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Exclusive: Escape The Fate’s Max Green Talks Horror

Published

13 years ago

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“I’m a big fan of horror movies from the ’80s and the early ’90s,” exclaims Escape the Fate bassist Max Green. “I like old school horror movies because they were actually ‘horror’ movies. People died, and it got brutal. There was slashing, gashing, blood and guts. It was genuinely some fucked-up shit!”
Max’s brand new album, Escape the Fate (DGC/Interscope), could be the soundtrack to some film with a lot of “fucked-up shit.” In fact, this epic offering sits somewhere between the thrash violence of early Metallica, anthemic grunge and Danny Elfman-style Nightmare Before Christmas bombast. Hard rock fans everywhere rejoice!
Max talked to Bloody-Disgusting.com contributor and Dolor author Rick Florino about his favorite horror flicks for this exclusive feature.

A Nightmare on Elm Street (Series)
There’s one Freddy Krueger movie that I remember from when I was a kid. It scared the shit out of me back when I was younger! It’s A Nightmare on Elm Street 4: The Dream Master. These kids were in a movie theater, and Freddy kills a bunch of them. He’s going after the last couple kids, and they walk into this pizza restaurant. Freddy’s serving the pizza though. He puts his claw into the pizza pulling out a pepperoni with cheese [Laughs]. It turns out to be one of the kids screaming with blood running out of his eyes. I love that kind of shit! I’ve seen all of the Nightmare on Elm Street movies; they’re legit. Freddy is an amazing villain. He doesn’t just kill people for no fucking reason. He’s sarcastic and sadistic! He has a plan, and he really fucks with people. At the beginning of the movies, he plants these seeds in his victims’ heads and drives them to the brink of insanity. He tortures them mentally first and then goes in for the kill. He doesn’t just kill them either; he drags them down to his level and literally destroys their being. He does it little by little too. These kids might initially wake up with just a scratch on them, and then Freddy totally fucks their worlds up. Horror movies today are just about girls running and screaming.
Friday the 13th (series)
I’m into old school Friday the 13th movies too. Some of the really old Jason flicks are clicks. I was born in 1984, and I caught the last bit of the ’80s from what I can remember. I grew up a little bit in the ’80s. I liked Jason because he was the scariest thing back then!
Child’s Play (series)
Chucky was ridiculously horrifying when I was a kid. Watching this little doll murder people and do these Satanic rituals fucked with me [Laughs].
escapethefateband

Hellraiser
I like twisted fucked-up things, and this fit!
The Exorcist
I like religious horror films. There are a lot of fanatics out there, and no one really knows what’s real and what’s not. The fact that demons, witches and evil spirits could possess somebody is terrifying. 
Interview with a Vampire
This is a really good vampire flick because there’s a deep story at its core. You actually get into the characters and learn their backgrounds. Interview with a Vampire has everything that modern movies are lacking. You’ve got a background story and you learn about the characters. You feel who they are, and you have a chance to relate to each one. You also see where they end up. The whole vampire occult thing is so intriguing. There’s a twisted sexual energy to the movie that draws you in. That element’s lacking or missing in many vampire movies today. There’s no depth. The mentality is, “Get Robert Pattinson to take his shirt off and bedazzle him or pour some glitter on him! There we go!” That shit’s fucking lame.
Bram Stoker’s Dracula
That’s one of my favorite movies of all time. Gary Oldman was great! There’s a certain level of real sexual passion going on in those old vampire movies. 
House of 1000 Corpses, The Devil’s Rejects
Rob Zombie examines situations that are scary because they’re not the norm. He doesn’t simply present villains with weapons. You learn about these characters, where they live, where they come from and what they do when they’re not killing people. You see how twisted and demented these people really are. That’s what’s the most scary because that shit gets in your head.
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Music

“He Walks By Night” – Listen to a Brand New John Carpenter Song NOW!

Published

1 week ago

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April 9, 2024

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John Carpenter music

It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on Sacred Bones Records.

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

Sacred Bones previews, “It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

“Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone.

“The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.”

You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…

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