan had nothing to do with why I didn’t give Man…Or Astro Man a shot. I had always assumed that they were a surf guitar band. The first song is a driving crazy garage rocker that is right up my alley and could be on any of the “Bloodstains” or “Killed by Death” comp records. Track two is that surf/polka thing I’d expected but completely listenable. It may have just been that my brain was on the same wavelength for their outer space surf rock. To be honest, who knows? If you get a chance to grab a hold of this record then you totally should. Tar/Man… or Astroman?
HONEY RADAR Bonus Show 7″ Side A … I listened to the first side and was jamming on the amazing upbeat tunes so I flipped the sleeve over because I didn’t remember them having a woman in the band. Guess what…they don’t. I had it on the wrong speed (again). So let’s give this another shot. Ok, there we go, a bit slower with a showgaze/Guided By Voices quality. Several of these songs were recorded live on WFMU In NJ and one song for that Athens, GA party I mentioned . All in all there are 6 really good tunes on here compiling a terrific cross section of some of the band’s best songs, very well done. Honey Radar – Bonus Show
HONEY RADAR – Psychic Cruise 7″ EP This 4 song record was recorded at home, probably in showers, closets, and maybe under a porch, I’m guessing. It’s amazing to hear a live record first and then hear the recorded versions and realize how true these guys are live to the actual sound of the recordings. I really do think that it is a notable feat for a band that is able to come close to the recorded material versus live material. It’s not easy. Some of my favorite bands are great recorded while also are/were a garbage fire live. Musically this reminds me of some of those early Jesus & Mary Chain and Felt records with a nod to a particular band from Dayton OH. This is a great little record with 4 great tunes. Honey Radar – Psychic Cruise
SHARK TOYS – 2 song banger (you get five tunes with the current preorder) This is total old school punk/new wave/art wave, Killed by Death disjointed herky-jerkywonderfulness. There’s so much going on in these two songs from the early 80s SO/CAL Minutemen, 100 Flowers, to a handful of influences from Hell Comes to Your House comps to the rest of the Bemisbrain Records bands. It could fit well on a Messthetics comp CD. I would love to hear a split LP with Shark Toys and the Neutrals. Shark Toys is my favorite record of this batch. Shark Toys – Out of Time 5-song-ep
REVERENDS – Divisadero B/W Still Well7″ single The cover is interesting because it’s either a sunrise (or sunset) with a silhouette of a person that has a booger coming out of their nose. So, I’m not really sure what to expect. “Divisadero”, something about this reminds me of Robin Hitchcock in all the very best possible ways. With clear eloquent vocals, pretty little guitar playing, song about a girl ….how could you go wrong? It’s a mid-tempo dreamy Pop song with lyrics that take you along for a ride. “Still Well”, this one is a bit slower and maybe a little more dreamy than the A-side. It has a quality to it more like, and I know I’ve mentioned this band already, the slower Felt songs. And maybe even a little Velvet Underground injecting itself, due to the music, reminds me of the song “Shiny Boots of Leather”. It doesn’t sound like that but has the feel of that song, it’s certainly haunting like that song. I really dig this and I’m hoping that someone handed the person on the cover a tissue by now. The Reverends aka booger guy
VANGAS – Every Day Is The Same B/W Sandstone 7″ single I was not expecting this! It’s totally heavy and would fit perfectly on a show with the Jesus Lizard, Laughing Hyenas, Crain …etc. The sleeve says that this was recorded it in a cold dark basement. (and it completely sounds it.) It sounds like these guys were locked in a moist stone walled room and are pleading for their lives to get out. I bet you they had dog collars on and we’re chained to a wall and only fed spaghetti from a can. This first cut “Every Day is the Same” is perfect for this pandemic in the way that horror is continually happening all around us but I couldn’t tell you if it was Tuesday or Saturday. “Sandstone” starts with a repetitive guitar and drums that could start a fire with their panic and chaos. Then, as quickly as it started, it breaks into a very droning and hypnotic rhythm. The song is captivating in a way that I don’t hear a lot of these days. As the song continues there is a creeping feeling that grabs you by the back of the brain and then they just start stabbing with a guitar line that hurts me right behind the eyes, quietly singing just a few decibels too soft to be able to make out his mantra of good or evil. This very much reminds me of the Rye Coalition. This is terrific. Vangas = its terrifyingly accurate for how I’m feeling right now
V-GIRL – Recycler EP (4 songs) I like the cover and layout of this record quite a bit. I’ve always been a fan of record art that makes you feel like you’re only seeing part of something much larger and this hits that box dead center. Musically, this has a distinctly DIY 90s sound. I feel like this would have fit well on No Idea Records or maybe early Merge, and has a great Pohgoh feel. The songs themselves are pretty driving, upbeat and straddles the catchiness of 90s pop punk and interesting arrangements of 90s emo. Her vocals, like most 90s DIY records, have fallen into the trap of being mixed a bit low. Every band has a recording like this that were most likely done by a friend of the band with a 4-track in their parent’s basement. I would have loved a lyric sheet to be able to read along because this is one of those records that you’d want to sit down with and read along. Look, I like this a lot but I’m really doing a poor job of selling you on it. It has a very nostalgic feel to it and I’m happy that it’s bubbled to the surface. V-Girl – Recyler EP (JD)
When you have a band with members from Fugazi and The Evens, and all of the other bands they have been in prior expectations are going to run unrealistically high. That was certainly the case with me. When they released “Clean Kill” earlier this year (or was it late last year?) I found myself really excited for the album and the band, which is something I haven’t felt towards any band in years. I found myself thinking this was the equivalent of a new Fugazi album, which is something I believe is needed in these dark times. But that’s pretty unfair towards Coriky. Coriky is Coriky.
There’s definitely a Fugazi sound in these songs, and there’s The Evens sound as well. Somewhere in all that Coriky comes through, and I get the sense listening to this they are still in the process of defining themselves musically.
“Inauguration Day” is catchy and solid. It moves with a cool and confidant pace, and burrows in deep with its repetitive riff, and you will find yourself saying “pageantry” as you listen to the news and read the paper for obvious reasons. Also, the previously mentioned “Clean Kill” stands out and takes up residence in your memory quick.
So, how is this album? It’s not terrible, but it’s not great either. It has moments that are really good, and moments where it loses steam and feels almost like it’s at a standstill. But I’m going to stick with this record. These folks have been at this for decades and know what they’re doing. As I go back for subsequent listens I find there’s more to like than the time before. Are they ahead of us and we, as listeners, need to get up to speed? (MA)
You know you can always count on Bad Transfer to be timely. Set your broken clock to it, and it will be right twice a day, guaranteed! Here it is April 2020, and we are now bringing you our (well, two of us) top ten best of 2019 lists. Dig in, make comments, and write some comments to us as well. We’re lonely, and in need of cyber companionship.
In order for me to move to Brooklyn, NY in 1998 I needed to get rid of a ton of stuff to be able to pack my life into a Ford Econoline van. The van was named Tom. Some of those things I gave away, some I threw away, and some I sold. Of all things that I regret getting rid of none are bigger than dumping nearly all of my cassettes. Over the past few years I’ve been trying to find some of the things I tossed out as well as keep up with the new, great things that are coming out. Home recording is killing the music industry, thankfully! Without further ado, here are 10 tapes that I picked up in 2019 but not necessarily from 2019.
1. Flush Productions Comps – 1986-1990 (ish)
If I was a third grade teacher I imagine this might happen:
Billy Boogerface – Mr. Dratson do you like Flush Productions tapes?
Me – Billy, I love Flush Productions tapes!
All the Children – Why don’t you marry them?
(Then the children burst into giant laughs)
Me – Shut up you little fuckers! You can’t tell me how to live or what to love. Keep your grubby shit stained hands of my body and my Flush tapes and go eat some dog shit you little space taking disappointments.
Ok, maybe not exactly like that but somewhere in that ballpark. I had them all, or at least the 18 I knew about. The tapes started coming out around 1986, during the height of the “send well concealed cash or money order to…” era and, to me, captured a perfect slice of underground music going on at the time. Many of the bands on those tapes became some of my favorites. For example; Christ on a Crutch, Dissent, Sewer Trout, Pink Lincolns, Corrupted Morals, Humidifier, No Fraud and many more. For full transparency, this number 1 encapsulates 13 tapes. I poked around and found a guy that was in one of the bands and he was happy to rehome them. I’m currently hunting for 1,2, 5,6 and 9. If anyone is holding these or can make copies please let me know!
2. Neutrals – 2016-17 (cass) 2019 LP
I can’t remember how I stumbled on to these. I’m certain it was some dumb late night internet dive that led me to Bandcamp, wherein I clicked a track and thought that the duder’s voice reminded me of the duder from Giant Haystacks. These tapes are fuggin’ terrific but here’s what’s even better, these were combined onto and LP and released as an LP on Emotional Response records in 2019 and reviewed here by our very own Matt Average. Also, guess what. It is the dude from Giant Haystacks.
This came out a while ago, 2017, but I didn’t open it and listen to it until 2019 and I completely missed out. I should be slapped on the mouth. This is great UK/anarcho/HC but what catapults this to the next level is the singer’s voice. Her speech is clear, crippling, distinct and the driving force that tips this over the edge from average to incredible. I’m such s jerk for waiting 2 years to play this tape.
I’ve heard their guitar player can be a real jerk sometimes. There is even a rumor that he was a stage manager for Ryan Reynolds and Tara Reid and they got pissed off at him because he wouldn’t let them snort coke off his ass. Whatever, I don’t judge. There isn’t much to say about this that you probably don’t already know. This cassette captures some of the most frenetic, intense, impenetrable wall of sound of one of the HC essential band of mid 90s HC. They definitely carved a path for many others to follow. Although I have bunches of this stuff on vinyl it is nice to have it all right here so I don’t have to keep getting up and flipping over plastic. 25 or so tracks and a rad fold out poster with lyrics and the whole shebang. The only thing to remember is, at all costs, avoid the guitar player.
I’ve loved the song “Jam on It” since I heard it in 1984. I still love it today. Sometimes me and my friend Curt will play the song and sing all the words. I found this tape for $1 in Columbus, OH. I’m hoping that by the end of 2020 that our band No Bails will learn this and play it out at least once.
I Love Kissing/Shattered Dreams. If I’m remembering correctly, my pal Nate knows these Albany, NY dudes and he told me that he thought I’d like it. He was right. It sounds like it came from the 80s mod revival/power pop era. Think Pointed Sticks and Exploding Hearts and you’d be hitting the target pretty dead on. They have a couple vinyl eps too. Maybe I’ll get around to reviewing those at some point.Buy Mystery Girl – I Love Kissing here
These last three are from Michigan, my home.
8. No Bails – No Baios. 2019
I know it’s not the usual to talk about your own band on a review blog but fug it! I’m in this band and I think this thing we did is pretty darned OK. I was going to post a review from another site but maybe I’ll just send a tape to one of the guys on this blog and they can tear it apart. We made 3 different covers.
There was an amazing and horrible band from Tawas City, Michigan named Afterbirth. There has been a ton written about Afterbirth however not many know about Anarchy. You see, Anarchy is the same band as Afterbirth but they started to get “better” at their instruments and decided to try and make it as a band. The music sounds sort of like if the Dictators were super drunk and out of tune and had drunk baby quadruplets with the band Kiss and then made those drunk love babies be in a band and play for their supper before they were locked back under the stairs. I couldn’t find any Anarchy songs but I have linked the Afterbirth EP. Please use the “Show More” on the link.
I was walking through a local record store and from 20 feet away the words “THE SINATRAS” caught my eye. The Sinatras were West Michigan’s answer to Hüsker Dü, the Replacements, Twin/Tone etc. They’d been around since 1985 and even put out a record 5 years ago. This came out a few years before their Imaginary Singles Collection tape they put out in 1992, to which I’ll mention that they cover a Latin Dogs tune on that tape. All I could find on the internet was a song off the Imaginary Singles Collection that was written in 1985 and originally recorded in 1987 by Paul Mahern of the Zero Boys at the same session as the songs that made it on this. So at least you get an idea of what they were about. There is an earlier tape called Tater Tots that I’m desperately searching for as well.
That’s it. Send me things to have an opinion about and maybe you’ll get on my 2020 list.
Top 10 of what I experienced in 2019.
Aero Horrorthon: I remember reading about the Horrorthon in the LA Weekly when it first started happening, but for some reason didn’t go until the 9th year, and last year was the 14th one. Why I waited so long? I have no excuse. However, I’m fully committed to going to these as long as they have them, and I hope that is for years to come. Old horror films all night long with strange skits and trailers in between. A recent fond memory is watching Anthropophagus with Devon, and his response during the scene where George Eastman takes the baby out of the pregnant woman and begins to eat it, “Brutal.” I imagine Devon likes how the waitress at the vegan bakery across from the Aero thought I had an attitude problem last year when we stopped for breakfast after Horrorthon let out. “Do you have a problem?” she sternly asked with a glare. My favorite night of the year.
2. The Living Dead at Manchester Morgue at Beyond Fest : Most people go to Beyond Fest for the newest genre films, I go for whatever Cinematic Void programs. The Living Dead at Manchester Morgue is one of the big highlights for me of 2019. Fully restored. See it by all means.
3. Godzilla movies at the Vista : Summer mornings watching Godzilla movies on the big screen is good living. Devon and I met up many a Sunday morning to see things like Godzilla v Hedorah, Destroy All Monsters, Mothra v Godzilla, and others. There was also a Godzilla marathon at the Egyptian back in May as well. Great times they were.
4.The New York Ripper at the Egyptian: One of Fulci’s last great films. Kind of strange to say something as sleazy as The New York Ripper is great, but it is. A movie you will never forget.
5. Pink Flamingos at the Aero: It’s one thing to watch Pink Flamingos at home, it’s an entirely different experience in a movie theater at midnight. See it in a theater if you ever get the opportunity.
6. Once Upon a Time in Hollywood at the New Beverly: The New Beverly is the place to see this movie. So the screen’s small, however, they try to make the experience more immersive with the BOSS radio broadcasts playing over the house PA before the film starts, trailers and ads before the movie are from the time the movie is set in, and there’s also set pieces in the lobby. The movie is pretty good as well. I would love to see movies, or books, expanding on the story of Cliff Booth.
7. The Tom Atkins triple feature and Q&A at the Beyond Fest: Outside of the Cinematic Void programming at the recent Beyond Fest, this was the other high point. Three movies: Halloween III, The Fog, and Night of the Creeps. Then there’s the interview with Tom Atkins afterwards. Dom Atkins also made an appearance. A truly historic moment in genre cinema history.
8.Dolemite is My Name: I expected to hate this movie. However, I have rediscovered that Eddie Murphy is great, and it was time Rudy Ray Moore was given some much needed attention. Hopefully when the quarantine is lifted we can get to paying visits to the last remaining sites where his movies were filmed.
9.Phantasm, Three O’Clock High, and 10 to Midnight at the Aero: This triple feature celebrated three years of Cinematic Void. Don Coscarelli was also there signing his book. Phantasm is one of my all time favorite films, and I see it every chance I get. It’s that good. Then you add in Three O’Clock High, and Charles Bronson in 10 to Midnight (featuring the men’s room at the Aero!), you can’t go wrong.
10. Repo Man at the Egyptian: I may have missed out on the Severin secret movie marathon in the Speilberg, but I was able to see Repo Man and a great Q&A with Alex Cox instead.
Pretty sad news to hear that Sid Haig has left the building. He was one of my favorite actors, without a doubt. He had this natural cool about him, and seemed to instill confidence in everyone he was in a scene with. His work with Pam Grier is classic. He had a way of stealing the scene of any movie he was in. When you saw his name in the credits you knew you were in for a good time.
My favorite movie of his, and it’s a tough call, because he was great in many roles, like Ralph in Spider Baby, the iconic Captain Spaulding, Omar in Coffy, and Django in The Big Bird Cage, to name just a few, but it’s another Jack Hill movie he did called Pit Stop (1969), in which he plays Hawk Sidney, a brash and arrogant figure 8 race car driver. He’s a combination of crazy, rock star cool, and a human when you get past the bravado. He may not have received top billing in the movie, but he’s the most memorable of all in it.
Who we are: A bunch of punk rock hasbeens/neverwasbeens. At the point in life where we go to shows and stand in the back, watching the clock as much as watching the bands, hoping the whole thing is over by midnight. Whereas, when we go see movie, it generally starts on time and ends at a decent hour. We are fans of genre cinema and sounds from the underground (if such a thing even exists anymore). We cover what we like, and sometimes do not like. What we do like is: Henry Silva, Charles Bronson, Lee Marvin, Barbara Bouchet, Edwige Fenech, Carpenter, Fulci, Argento, Sergio Martino, spaghetti westerns, Black Flag, Judas Priest, Brainbombs, noise, hardcore punk, metal, Iron Maiden, Mob 47, Black Sabbath, Electric Wizard, doom, Pam Grier, Sid Haig, Robert Forester, Rudy Ray Moore, Tank, Italian prog, Can, Ash Ra Temple, The Offenders, Articles of Faith, Uncle Acid and the Deadbeats, Crossed Out, Totalitär, Mads Mikkelsen, Corman, Landis, Godzilla, kaiju, Seijun Suzuki, samurai, Kenji Fukasaku, Dick Miller, Amarok, Roberta Collins, Chuck Connors, Ancient Altar, Pagan Altar, Karen Black, Richard Stark, Anitra Ford, and on and on and on…
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* We are not employees of the Aero, just patrons, and this line up best sums up what we’re into.