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    Maurizio Guarini, “CREATURES FROM A DRAWER” (CD Review)

    The name Goblin should mean something to each and every serious (hell, even casual) student of European horror. The band formerly known as Oliver, then Cherry Five, who were mentored by Dario Argento to be the house band for his 1975 giallo* landmark DEEP RED; they, of the throbbing basslines and progressive Emerson Lake and Palmer-meets-Mike Oldfield groove. Goblin went on to become horror’s only real “supergroup” and represented the proto-rock video aesthetic that made the Italian terrors of the period such sexy, slick and visceral treats.

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    Elvira Tees Tease & Tantalize! (MERCH REVIEW)

    Still sexy as ever, Cassandra Peterson continues to rock her tattered black Elvira threads, her most-recent high-profile appearance causing commotion on the red carpet at the premiere for Tim Burton’s FRANKENWEENIE. While she does prefer to party in Cassandra clothes, she looked simply stunning and as if she really were the immortal Elvira. From Morticia to Vampira, the hourglass (figure) never runs out, but it’s Elvira whose legend endures the most, thanks in no small part to the lady herself. 

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    “THE NEW GHOSTBUSTERS” #1 (Comic Review)

    by: Svetlana Fedotov on: 2013-02-19 21:09:01

    The ghost hunting shenanigans of the four paranormal
    detectives known as GHOSTBUSTERS perfectly melded humor and horror into an
    iconic film still popular today as it was almost 30 years ago. It’s little
    wonder, then that the Ghostbusters has had such a huge marketing appeal,
    ranging anywhere from toys to cartoons, and leaving a very permanent mark on
    the comic market. The franchise has spent years floating from company to company
    (even making a pit stop at Tokyopop for a manga do-over), but it has recently
    planted its feet with industry bad boy IDW. THE NEW GHOSTBUSTERS picks up right
    where the IDW GHOSTBUSTERS left off, this time sending our boys in gray
    jumpsuits into a strange world possessed by the unknown.

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    Fango contributor gets “CARRIE-ed” away with new book

    by: Chris Alexander on: 2013-02-18 14:00:17

    Australia based FANGORIA contributor Lee Gambin is following
    up his terrific natural horror movie reference tome MASSACRED BY MOTHER NATURE
    with a seriously ambitious project. Titled BLOOD AMONG THE STARS, Gambin and
    co-writer Ryan Clark’s work-in-progress charts the making of Brian De Palma’s
    classic and influential 1976 impression of Stephen King’s first novel, CARRIE.

    FANGORIA readers will have seen Gambin’s CARRIE-obsessed
    work splattered all over our magazine for years, especially with his fantastic
    interview with Sissy Spacek (Carrie White, herself) in issue #306 and most
    recently with features on William Katt and Pino Donaggio in our latest issue,
    our own love-letter to both De Palma and CARRIE, issue #321.

    What’s really exciting is the outrageous amount of in-depth
    interviews Gambin and Clark are amassing exclusively for this book, including a
    lengthy chat with Stephen King and almost every other living member of the key
    cast and crew.

    For more, have a look at their blogspot. and keep get your pig blood blasted freak-on by picking up FANGO #321, now on
    stands.

     

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    Mondo does limited vinyl run of “POLTERGEIST” score

    by: Samuel Zimmerman on: 2013-02-13 18:10:50

    Fantastic music, wonderful art; expect its selling out to haunt you. 

    Expected on sale February 22 at a random time (announced via Twitter), the POLTERGEIST 2xLP set sees great work from Australian illustrators Sonny Day and Biddy Maroney (who together make up the collective We Buy Your Kids) and very obviously, wonderful work from Goldsmith (GREMLINS, THE OMEN, CHINATOWN).

    Mondo writes the soundtrack “formed a significant part of the 1982 film’s conceptual strength. Known for the intensity of his thematic exposition, Goldsmith designs the POLTERGEIST soundtrack to elaborately ground the film between the promise of suburban repose and the malevolent unknown. Beginning in innocence with a classic rendition of the “Star-Spangled Banner,” the soundtrack parallels the film’s intrusion of angry ghosts into the California home of the film’s protagonists with dreadful strings and eerie keys. Goldsmith then switches to airier strings and an ethereal flute to denote the family’s fumbling after their daughter, Carol Anne, is abducted. Utilizing frenzied horn blasts and a sudden lapse into atonalism, the composer ominously signifies the emergence of the Beast. Goldsmith, seemingly effortless, concludes the frantic drama of “Escape From Suburbia” in stark contrast with the sweet and child-like tones of “Carol Anne’s Theme,” elegantly illustrating the dignity and range that his orchestral scores for horror modeled within the genre.”

    Check out the frame-worthy set and follow Mondo on Twitter for more. 

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