Hymns From The House of Horror III

This Month

“B-Movie Monsters"
– SWAMP THING
 
"The idea behind 'B-Movie Monsters' was to draw from the monster and horror movies we grew up on, and speak from the perspective of monsters. We kept the concept open so we could introduce what Swamp Thing's all about and make a dope track paying homage to the genre that inspired it." – Chokeules + Timbuktu + Savilion
 
Could there be a better moniker than Swamp Thing for a trio of human hip hop horrorhounds who share an intimate relationship with a certain plant, or more specifically, um...a weed? So immediate was our connection to the group, imagine our surprise when we learned that the alliance between the three monster lovers – Chokeules, Timbuktu and Savilion – took shape right in the same muck-encrusted streets of Toronto as Rue Morgue did! The band's new album, Creature Feature (Hand'Solo Records), is rammed with B-movie miscreations but this track seemed like the most fitting introduction to Swamp Thing's awesomely nerdy namedropping and creeping bass lines that ooze into your ears only to nest in your brain for days. The true beastie boys have arrived at handsolorecords.com.

 

 

 

What you missed

November 2012

“Sasquatch Ocean" – TROGLODYTE

"'RISE! Flooding through your city streets, we RISE! Your streets run red with blood.' This was one of the first songs I penned for the new disc. An army of Bigfoot, overrunning a city like a crypto-tidal wave of knuckle-dragging death." – singer Jeff Sisson

 
When we first reported the spine-chilling existence of Troglodyte in RM#111, we had a feeling it wasn't the last time we'd tussle with the foul, death metal beasts. What we didn't know was that our previous coverage would only antagonize the bloodthirsty, cryptozoology-obsessed clan, causing it to resurface last month with a second appearance of technical treachery even more slobberingly savage than its last. Don’t Go in the Woods… (noMoreTomorrow Records) finds the brutal bipeds fully emerged from hiding and tromping down everything in their path, leaving only a hair-laden trail of unstoppable "neandercore" in its terrible wake. Ready for Troglodyte to make the Patterson-Gimlin ape look like Curious George out for an afternoon stroll? If you're still in one piece after this month's scathing Hymns track, "Sasquatch Ocean," follow the malodorous stench to neandercore.com..

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October 2012

“Night Shift” – THE BIRTHDAY MASSACRE

"This instrumental track will open our live set when we tour behind the new album. It's an homage to '80s John Carpenter movie soundtracks. This is the stuff we grew up with and it has inspired our band since we first started." - Falcore, TBM guitarist

 
The guys and doll known as The Birthday Massacre have been on our wicked wish list ever since we embarked upon this little musical caper more than two and a half years ago, and we finally managed to pin down the hardworking synth-savvy sextet long enough to seduce a track out of 'em! Well, it was worth the wait: get ready to be swooned by this exclusive-to-RM instrumental titled "Night Shift," inspired by the work of the 2012 Festival of Fear Guest of Honour himself. Is there anything better than big, bulbous keyboard lines that sound cozier than warm blankets feel on a cold winter's night? Here we thought our come-hitherin' ways were what finally scored us a song and then the band goes and turns the tables on us with this intoxicating number that had us dead to rights seconds after we pressed play. Add this previously unreleased beauty to your Hymns Vol. III collection 'cause you won't even find it on the band's brand-new studio album, Hide and Seek (out October 9 from Metropolis Records). More music for permanent midnight at thebirthdaymassacre.com.

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September 2012

“Night of the Demon” – 45 GRAVE

“I’ve always written on the darker side of life. For me, horror and music are fuelled by your imagination and can you give your monster life. Live horror 24/7? Yes, I do. 45 Grave did [this for] the Night of the Demons movie soundtrack and just like “Party Time,” the song we contributed to Return of the Living Dead, it’s our mini-horror movie, with all the elements that make us live. Enjoy the song because every day is a party somewhere. Come on out and party with the dead.” – Dinah Cancer

 
Veteran LA death rockers 45 Grave spike Hymns III with a little wise blood this month, lending us a remake of its own “Night of the Demons” (which appears on the band’s first album in 27 years, Pick Your Poison, out now on Frontier Records), the original version of which appeared on the soundtrack to 2009’s Night of the Demons, itself a remake of the cult 1988 film. You follow us? Cool. Since reforming the band in 2004, perennial cemetery girl Dinah Cancer leads a resurrected lineup of guitarist Frank Agnew (Social Distortion, The Adolescents), drummer Tom Coyne and bassist Brandden Blackwell into a new dawn of cobwebbed-covered punk party anthems. Rave to the Grave at dinahcancer.net.

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August 2012

“Dogshit” – SKINNY PUPPY

“Blue stupid thaw / Cuts the jaw / Hell piss fuck head / Rest pure acid hell
Filthy word mutation / Laughing hound hereafter”
– Nivek Ogre

Back in ’88, the studio version of Skinny Puppy’s “Dogshit” was released as a single under the title “Censor” (for all you kids at home scratching your heads over this one, all we can offer in the way of explanation is that it was a different time…) during the promotional campaign for the band’s fourth album, VIVIsectVI, which, as you may notice, combines the Roman numerals for 666 with vivisection. Hey, it was edgy stuff for ’88. This version, which appears on SP’s new live album, Bootlegged, Broke and In Solvent Seas (out now from Metropolis), is reported to have been recorded straight from the soundboard with “no editing magic or trickery” at a 2010 performance in Warsaw, Poland. The band (read: original members Nivek Ogre and cEvin Key, and some hired guns) lays down some seriously old-school mechanized repulsion, with Ogre spewing his stream-of-consciousness nightmare memoirs with every drop of the clenched venom that made the industrial innovators notorious. Download this month’s hymn, then pray at the altar of skinnypuppy.com.

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July 2012

"The Hunters & The Preys" - NEON RAIN

“The movies of George A. Romero (especially those with zombies) have been part of my life for more than 25 years, from when my mother managed a video rental shop in the ’80s. The first movie that I watched over there was Dawn of the Dead. It was a revelation, and I became a zombie addict.” – Serge Usson

More than five years ago, French composers Serge Usson and David Delwichie – otherwise known as Neon Rain – hatched the idea of creating an alternative soundtrack to Dawn of the Dead. Before long, it became obvious that they couldn’t simply stop there, so they ambitiously expanded the project into …Of the Dead (available now from Steelwork Maschine), a three-disc set of drones, noise, beats and static in tribute to each film in Romero’s original zombie trilogy, which the duo only recently completed. One of our favourite cuts is “The Hunters & the Preys,” an industrial creepy-crawler that epitomizes the claustrophobic tension experienced by the scrappy band of survivors in Day of the Dead. There’s even a limited-edition version of the album that comes packaged in a metal film reel canister, which includes More of the Dead (a bonus disc of lo-fi noise folk tunes based upon Romero’s second trilogy: Land, Diary and Survival of the Dead), an exclusive T-shirt, and stickers. Wanna know more about Neon Rain? Check out neonrain.org, Bub.

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July 2012

"Another Bad Dream" - BLOODSHOT BILL

“I love the tradition of monster songs that have them doing all sorts of silly things, like doing the twist. Ya know, real “non-monster” kinda business. Scenarios like the Blob wanting to light a cigarette or the Bride of Frankenstein kissing the Invisible Man are just too ridiculous not to put to music. Be thankful it’s only a dream...” – Bloodshot Bill

Toronto “one man banned” Bloodshot Bill is a spectacle that needs to be seen to be believed. Sure, other solo artists have been known to add accompaniment with sampling pedals and other such gadgets, but Bill keeps things real and raw by playing drums and guitar simultaneously as he growls, snorts, hiccups and pants through songs about trashy women, the devil’s brew and movie monsters like some unleashed rockabilly beast from another time and place. In this grizzled little ditty that he composed for us all special like, Bill ghoulishly roll calls all of the classic Universal monsters as if they were all hanging out together in one big distorted dream sequence set in a dive bar. Catch the madman of multitasking if you can at bloodshotbill.com.

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June 2012

"Amaranth" - WINDHAND

"‘Amaranth’ is loosely based on our affinity for ancient culture, nature, and select occult groups. Amaranth is a plant/herb that was mythically revered due to its un-withering form, and was believed to have special healing properties and symbolically represent immortality, as it was used to decorate the tombs of the dead." - vocalist Dorthia Cottrell

Turn the lights down (except for the lava lamp - get that sucker goin’), burn some incense (or some of that sweet leaf we’ve been hearing so much about *cough*) and give your ears over to the monstrous, black waves of Sabbathy doom that this five-piece from Richmond, Virginia, slothfully rolls in on. Seriously, if this track wasn’t recorded in a dank basement covered in wall-to-wall purple shag carpet, then please god tell me it was put to tape in a mobile studio built inside of a Boogie van with a tinted teardrop-shaped window and an awesome painting of a vanquished demoness airbrushed on the side. Or that a time machine was somehow involved. However they did it, the good eggs in Windhand recorded this one specifically for Hymns Vol. III and it’s currently not available anywhere else. So if you wanna hear it in your basement or Boogie van or time machine, you’re gonna have to click on the link below to download it. Then go to windhandva.bandcamp.com, where the band’s entire debut album is posted for your warm and fuzzy listening pleasure.

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May 2012

“Human Monster” - THE KILLCREEPS

Before the rise of Ghoultown, there was The Killcreeps. ‘Human Monster’ was one of my favourite songs from that era. I wrote the song on New Year’s Eve 1995 in literally five minutes. I started strumming out the riff and looked over at a VHS copy of the Bela Lugosi movie by the same name. Bam, there it was!” – Count Lyle

Ghoultown's recent rarities release, The Unforgotten, is an absolute treasure trove of dark Tex-Mex, but leave it to Count Lyle – the pistol-packin' leader of the five feral banditos – to find one more shady track laying at the bottom of his mud-crusted rucksack. Before the band became seasoned sharpshooters, they fired off this punky, saddle-blazin' little number that's exclusive to Rue Morgue, meaning you won't find it anywhere else, no matter where the trail leads you...not even at ghoultown.com.

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May 2012

"Set Flames" - AUTHOR AND PUNISHER

“Sometimes to get across the feeling of a certain part of a song, it is necessary for me to imagine scenarios where you are enveloped in darkness or sadness or maybe love. As far as the lyrics, I make music that expresses emotion and an overall mood of devastation.” – Tristan Shone

On this previously unreleased live recording of Ursus Americanus’ “Set Flames” from last October’s Fall Into Darkness Festival in Portland, Oregon, one-man band Author and Punisher (a.k.a. Tristan Shone) manages to scare the bejeezus out of a room full of people all by his lonesome. You can actually hear Shone – a mechanical engineer who uses custom heavy machinery he calls drone/dub machines to create colossally heavy industrial doom – sonically level some Talkie McTalkersons in the audience roughly around the 1:28 mark. After some rumbling, murky tension, he puts the pedal to the metal and it sounds as if he’s just opened the mouth of Hell. The immeasurable force produced by one solitary man easily puts the whole man vs. machine debate to rest. If you can’t beat ’em, do as Shone does: conjoin with ’em. No, really...visit tristanshone.com.

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April 2012

"Hands of the Ripper" - SHE'S STILL DEAD

"One of the best known true-to-life figures in horror is Jack the Ripper. He wasn't some zombie, or vampire, or werewolf. He was an actual serial killer that brutally slayed his victims. We tried to convey the brutality of the murders in the lyrics to 'Hands of the Ripper.' They can be viewed as graphic, but the facts of Jack the Ripper's murders are grounded in truth." – guitarist Kevin Dredge

Composed entirely in one night at ex-White Zombie guitarist J. Yuenger's Graveyard Studio (appropriately located between two large cemeteries) in New Orleans, She’s Still Dead’s "Hands of the Ripper" epitomizes the grizzled punk and bloodthirsty thrash the damned quintet serves up cadaver-cold on its independently released debut album, Immortal, Eternal. Apparently if you listen closely, there's even a track of atmospheric guitar feedback buried deep in the mix to mimic the spiraling emptiness and nerve-shattering tension of the Ripper’s favourite killing time: the dead of night. If you ever stop headbanging, follow the trail of blood to still-dead.com.

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March 2012

"Olivia (Object of My Infection)" - HARLEY POE

“Within my four walls I have everything I need to be happy. I have my comic books, movies and records. I have Olivia. She has big blue eyes and luscious lips, wavy blonde hair, cute bouncy breasts, and legs that go all the way up. She can’t speak, but I can hear her thoughts of adoration.” – Joe Whiteford

On the eve of their fantastic third full-length, Satan, Sex and No Regrets (available April 1 from Chain Smoking Records), Harley Poe returns to Hymns (you’ll recall they contributed “It’s Only the End of the World” to our first comp…see RM#100) with a track they graciously kept aside for our third album. A slower, organ-driven version of “Olivia (Object of My Infection)” has appeared on a couple of split releases in the band’s history but this previously unreleased take – which turns down the volume and ramps up the tempo and adds harmonica, banjo and handclaps to the party – is the one founding singer/songwriter Joe Whiteford considers to be the definitive version. It gives us great psychologically deviant pleasure to have this contagious ode to the inanimate object of an introverted weirdo’s desires kick off Hymns Vol. III. For more on Harley Poe, please visit joewhiteford.blogspot.com.

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Author and filmmaker, Greg Lamberson, wraps principle photography on horror-comedy, Dry Bones: http://t.co/8uRDcIeroX

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Check our exclusive reveal of Ghoulish Gary Pullin's LP art for Waxwork Records' limited edition RE-ANIMATOR score! http://t.co/Ai2JfGwDCA

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