The ravings of noted South Florida pug wrangler Shawn Macomber have
appeared in Decibel, Magnet, Reason, Maxim, Radar, Shroud, and the
Wall Street Journal, amongst other fine and middling publications. He
also hosts the podcast Into the Depths and pens the metal-lit column
Tales From the Metalnomicon for Decibel magazine.
Exclusive Clip: Victims’ on their new eerie EP “FORM HELL”!Books/Art/Culture,News Shawn Macomber
FORM HELL—a brilliant new EP from New England duo Victims that somehow locates and exploits the sweet spot between 1970s Krautrock, early electronic horror movie scores, and Skinny Puppy-esque creeping dread—is out today via Death Waltz Originals.
We’ve got the whole gloriously sordid, weirdly touching story behind this long-gestating collaboration between Portsmouth, New Hampshire grindhouse score composer extraordinaire Timothy Fife (THE DISCO EXORCIST, HONKEY HOLOCAUST, FRANKENSTEIN’S HUNGRY DEAD, SINS OF DRACULA) and Portland, Maine horror cinema-steeped disco no-wave trailblazer Chris Livengood (Video Nasties, Visitations) in FANGORIA #347, but for those who’d like to sample the delectable goods before diving into the creation story check out the exclusive excerpt streaming below.
Here’s the amazing Death Waltz Originals blurb on the album:
Perhaps if Tangerine Dream geared up and jammed immediately after their twelfth consecutive viewing of BURIAL GROUND: NIGHTS OF TERROR it might sound something like this. Of Michael Hoenig had scored THE GATE before abandoning his analog synths, those fleshy little minions would’ve been dancing to the arpeggiated menace of FORM HELL.
And this is what Livengood himself told FANGORIA about the release:
“Together we recorded the main tracks live in our respective studios. I’m certain that at least one of these sessions we were watching BURIAL GROUND so that was certainly an influence on this particular release. Both together and separately, we added our own flourishes, melodic elements, and integrated [industrial rock veteran Aaron] Dilloway’s loops. At last, we sat down and edited, mixed, and tweaked all the elements into the final masters.
“Michael Hoenig and Tangerine Dream are always drifting in and out. I know I had been listening to Amedeo Tommasi’s GRANDANGOLO and Bernard Favre’s library music. I think Frizzi, Giombini, Nicolai, Morricone and all those guys might be less obvious an influence, but all of that is in there somewhere. And taking frequent breaks to watch horror trailers or Italo-disco videos kept our senses sharp.”