Their songs often feel less like traditional rock music and more like myths in motion, unfolding somewhere between a dream, a film, and a fevered memory. Perhaps that’s why horror feels so naturally at home within their creative universe. 

For Abigail Morris, the group’s charismatic ringleader, some of horror’s most enduring filmmakers understand that terror becomes more powerful when it exists alongside beauty. 

Discussing the work of Dario Argento, she points to films like Suspiria and Phenomena as perfect examples of that tension. 

“I think it’s actually the proximity of those things rather than the distance,” Morris explains. “The things that are really beautiful and the things that are really terrifying. It’s like the idea of the sublime. The closer that beauty is to terror, the more beautiful it is and the more terrifying it is rather than the juxtaposition. I think that that’s where the sweet spot of fear and tension and intrigue and pure and real beauty is, where it’s almost the other. And I think that’s what Argento does really well with the sort of the beautiful casting and the sets and the lighting and then the buckets of red blood.”

She cites Argento’s ability to place stunning imagery directly beside the grotesque or unsettling. The vivid colors, dreamlike sets, and beautiful performers suddenly interrupted by buckets of blood, swarms of insects, or moments of genuine nightmare. 

“I love how he plays with that,” she says. 

That fascination with contradiction extends far beyond horror films. The Last Dinner Party’s work frequently occupies a similar emotional space, where longing can feel catastrophic, and heartbreak transforms into mythology. Morris brings up one of her favorites, Andrzej Żuławski’s Possession (1981), as another example of horror expressing emotional truths more accurately than realism ever could. 

“A divorce is a very human thing that happens,” she says. “And then to turn that into this psychological body, spiritual, eldritch horror is how it must feel to go through a divorce. And it’s more accurate.” 

Not surprisingly, news of the upcoming Possession remake sparked a passionate response. “I’m fucking furious,” Morris laughs. While generally skeptical of remakes, she makes an exception for Luca Guadagnino’s Suspiria, praising the filmmaker for creating something entirely his own rather than attempting to recreate Argento’s original. 

“He wasn’t trying to capture the energy of Argento’s film. It felt like a story in its own right.” She goes on to explain, “…if they do that with Possession, then I’m interested.”

The conversation also reveals just how deeply cinema has been embedded into The Last Dinner Party from the very beginning. Long before sold-out shows and award nominations, the band envisioned themselves not simply as musicians but as architects of an entire world. 

“When we started the band, the visuals were of equal importance to the music,” Morris says. “Before we played a show, before we shot a music video, we decided that what we wanted this band to be was something that was a complete world.” 

That commitment led to elaborate mood boards, film references, styling concepts, and even a 72-page presentation that helped define the band’s visual identity before many people had ever heard a note of their music. 

For composer, songwriter, and keyboardist Aurora Nishevci, many of those same cinematic instincts have begun finding new outlets. She speaks passionately about the horror scores that continue to inspire her, including the work of Mica Levi and Hildur Guðnadóttir. Rather than relying solely on traditional horror techniques, she is fascinated by artists willing to challenge expectations. 

“You can decide to go the traditional route,” Nishevci says. “Or you can completely go another way and still be terrifying.” 

That fascination has now become something more personal. Nishevci reveals that she is currently working on her first horror feature as a composer, bringing her own musical language into the genre that has influenced her for years. 

The band’s connection to horror has also found an unexpected audience among fans of Yellowjackets. Online, edits pairing The Last Dinner Party’s music with scenes from the series have become increasingly common. At concerts, fans have even begun holding up photos of Jackie during performances of “Woman Is a Tree.” 

At first, Morris couldn’t understand what she was seeing. 

“I thought it was someone’s grandma,” she says. Only later did she realize the mysterious photographs were actually tributes to one of the show’s most beloved characters. “It’s fucking Jackie from Yellowjackets!” 

The band enthusiastically express interest in seeing those worlds collide one day. 

While The Last Dinner Party’s future remains unwritten, horror seems destined to remain part of it. Asked what creative paths still excite them, Morris immediately begins dreaming beyond albums and tours.

“We’ll do a horror movie as well.” 

Nishevci quickly adds another possibility that has apparently been living on the band’s mood board for some time. “We keep talking about doing a folk horror EP.” “That’s been on the mood board,” Morris confirms. 

For a band already obsessed with mythology, ritual, transformation, storytelling, beauty, and terror, both ideas feel less like surprises and more like inevitable next chapters. For much more with Abigail Morris and Aurora Nishevci, including further musings on Argento, Possession, Salò, Hausu, and the future of The Last Dinner Party, check out The Boo Crew Podcast Episode 473 available now on Apple, Spotify, and wherever you get your podcasts.

The band joins Olivia Rodrigo on the road next year for multiple sold-out residencies in New York and LA. Follow the Last Dinner Party on Instagram.

The post The Last Dinner Party Talk Horror, Dario Argento, and Why Beauty Makes Terror Stronger appeared first on Bloody Disgusting!.

The graphic novel arrives on August 4 through Storm King Comics, with the companion album following on August 7 via Sacred Bones Records. 

In other words, every track on the companion album corresponds to a chapter in the book, with liner notes guiding listeners through the story as they read. 

The 120-page graphic novel is written by Carpenter, editor/producer/wife Sandy King, and Sean Sobczak, illustrated by Federico De Luca and Luis Guaragna, colored by Ryan Winn, and lettered by Marshall Dillon.

“I like that one because it really seems to feature all three of us in a special way,” guitarist Daniel Davies said in a statement about the new single. “It has interesting harmonies that Cody put together and John’s signature pad-style string parts. It’s more of an electronic metal track in a way, but we just wanted to make it as heavy and driving as possible.“

“The Ferryman” follows the previously released “Lord of the Underground“.

The synopsis for Cathedral: “An abandoned cathedral. A gruesome murder. A powerful supernatural entity living in the catacombs. It all comes to a head in downtown Los Angeles. What will happen and who will live to tell the tale? Such is the storyline of Cathedral, the thrilling new album and terrifying graphic novel from legendary director and musician John Carpenter, based on a dream he had in 2024.“

“It was so cinematic and vivid,” the director said. “I thought, ‘I have to score this.’ It’s kind of our first heavy metal album.” 

Get ready to immerse yourself in John Carpenter’s universe all over again.

The post John Carpenter Releases New Single “The Ferryman” From Upcoming Audio/Visual Project ‘Cathedral’ appeared first on Bloody Disgusting!.

Ice Nine Kills enter the fog today with “Play Dead,” a brand-new single and music video created in collaboration with Dead by Daylight. Written for the game’s 10th Anniversary, “Play Dead” brings Ice Nine Kills into one of horror gaming’s most iconic worlds, uniting two genre-obsessed universes built on suspense, survival, mythology, and the thrill of the kill.

The track was created in collaboration with longtime Dead by Daylight composer Michel F. April and arrives alongside the in-game Ice Nine Kills Collection, allowing players to represent the band inside the game’s ever-expanding horror universe with unique DLC.

Stream “Play Dead” here and watch the Ice Nine Kills music video below!

Ice Nine Kills’ brand new music video for “Play Dead” features Devon Sawa (Final Destination, “Chucky”) and Krsy Fox (Terrifier 3), along with the legendary Tony Hawk.

Ice Nine Kills mastermind Spencer Charnas tells us, “Ice Nine Kills has always lived somewhere between menace and mischief. ‘Play Dead,’ our take on Dead by Daylight, is a collision of hooks, horror, and total chaos. As lifelong horror fans, we find it surreal and an absolute honor to have Ice Nine Kills’ music officially tied to Terrifier, Scream, Ready or Not, and now, the iconic survival horror game Dead by Daylight.”

“Collaborating with Dead by Daylight gave us the chance to step into a world that feels deeply aligned with our creative instincts,” Charnas continues. “The game has an incredible legacy, and that chaotic, eerie, immersive energy is something we respect and admire. We wanted the song to feel like a real extension of that universe, not just inspired by it, but genuinely part of it.”

“Dead by Daylight has always been about celebrating horror in all its forms, and Ice Nine Kills shares that same passion for the genre we have,” said Mat Côté, Head of Partnerships for Dead by Daylight. “We’ve always been big fans of their music, and their creativity and deep connection to horror culture made this collab feel incredibly natural. We’re excited for our players to represent the band in-game with the Collection we created together, and we can’t wait for everyone to experience the new Dead by Daylight crossover track the guys cooked up.”

The post ‘Play Dead’ – Watch the Official ‘Dead by Daylight’ Music Video from Ice Nine Kills! appeared first on Bloody Disgusting!.

Zombie’s eighth studio album, The Great Satan was released in February via Nuclear Blast Records. Watch the brand new official music video for the track “Tarantula” below!

The album is produced by Zeuss, who produced Zombie’s previous two albums (2016’s The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser and 2021’s The Lunar Injection Kool Aid Eclipse Conspiracy), and composed music for 31, 3 from Hell, and The Munsters.

The new music brings Rob Zombie back to his Hellbilly roots with frenetic cuts such as “Punks And Demons,” “Heathen Days,” “(I’m a) Rock ‘N’ Roller” and “Tarantula.”

Rob Zombie and Marilyn Manson will co-headline the Freaks on Parade Tour this Summer with support from The Hu and Orgy. Learn more about the tour and get your tickets now.

But what about new movies from Rob Zombie? Unfortunately, we’ve got nothing to share on that front at this time. Zombie hasn’t made a new movie since The Munsters back in 2022.

The post Rob Zombie – Watch the Brand New ‘Tarantula’ Music Video from ‘The Great Satan’ Album appeared first on Bloody Disgusting!.

Prince’s family confirmed the composer’s death on June 16 late last week at the age of 81. No cause of death was released.

id Software, the company that gave Prince his first job in the industry, paid tribute to the composer, referring to him as a “video game music pioneer.”

Indeed, in addition to providing the soundtracks to id Software’s hits in the FPS genre, Bobby Prince also provided the soundtracks to other id Software classics, such as portions of the scores for Commander Keen series and the forerunner to the modern FPS, Catacomb 3-D. Prince also worked with Apogee Software and 3D Realms, providing the soundtrack for Blake Stone: Aliens of Gold, and teaming with Lee Jackson for Rise of the Triad and Duke Nukem 3D.

Bobby Prince’s death comes just after the Library of Congress announced back in May that his soundtrack for Doom would be preserved in the National Recording Registry.

The soundtrack for Doom and its sequel took inspiration from designer John Romero‘s collection of CDs at the studio, which included the likes of Alice in Chains, Pantera, and Metallica. In spite of the limitations composers faced with the sound cards of the era, Prince was able to replicate riffs from songs like “Master of Puppets” and “Painkiller” for tracks like “At Doom’s Gate”, the iconic opening track for Doom‘s first level, E1M1.

For Doom II‘s soundtrack, Prince continued to employ the same tactic, lifting rifts from songs like “Sex Type Thing”, “After All (The Dead)”, “South of Heaven” and more.

In addition to composing, Bobby Prince was also a practicing lawyer, and had pursued a career as an attorney before making his way into the video games industry.

Bobby Prince is survived by his wife Connie, and his sons, Robert Caskin Prince IV and Andrew (Cristy) Prince.

The post ‘Wolfenstein 3D’, ‘Doom’ Composer Bobby Prince Has Passed Away at 81 appeared first on Bloody Disgusting!.

Arriving August 7 and available to pre-order today, this anniversary reissue comes pressed on an eye-catching 45 RPM zoetrope LP, featuring memorable scenes from the special on each side, plus a new essay from Sean Mendelson.

Get a peek at the cool new release below.

The release features Vince Guaraldi‘s jazzy score, including favorites like “The Great Pumpkin Waltz,” “Graveyard Theme,” and, of course, the iconic “Linus and Lucy.”

After its first official release in 2018 and rerelease upon the discovery of the original master tapes in 2022, the soundtrack returns to vinyl in its entirety, alongside a selection of rare outtakes.

If the zoetrope LP isn’t enticing enough, look for a variety of limited-edition Halloween treats that can be found at exclusive retail partners, including an Orange 4-inch Tiny Vinyl (Target) available starting July 17, featuring “The Great Pumpkin Waltz” on Side A and “Graveyard Theme” on Side B. Pumpkin-shaped pressings will also be available in exclusive colorways from August 21st, including Electric Pumpkin Patch (Barnes & Noble), Pumpkin Spice (Walmart), Ghost White (Target), and Candy Corn (Craft Recordings). Additionally, the Orange Pumpkin pressing will be back by popular demand at all major retailers.

In the 1966 animated special, the Peanuts gang celebrates Halloween. Linus hopes that he will finally be visited by The Great Pumpkin, while Charlie Brown is invited to a Halloween party.

It’s the Great Pumpkin, Charlie Brown tracklist:

Side A:

1. Linus and Lucy

2. Graveyard Theme

3. Snoopy and the Leaf/Frieda (With the Naturally Curly Hair)

4. The Great Pumpkin Waltz

5. Linus and Lucy (Reprise)

6. Charlie Brown Theme/Charlie Brown Theme (Minor Theme)/Graveyard Theme (Reprise)

7. The Great Pumpkin Waltz (Reprise)

8. The Red Baron/Military Drum March

9. The Great Pumpkin Waltz (2nd Reprise)/The Great Pumpkin Waltz (3rd Reprise)

10. Graveyard Theme (Trick or Treat) (2nd Reprise)

11. Fanfare/Breathless/Graveyard Theme (Trick or Treat) (3rd Reprise)

12. Charlie Brown Theme (Reprise)

Side B:

1. Breathless (2nd Reprise)

2. It’s a Long Way to Tipperary/There’s a Long, Long Trail A-Winding/Pack Up Your Troubles in Your Old Kit Bag/Roses of Picardy

3. Graveyard Theme (Trick or Treat) (4th Reprise)

4. Linus and Lucy (2nd Reprise)/Linus and Lucy (3rd Reprise)

5. Charlie Brown Theme (2nd Reprise)

6. Linus and Lucy (Alternate Take 1)

7. Graveyard Theme (Alternate Take 1)

8. Charlie Brown Theme (Alternate Reprise Take 1)

9. Linus and Lucy (Alternate Take 2)

10. The Great Pumpkin Waltz (Alternate Reprise Take 2)

The post ‘It’s the Great Pumpkin, Charlie Brown’ Celebrates 60 Years with Limited Zoetrope Vinyl Release appeared first on Bloody Disgusting!.

The show was originally set to run through November, but Deadline reports that The Lost Boys: A New Musical “has released a block of tickets through Sunday, March 7, 2027.”

The news comes in the wake of The Lost Boys: A New Musical becoming the most Tony-nominated musical of the season with twelve nominations including Best Musical.

Additionally, “The Lost Boys will launch a North American National Tour in Spring 2028, at Playhouse Square in Cleveland. Additional cities and tour dates will be announced later.”

The Lost Boys: A New Musical is of course an adaptation of the 1987 horror classic from director Joel Schumacher, with the cast including Ali Louis Bourzgui as lead vampire David (originally played by Kiefer Sutherland), Maria Wirries as Star (originally played by Jami Gertz), and LJ Benet as the soon-to-be-turned Michael (originally played by Jason Patric).

The horror musical’s cast also includes Shoshana Bean as Lucy Emerson, Benjamin Pajak as Sam Emerson, Paul Alexander Nolan as Max, Jennifer Duka as Alan Frog, Miguel Gil as Edgar Frog, Brian Flores as Marko, Sean Grandillo as Dwayne, and Dean Maupin as Paul.

The Lost Boys: A New Musical is Directed by Michael Arden, featuring Music and Lyrics by The Rescues, Book by David Hornsby & Chris Hoch, Story by James Jeremias & Janice Fischer, and Produced by James Carpinello, Marcus Chait & Patrick Wilson (The Conjuring) by special arrangement with Warner Bros. Theatre Ventures.

When a mother and her two teenage sons move to Santa Carla in desperate need of a fresh start, they soon uncover the darker side of this sunny coastal community. While Lucy tries to piece her family’s life back together, Michael keeps pulling away in search of belonging.

As he finds connection with a local rock band and its charismatic leader, his younger brother Sam comes face-to-face with a terrifying reality: When night falls, Michael’s new friends are even more dangerous than they first appeared.

Joel Schumacher directed the original The Lost Boys vampire movie in 1987, wherein two brothers move to a new town and discover that the area is a haven for vampires.

The post ‘The Lost Boys’ Musical Extends Broadway Run With North American Tour Set for Spring 2028 appeared first on Bloody Disgusting!.

It serves as a musical accompaniment to his graphic novel of the same name, releasing August 4 from Storm King Comics.

Carpenter and bandmates Cody Carpenter (synths) and Daniel Davies (guitar) have debuted the first single from the album, “Lord of the Underground.” Check out the visualizer below.

Designed as a fully immersive project, Cathedral functions as both soundtrack and narrative engine: each track aligns with a chapter of the graphic novel, with liner notes guiding listeners through the story.

The press release calls it “the closest approximation to a new movie from Carpenter since 2010.”

Inspired by a vivid dream John Carpenter had in 2024, the story centers on an abandoned church in downtown Los Angeles that shifts from a forgotten building to the site of a waking nightmare.

After the killing of a police officer draws attention to the long-ignored cathedral, Lieutenant Christine Marks and detectives Paul Hernandez and Steve Mayfield are pulled into an investigation that leads them deep into its catacombs and toward a centuries-old evil imprisoned within.

“It was so cinematic and vivid,” Carpenter says of the dream that inspired the story. “I thought, ‘I have to score this.’ It’s kind of our first heavy metal album.”

“The story informed everything,” adds Davies. “John would describe a scene and say, ‘We need a heavy riff here.’ We didn’t set out to make a metal record, but it evolved that way.”

“It’s all about making the music work,” Carpenter notes. “This is somewhat different sounding stuff that we’ve done, but it’s done with the same desire in mind. In other words, put this thing on and imagine you’re watching a movie. That’s what we want you to do.”

Cathedral‘s 120-page graphic novel is written by Carpenter, editor (and wife) Sandy King, and Sean Sobczak, illustrated by Federico De Luca and Luis Guaragna, colored by Ryan Winn, and lettered by Marshall Dillon.

The post John Carpenter Goes Metal with New Song ‘Lord of the Underground’ from ‘Cathedral’ Graphic Novel appeared first on Bloody Disgusting!.

Lestat de Lioncourt (Sam Reid) adds another single to his growing repertoire with “Butterscotch Bitch.”

“Butterscotch Bitch” follows the Vampire Lestat’s recently released singles “All Fall Down” and “Long Face,” all of which feature original music and lyrics by series composer Daniel Hart (The Green Knight, A Ghost Story) and are performed by Reid. Additionally, a cover version of Billy Idol’s “Dancing With Myself” was released along with the official trailer.

AMC Global Media and Lakeshore Records released the single on the Vampire Lestat artist profile pages at major digital music services, including Spotify, Apple Music, and Amazon Music.

Daniel Hart said, “’Butterscotch Bitch’ is, I hope, the song that feels the most like Lestat, as it’s the song I wrote with the most knowledge of Lestat under my belt to date. And why not end the songwriting with a song that Lestat wrote about himself? He is, after all, The Lestat-iest Lestat that’s ever Lestat-ed.”

Added The Vampire Lestat, “Butterscotch Bitch’ is, I hope, the song that feels the most like Daniel Hart, as it’s the song he wrote on a toilet in between vegan burritos and sessions for his Mother Mary score. May it find a home on Anne Hathaway’s rescue dog grooming playlist.“

Never change, Lestat.

Based on Anne Rice‘s The Vampire Chronicles book series, “The Vampire Lestat” is the rock and roll-centric third season of AMC’s “Interview with the Vampire,” created by showrunner Rolin Jones.

The Vampire Lestat goes on an electric multi-city tour while being haunted by “muses” from his wild and rebellious past. As his band’s popularity and star power rise, so does Lestat’s influence over vampires and humans alike, leaving others to contend with Lestat’s power in the face of the Great Conversion, an unnatural surge in the vampire population.

Jacob Anderson, Assad Zaman, Eric Bogosian, Delainey Hayles, and Jennifer Ehle star with Reid.

Executive producers include Jones, Mark Johnson, Hannah Moscovitch, the late Anne Rice, and her son Christopher Rice.

“The Vampire Lestat” will premiere on June 7.

The post ‘The Vampire Lestat’ Sings An Ode to Himself in New Single “Butterscotch Bitch” appeared first on Bloody Disgusting!.

What the new live experience will entail and participating cities have yet to be revealed, but eager fans can now sign up to join the waitlist for details. 

Expect on-sale ticketing info, dates, and more to arrive later this year.

In the film, “Korean pop superstars Rumi, Mira, and Zoey use their secret identities as demon hunters to protect their fans from ever-present supernatural danger. Together, they must face their biggest threat — an irresistible rival boy band of demons in disguise.“

Since its release last summer on Netflix, KPop Demon Hunters and its central group, HUNTR/X, have become a global sensation. And its popularity only continues to rise.

A sequel was officially greenlit earlier this year. Maggie Kang and Chris Appelhans will return to direct and write the followup, kicking off the duo’s exclusive multi-year deal with Netflix across animation. 

More notably, KPop Demon Hunters made Oscar history for the streamer, earning the awards for Best Original Song and Best Animated Feature.

KPop Demon Hunters has also conquered McDonald’s and will take on Shark Week next.

“With KPop Demon Hunters, Maggie and Chris didn’t just reach audiences, they ignited a global fandom that crossed languages, generations, and genres,” Netflix Chief Content Officer Bela Bajaria said. “We’re incredibly proud to deepen our partnership with them and, together with our partners at Sony Pictures Animation, build this universe in ways that will surprise and delight fans all over the world.”

KPop Demon Hunters is officially unstoppable. Get ready to see HUNTR/X strengthen the Honmoon in person soon.

The post Netflix Announces Plans for ‘KPop Demon Hunters’ World Tour appeared first on Bloody Disgusting!.

By the time Alien hit screens, director Ridley Scott had quietly replaced significant chunks of Goldsmith’s work in the edit. These changes included using Howard Hanson’s Symphony No. 2 (1930) during the film’s end credits and reusing cues from Goldsmith’s score for Freud: The Secret Passion (1962) elsewhere in the film, while sections of Goldsmith’s new material were cut, reshaped, and, in some cases, thrown out altogether. Goldsmith was, let’s just say, less than pleased. Honestly, he had every right to be.

Yet, even with all this taken into account, Alien remains one of the most haunting scores in cinema.

The 8th Passenger

Before we get to Alien, let’s briefly talk about Goldsmith himself. Born and raised in Los Angeles, he worked steadily in television in the 1950s and went on to become one of the most prolific and recognizable film composers in history. By the time Alien came along, Goldsmith had a résumé packed with heavy hitters like Planet of the Apes, Chinatown, The Omen, Patton, Star Trek: The Motion Picture (released the same year), and many more. He earned 18 Academy Award nominations over his career and won just once, for The Omen in 1977, which feels like one of the great injustices in movie-music history. 

Goldsmith’s calling card was always his versatility. He never shied away from utilizing unusual instrumentation, found sounds, emerging technologies, and extended techniques in harmony with more traditional orchestral elements. Which is exactly why, when Ridley Scott came calling, or rather, Alan Ladd Jr., the president of 20th Century Fox, to be more specific, it seemed like a match made in the cosmos. Looking back, though, it was more like an acoustical beacon of unknown origin.

In space, no one can hear you scream

At the time, Scott was hot off The Duellists, and Alien represented a massive leap in ambition. Along with the sci-fi of it all, the Alien story bleeds body horror with its violation of the human body and use of reproduction as a weaponized mechanism of death. The complex alien Xenomorph design (conjured up by artist H.R. Giger) literally drips with terror, perfectly complementing Alien’s gritty, tactile, and industrial production design. As Ripley, Sigourney Weaver delivers a career-defining performance as one of the first female lead protagonists in a mainstream action/sci-fi/horror film, adding a powerful feminist undercurrent to the narrative. All that said, this mix of genre and narrative elements required an unconventional score to achieve balance, and it was a challenge that Goldsmith was uniquely suited for. 

In many ways, what Goldsmith composed for Alien was a direct extension of the approach he’d used for Planet of the Apes a decade earlier. With that score, Goldsmith used the orchestra to generate vibrant texture and an atmospheric, alien soundscape. But Goldsmith had learned a lot in the decade between Apes and Alien, and he initially set out to capture a bit more of the wonder and romantic mystery of outer space (think Star Trek) before venturing into the horror realm. Unfortunately, Scott was hoping for a bit more of the former versus the latter. 

Sometimes the scariest things come from within

According to Goldsmith in The Beast Within: The Making of Alien documentary, his original instinct was to write the opening “very romantically and very lyrically,” so the film could begin with the cold majesty of space before the horror surfaced, but Scott wanted that dread there from the jump. So, that first draft was scrapped (though it was used a little later in the film, as well as in Alien: Covenant). 

The “Main Title” version actually heard in the film was Goldsmith’s rewrite of the piece and built on a foundation of eerie extended techniques, low drones, stacked minor 7ths, and an almost unearthly sonic palette to cultivate ambiguity. A shankha (a traditional conch-shell instrument) run through an EchoPlex provides a haunting uncertainty, as strings and flute emerge from the darkness with simple, slow, two-note progressions, seeping in like a foreboding fog, echoing into the distance as delicately as they appear. Rather than celebrating the beauty of space, this piece establishes the “alien motif,” hinting at darkness to come. 

As we visually enter the Nostromo, Goldsmith’s “passage of time” leitmotif comes into focus with flutes, subverting the traditional I-V chord pattern, making it minor using Eb minor and Bb minor. It’s a comforting, almost tender motif, shared by multiple instruments throughout the film, that speaks to the humanity of the crew and to the ordinary rhythms of people going about their work in an extraordinary setting. Goldsmith uses it to humanize the crew before systematically dismantling them. This contrast with the horror or alien cues wasn’t simply a tonal choice; it was a deliberate narrative decision. When the aural warmth disappears, you feel it.

Alongside the general alien and time motifs, Goldsmith introduces two additional Xenomorph-centric motifs and really goes to war with conventional film scoring methods. Extended string techniques (col legno, sul ponticello, harmonics) create sounds that don’t register as music as much as they do biological processes. He also doubles down on non-traditional orchestral instruments, adding the didgeridoo, serpent, whistles, rattles, and heavy EchoPlex use to the mix. This juxtaposition of the familiar with the unfamiliar divides the film into human and inhuman spaces, us against them. Even when the Xenomorph is not on screen, Goldsmith’s textures make us feel its presence, lurking in the shadows.

A word of warning…

Despite delivering some truly great material, Scott requested that Goldsmith rescore 7 cues. Goldsmith begrudgingly obliged, but Scott still wasn’t quite thrilled with what he got. Scott and his editor, Terry Rawlings, had built the rough cut using temp tracks, as directors often do, and had kinda fallen in love with those. Ultimately, Scott found himself wanting something closer to what he already had.

The specifics of what Scott altered are worth mentioning because the changes weren’t minor. Beyond replacing the end credit piece with Hanson’s, Scott repositioned Goldsmith’s end title music to play over the climax aboard the escape pod, a placement Goldsmith had never intended and actively disliked. Some cues were cut (ex, the facehugger falling on Ripley in the med lab) and left silent, or moved, breaking the dramatic logic Goldsmith had built. Perhaps most shocking is the repurposing of Goldsmith’s prior work for Freud, being used for multiple scenes, including Dallas in the air duct, Ripley searching for Jonesy, and the acid floor moment. And don’t forget, Goldsmith wasn’t aware of any of this until he saw the film opening night. Yikes.

Goldsmith later spoke publicly about his frustration, stating, “Working on Alien was one of the most miserable experiences I’ve ever had in this profession. Ridley is a brilliant filmmaker, and I think that was just his second film, and he wasn’t as articulate then about what the music should do.” He felt the score was misused and that Scott was ultimately seeking more of a soundscape than a supportive emotional undercurrent. While not wrong, the final product makes it a complicated argument to win. 

Scott, for his part, has never offered a particularly detailed public account of the creative dispute. His position seems to be that the director’s vision for the film took precedence, which is, of course, practically true. Perhaps attempting to make amends, Scott later hired Goldsmith to work on Legend (1985), but that creative endeavor ended very poorly as well, and is a tale for another day.

The irony with the Alien score is that this friction only deepens the, well…legend. Both scores, whether heard in full or as presented in the film, tell coherent, deeply unsettling stories. If you haven’t sought out Goldsmith’s original score, do yourself a favor and spend some time with it. With expanded editions, the isolated score available on the Blu-ray, and multiple, beautiful physical releases in existence, Alien fans are truly blessed. 

Alien is, unavoidably, a score defined equally by what is and isn’t in the finished film. And that’s a strange kind of legacy to carry. But then again, that’s not entirely unlike the film itself. Alien is a movie about violation, isolation, about the terror of having something foreign enter your body and remake it according to its own agenda. So in a way, Goldsmith and his score were subjected to something very on brand, indeed. You have my sympathies, Mr. Goldsmith.

The post In Space, No One Can Hear Your Score: Exploring Jerry Goldsmith’s ‘Alien’ appeared first on Bloody Disgusting!.

The track is performed by Sam Reid, who plays the immortal rockstar in the show, and produced by series composer Daniel Hart (The Green Knight, A Ghost Story).

Based on Anne Rice‘s The Vampire Chronicles book series, “The Vampire Lestat” is the rock and roll-centric third season of AMC’s “Interview with the Vampire” created by showrunner Rolin Jones.

The Vampire Lestat goes on an electric multi-city tour while being haunted by “muses” from his wild and rebellious past. As his band’s popularity and star power rises, so does Lestat’s influence over vampires and humans alike, leaving others to contend with Lestat’s power in the face of the Great Conversion, an unnatural surge in the vampire population.

Jacob Anderson, Assad Zaman, Eric Bogosian, Delainey Hayles and Jennifer Ehle star with Reid.

Executive producers include Jones, Mark Johnson, Hannah Moscovitch, the late Anne Rice, and her son Christopher Rice.

The latest installment in AMC’s Anne Rice Immortal Universe, “The Vampire Lestat” will premiere June 7.

The post ‘The Vampire Lestat’ Covers Billy Idol’s ‘Dancing with Myself’ appeared first on Bloody Disgusting!.

The video is credited for helping Jackson’s album become an all-time bestseller, let alone catapulting the single to a perennial Halloween staple. Even the making-of documentary became a huge hit on home video at the time.

So, it’s no surprise that Michael Jackson would continue to experiment with elaborate short film productions throughout his career, including an oft-forgotten “Thriller” follow-up in the ’90s.

Michael Jackson’s “Ghosts” sought to top its supernatural predecessor in just about every way; it screened at the Cannes film festival and held the Guinness World Record for the longest music video until 2013, for example. More importantly, it saw Michael Jackson teaming with the likes of horror stalwarts Stephen King, Mick Garris, and SFX legend Stan Winston. 

The short film, with story by Stephen King and Michael Jackson, was initially conceived as a tie-in for Addams Family Values in 1993, titled “Is This Scary?” Mick Garris, who’d previously played a zombie in “Thriller,” was attached as writer/director. That was also when Jackson was hit with abuse allegations, halting production and its ties to the family film sequel. 

“Ghosts” eventually resumed production in 1996, with all Addams Family connections dropped and SFX master Stan Winston taking over directorial duties after Mick Garris departed to helm The Shining miniseries. While some of Garris’ footage was used, the six-week shoot added new scenes, dance numbers, and special effects. 

The lengthy film clocks in at 39 minutes and centers on an eccentric magician named Maestro, who entertains the local children every day in his spooky mansion. One stormy night, the town’s mayor leads a group of angry citizens to the mansion in an attempt to run Maestro out of town. 

Michael Jackson plays five roles in Ghosts, including:

• The Maestro
• The Mayor
• A Skeleton
• The Super Ghoul
• The Ghoul Mayor

Four of those characters required extensive prosthetic work and hours in the makeup chair, along with a slew of dancers made up to look like ghouls.

“I wanted Michael to play the haunted house guy,” explained Winston via his School of Character Arts, “but also the mayor of the town, and an evil demon who comes in at one point. Michael wanted badly to be accepted as an actor, as something more than the King of Pop. But it was so difficult for people to get past Michael’s persona. I thought that the only way he would be accepted as a real actor was if he played all these parts, disguised in makeup, so that no one would know it was him until the end. And he was very agreeable to that idea.”

The pop legend was said to be terrified by genre films but deeply admiring of special makeup effects and prosthetic work. That’s certainly reflected here, with Stan Winston’s team crafting memorable ghouls, ghosts, and demons, and Michael Jackson fully embracing all five roles in a dazzling horror video with heartfelt messaging of tolerance and acceptance. 

Retitled and released as Michael Jackson’s Ghosts, the special effects showcase is also notable for being included with select prints of the Stephen King adaptation Thinner, further entrenching this extension of “Thriller” in the horror genre.

Parallels between its story and Jackson’s real life ultimately meant that, in addition to production delays, Ghosts received only a limited release that prevented it from reaching the same heights in popularity as its predecessor. That Ghosts features multiple tracks likely means it’s not as earworm catchy as the extended Thriller feature, too, further rendering this ambitious follow-up to forgotten territory.

Michael Jackson’s Ghosts was also Stan Winston’s last outing as director.

While the full short film isn’t streaming currently in an official capacity, you can watch the abridged music video and the complete 39-minute experience below.

The post ‘Michael Jackson’s Ghosts’: The King of Pop’s Overlooked Collaboration With Stephen King appeared first on Bloody Disgusting!.

In this new reimagining, starring Barbie Ferreira and Dacre Montgomery, Faces of Death becomes less a straight remake and more a meta-horror update on how shocking images circulate, the toll they take, and why we still cannot look away.

This particular fusion of modern ideas and elements made choosing a composer to score Faces of Death (2026) a, dare I say, no-brainer. After successful prior collaborations with Goldhaber and Mazzei on Cam (2018) and How to Blow Up a Pipeline (2022), composer Gavin Brivik was not only a natural choice but a perfect one. Once again leaning into the filmmaking duo’s fascination with digital unease, Brivik found his way into Faces of Death through the film’s most primal artifact: the tape itself. 

It is the kind of approach that feels like a natural evolution of Brivik’s work, which has long thrived in the spaces between found and grounded sound, human emotion, and digital dreamscapes. Yet here, with Faces of Death, that same instinct gets turned toward something nastier, weirder, and more haunted. 

Bloody Disgusting had the pleasure of catching up with Brivik to discuss how he built the film’s sonic identity, why VHS became the score’s secret weapon, and how he helped give this new Faces of Death its own corrupt little pulse.

Barbie Ferreira in Daniel Goldhaber’s FACES OF DEATH. An Independent Film Company and Shudder Release.

Bloody Disgusting: This is your third time working with Daniel Goldhaber and Isa Mazzei, but I have to imagine it was a bit surprising when they told you their next project would be a spin on Faces of Death. What was your first reaction to tackling this infamous property? 

Gavin Brivik: So we had just finished How to Blow Up a Pipeline, and Danny, literally a month after it came out, was like, ‘All right. We’ve got the next one — Faces of Death.” I was like, “What in the hell are they doing with that movie?” I had only seen clips and knew of its lore, but truthfully, I’m just so not the person to watch that film. In every capacity, it’s just not my thing. But I loved the idea once I had heard their take on it. It was such a great way into that world and, honestly, I got really pumped.

I was also just happy to work with them again. They’re my closest friends, and doing back-to-back projects was exciting. Obviously, this movie took so long to come out, but at the time, it was two great projects right after each other. 

BD: The original Faces of Death has such a unique musical backdrop. What was your initial approach and thought process for defining this new film’s score?     

GB: I immediately went to the sounds of weird, processed VHS tapes, like the foley sound of a VHS. I literally just went on eBay and bid for a few [VHS] copies of the original. There was a competitive bid, which was weird. I kept getting some person bidding against me, and I couldn’t tell what was going on, but I was like, “I gotta get this tape.” I needed at least one spare because my sampling process may or may not have destroyed one of them.

Before I had gotten the actual Faces of Death VHS tape in the mail, I went to Goodwill and got a copy of Terminator 2 or something to use. I had microphones right up to my little TV to record the rewinding and fast-forwarding sounds. I just wanted to see if Danny and Isa liked this concept. They immediately texted me and were like, “This is so haunting.” It inspired them, and we then started conceptualizing the idea of the VHS haunting the film.

After that, once we got excited about that direction, I knew I had to watch the original. I was very curious about the original music and the source material. It was painful to get through, but honestly, it has aged in a way where there are some very obvious fake areas. However, it took my mind a second to even process a fake thing or two, because it is still shocking, even in a modern context. There’s some really interesting stuff in the original, musically speaking, and we made some winks to it in our score. But also, there’s a modern context for ours with internet culture, so it was about finding that middle ground.  

Barbie Ferreira in Daniel Goldhaber’s FACES OF DEATH. An Independent Film Company and Shudder Release.

BD: Once you finally got those tapes in the mail, what exactly did you do with them?

GB: So many things. [Laughs] The first part was in pre-production, so I did all this personal processing. I recorded samples, and in that process, I did not destroy any VHS tapes. These were purely just putting the VHS in and out of the tape deck, rewinding, fast-forwarding, and shaking it weirdly because all the parts would rattle and make a cool percussive sound. A lot of these became the drum sounds. Like in the opening of the movie, there’s this big drum sound that’s happening, but it’s actually that literal VHS being pushed into the tape deck, and I just pitched it so far down that it ends up sounding like that, which is cool. 

Then I traveled to New Orleans to visit the production, and that’s where a lot of the destruction happened. I worked with my buddy Paris and one of the props department people named Corbin. There were a lot of prop tapes, so we took a sledgehammer to one of them and smashed it. It seems almost gimmicky, but when you slow that down, it sounds like some sort of weird soundscape drone. And I did post a video of that online, on my TikTok, funny enough. Another thing that we would do is break the actual plastic and wiggle the plastic around. It sounded weirdly like gears grinding, so it worked really well for Arthur, like the gears are turning in his head.

The other thing I did was I took apart the Faces tape, and I took the actual roll of VHS tape and wrapped it around the musician’s fingers. Then we hooked up these microphones that would record vibrations and connected them to the instrument. So, when the tape was on their fingers, and they were playing the keys, the tape made this weird, ASMR-like, tape-y sound, and the vibrations were being picked up. 

The other method was that I would take a piano, open the lid up, and hold the sustain pedal so that all the strings were resonating and able to vibrate. Then I took the actual Faces of Death tape and laid it across the piano bed so it was on top of the strings, so when the saxophonist would blow into the piano, it would shake the strings and start vibrating the tape on top of it. It created this reverb-y, resonant sound like tape in your eardrums. We did that a bunch, which was really fun and, honestly, super effective. 

Barbie Ferreira in Daniel Goldhaber’s FACES OF DEATH. Courtesy of Brian Roedel. An Independent Film Company and Shudder Release.

BD: There’s a meta-ness baked into the film’s narrative, and it’s fascinating to hear how you were able to bring that element to the score as well — taking these found sounds, creating others from physical, analog technology, grounded in physical interaction, and brought them into the digital space, blurring the lines between what is real and what is not. Which nicely echoes both Faces of Death films, right?

GB: It totally does. Taking a real sound and processing it through the computer, conceptually, fits the film’s identity. It’s like the idea that we’re watching videos of real events, but it’s still distorted through a social media lens. There’s a similar thing with taking a real sound and then processing it through a computer. You almost maybe subconsciously know it’s not completely a synthesizer, but it’s been heavily digitally manipulated. I think that is always a theme in Danny and Isa’s films, or at least definitely in Cam and Faces, so it just made so much sense to do that. It’s also such a big part of what I love about my own process.  

And then, the other truth is that we’re in an era where budgets for music are a bit smaller. But that being said, one of the things I did to reference the original was record a small string ensemble, which I think they did as well. In the original movie, I can’t tell what happened, but it sounds like there are children playing violin; horrible-sounding playing just wobbling in and out of tune. It feels like first-graders playing in orchestra or something, but in context, it was horrifying and actually really effective. 

I wanted to imitate that style and do my own thing with it, so I had this classically trained violinist named Jordan [Ann Martone], and I was like, forcing her to play bad. [Laughs] You realize it’s actually pretty hard to play bad once you’ve spent your whole life being good. I also processed those strings pretty heavily and ran them through so many cassette tapes, just trying to make them sound very old. 

BD: You mentioned how you’ve been utilizing TikTok to share about your creative process for this film. Do you ever feel added pressure as a professional creative to engage with social media? How hard is it to balance what is essentially another job you didn’t necessarily sign up for? 

GB: It’s so hard. And this is the first time I’m posting really on TikTok. It was just for this movie because I had so many weird behind-the-scenes videos. Both of the actors actually performed on the score as well. I don’t know if they could ever be officially credited, but Dacre did all this weird breathwork. He also did this stuff with the red tape. He would stretch it, and I have all these videos of that. 

Dacre is obsessed with film scores. Literally, one of his plus-ones to the premiere was Danny Elfman. I was like, “What the fuck, dude!?” [Laughs] Then, after the movie wrapped, I would get random texts. I think Dacre’s number would change here and there, and I would get a link to a random film score, and it’d just say, “Hey, mate. Check this out.” And then I’m like, “Is this Dacre?” Then he’ll be like, “Yes,” and then no response. Then, it will be a new number, like seven months later, with a different film score. When we would commute to set and back, I was in his van, and he would control the aux cable and just play scores and be like, “Check out this track from this movie!” So he loves scores. 

Then Barbie would do keyboard typing and some stuff for me to record, so I figured, I have all these weird videos, and Faces of Death has its own little TikTok following, so I just started posting them. But I’m going to tell you…I cannot keep it up. And you’re right, it’s just a lot. I think some people are more naturally into it. For me, it feels like it really exhausts my ADHD. Not even the scrolling part, but the idea that I’ve posted something, and then when I open it up, and there are all the comments and notifications, I get overwhelmed, and it just feels like too much to keep up.

To some extent, I think I’ll always be a person who uses social media in short little bursts, and then go back into the cave to really do the work. Because at the end of the day, I just need to do good work, and that’s way more important than making any sort of presence known. If anything, I have 20 videos for Faces of Death, I’ll post those, and then people just may not hear from me for a year or two. [Laughs]

Charlie XCX in Daniel Goldhaber’s FACES OF DEATH. An Independent Film Company and Shudder Release.

BD: Charli XCX plays a small role in this movie, but I couldn’t help but notice how the hyperpop, internet-music culture of it all runs much deeper. This is a very clever addition to this film and its commentary on internet culture. How did that element of the film come about? Did you have any influence or input there?

GB: I actually was the one who suggested that we do the hyperpop thing. Charli was announced, and I had been starting to become obsessed with SOPHIE. I was already very in love with noise music and was also starting to really get into 100 gecs, so my mind was opening up to hyperpop and its experimentation. So I suggested to Danny and Isa that we combine this late ‘70s horror aesthetic with hyperpop music, and they were like, “This is really exciting, and it fits!”

My initial concept for the score, along with the VHS, was: What does the movie sound like if the whole score is played on a VHS running in fast-forward while the tape is disintegrating? Like, it’s going so fast that the tape is starting to wear down and break apart, and hyperpop is aligned with that idea — the distortion, the super fast tempos, the maximalist textures, and the processed, high-pitched vocals. It felt so natural.

The vocalist on all of SOPHIE’s music is somebody I wrote two songs with for the movie. Her name is Cecile Believe. One of the songs is the end credit song in the movie, and it’s also the song that’s used in the train video. There’s also this whole curation of hyperpop producers who release royalty-free sound packs of their drum samples, snares, or processed vocals. And I started being like, “What if we bring some of these samples in?”

Sample music is the most internet-culture thing ever: working with samples, recutting samples, the glitchiness of cut-up audio. So we started using that with my VHS sounds, and it started working so well. Then I ended up writing a lot of the music for the keynote videos. So many of those background songs are things I wrote, actually. 

Then I got connected to the artist umru, who had worked with Charli on Pop 2. I got Danny and Isa to hire umru and Cecile to do another song that’s one of the needle drops earlier in the film. So Ceceile has three songs in there, and obviously connecting with umru, who curates all the hyperpop samples, it felt like an amazing marriage. I love Dorian Electra’s music. I love SOPHIE, Slayyyter, Kim Petras, and all these people who are doing music that feels so aligned with the darker, weirder side of the internet. But there’s also a lot of humor in that music. It’s really funny at times, and I think our movie has all of that. It felt so natural, but weirdly, we didn’t find it until we were in the edit. That’s when the hyperpop thing clicked. 

BD: Ok, I can’t have you leave without asking you about scoring The Pitt. What has it been like to work on this hugely popular, intense series?

GB: It’s funny because it aligns a lot with my found sound approach. I had pitched against a lot of people, I’m assuming, and then, when I watched the first episode, I was like, “I don’t know if this show even needs a score.” It’s so good, and it just works. So when I spoke to the showrunner and the team, I told them, “I don’t feel like this show needs a score.” And they were like, “We agree, actually.” And I told them, “What if the score is just like the medical machinery, almost pulsing, making sounds? And maybe there’s subtle drones, and it’s very tense, so people feel it subconsciously, but don’t notice the music.” 

So it feels funny, because I think with Faces and Pipeline, my scores with Danny and Isa are mixed so loud and right in your face, and The Pitt is like the opposite. It’s nice to have the contrast. I feel so lucky and honestly did not expect it to have the kind of social impact that it does. It feels a little out of body, but I’m just pumped that people love it. 

I guess it shouldn’t surprise me based on the people behind it. John Wells, Scott [Gemmill], and Terri [Murphy] have done so many iconic shows. It’s cool to see them work, and I love watching their process and the way they communicate their notes. I feel like I’m almost back in school to some extent, where I’m just learning. I feel like my role is a little bit more on the minimal side because it’s such a spare score, but I’m lucky I get to do the end-credit songs too, which are really fun. 

They also have an in-residence ex-doctor, Joe Sachs, who worked on ER, and was a legendary ER doctor himself. He actually gives sound notes on what machines actually sound like, and he’ll correct pronunciations and all that stuff. It’s really fun to watch him talk about stuff because he’s done all these procedures. He’ll also give VFX notes like, “The blood would actually boil like this.” It’s really cool. 

The other thing is, I think that The Pitt has some of the best practical effects. Like, whoever is doing those fucking effects needs to do horror movies. I miss practical effects in horror. I recently was on a Cronenberg kick, and I’m just so floored by the practical VFX. Sometimes I feel like we’ve lost that art form. Then I watch The Pitt and I’m like, “Oh, yeah. There are still people who can do it, they’re just all on The Pitt right now.” [Laughs]

Faces of Death is now playing in theaters nationwide. Brivik’s score for the film will be released both digitally and physically, with details announced soon.

The post Tracking Terror: ‘Faces of Death’ Composer Gavin Brivik Breaks Down His VHS-heavy Score [Interview] appeared first on Bloody Disgusting!.

The record’s previous singles include “Punks and Demons,” “Heathen Days,” “(I’m a) Rock ‘n’ Roller,” and “F.T.W. 84.”

Zombie’s band consists of Mike Riggs on guitar, Rob “Blasko” Nicholson on bass, and Ginger Fish on drums.

The album is produced by Zeuss, who produced Zombie’s previous two albums (2016’s The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser and 2021’s The Lunar Injection Kool Aid Eclipse Conspiracy) and composed music for 31, 3 from Hell, and The Munsters.

Zombie and Marilyn Manson will co-headline the Freaks on Parade Tour this summer with support from The Hu and Orgy:

• 8/20 – West Palm Beach, FL – iTHINK Financial Amphitheatre
• 8/21 – Tampa, FL – MidFlorida Credit Union Amphitheatre
• 8/23 – Alpharetta, GA – Ameris Bank Amphitheatre
• 8/24 – Charlotte, NC – Truliant Amphitheater
• 8/26 – Holmdel, NJ – PNC Bank Arts Center
• 8/27 – Mansfield, MA – Xfinity Center
• 8/29 – Burgettstown, PA – The Pavilion at Star Lake
• 8/30 – Darien Center, NY – Darien Lake Amphitheater
• 9/01 – Toronto, ON – RBC Amphitheatre
• 9/02 – Cuyahoga Falls, OH – Blossom Music Center
• 9/04 – Clarkston, MI – Pine Knob Music Theatre
• 9/05 – Tinley Park, IL – Credit Union 1 Amphitheatre
• 9/06 – Noblesville, IN – Ruoff Music Center
• 9/09 – St. Louis, MO – Hollywood Casino Amphitheater
• 9/10 – Kansas City, MO – Morton Amphitheater
• 9/12 – Greenwood Village, CO – Fiddler’s Green Amphitheatre
• 9/14 – West Valley City, UT – Utah First Credit Union Amphitheatre
• 9/16 – Airway Heights, WA – BECU Live at Northern Quest
• 9/17 – Auburn, WA – White River Amphitheatre
• 9/18 – Ridgefield, WA – Cascades Amphitheater
• 9/20 – Concord, CA – Toyota Pavilion at Concord

Tickets are on sale now.

The post Rob Zombie Drops ‘The Black Scorpion’ Music Video appeared first on Bloody Disgusting!.

In fact, it’s a fantastic time to be a collector. Whether it’s Blu-ray, vinyl, cassette, or yes, even VHS, there are dedicated disciples out there — labels, artists, restoration and distribution companies — fighting the good fight day in and day out to preserve, amplify, and celebrate the art of cinema. Don’t listen to the haters, physical media is here to stay. 

Here are 5 recent physical media releases worth adding to your collection: 

The Visitor (1979) Limited Edition 4K UHD

One does not simply watch director Giulio Paradisi’s (aka Michael J. Paradise) The Visitor, as it is truly a cinematic experience like no other. Surreal in both aesthetic and plot, it blends elements of The Exorcist, The Omen, and Close Encounters of the Third Kind with that 70s Italian flair, creating something altogether new and wonderful.

It also features a stacked cast including Glenn Ford, Shelley Winters, Sam Peckinpah, John Huston, Franco Nero, Lance Henriksen, Joanne Nail, and Paige Conner as Katy Collins, one of the most unhinged, creepy kids ever to grace the silver screen. As Katy’s psychokinetic powers emerge, she and her mom find themselves at odds, unwittingly caught up in an intergalactic battle between good and evil, with the fate of the entire universe at stake. 

A bit tricky to track down for some time, it’s only recently that restorations began to emerge. However, none come close to matching the majesty of Arrow Video’s new 4K UHD release. Sourced from the original 35mm camera negative, Arrow’s new restoration looks and sounds stunning (which rules, as Franco Micalizzi’s score is a genuine banger). The film’s rich colors pop off the screen like never before, enhancing Ennio Guarnieri’s beautiful cinematography, the locations, and the movie’s wild practical effects.

The release also features a veritable feast of wonderful special features. Highlights include a visual essay from Bloody Disgusting’s own Meagan Navarro that adds invaluable context and analysis, archive interviews, a touching booklet essay by Marc Edward Heuck, and an audio commentary by critics BJ and Harmony Colangelo that genuinely feels like you’re hanging out and watching the movie with your best film nerd friends. 

Snag it: Arrow Video, The Visitor Limited Edition 4K UHD, $35.00

Alien: Earth (2025) 2xLP Original Soundtrack

The Alien franchise has a storied legacy with its scores and still holds strong thanks to composer Jeff Russo and his score for the Alien: Earth series. As the first Alien adventure to explore the realm of television, Russo had the monumental task of taking the franchise’s sonic history into account while creating a substantial amount of new, fresh material. A large chunk of these new cues is captured and presented nicely on the Mutant double 140g vinyl release.   

For the score, Russo used a mix of traditional orchestral instruments, vocals, guitar, electronic elements, and specialized pieces like a bassdesmophone. The richness of the score, whether it’s aching melodies, haunting vocals, spacey atmospheres, or pounding action sequences, all benefit from the expanded dynamic range that the format makes possible.

Available in a couple of different color variants, my translucent blue copy played nearly perfectly, with a small lip warp causing a tiny pop the first minute or so on the first track. While not ideal, minor imperfections like this are fairly common (across all labels) and nothing that should deter anyone from adding to the cart. The release also features rad original artwork by Luke Preece for the nice gatefold jacket, complete with an acrylic O-card that adds a bit of pizazz to the familiar show art cover (and still fits inside a regular outer sleeve). 

Snag it: Mutant, Alien: Earth 2xLP original soundtrack, $45.00

Highway to Hell (1990) All Region Blu-Ray

Visual Vengeance is the sister label of Wild Eye Releasing, dedicated to releasing vintage, micro-budget indie films, many of which have never before been available on DVD or Blu-ray. They operate in a niche space to be sure, but the work they’re doing holds extreme value, as many of the films they’ve released have previously been extremely difficult to track down, to put it mildly. A prime example is their recent release of Highway to Hell, directed by Bret McCormick. 

Originally shot on video in rural Texas, the movie follows a mass murderer named Toby who escapes from prison and goes on a bit of an unhinged rampage. He ultimately crosses paths with a young woman named Fran, takes her hostage, and attempts to outrun the cops nipping at his heels. 

The movie is rough, but Visual Vengeance presents it well, using an SD master derived from original tape elements. Due to the SOV nature, the product lacks polish, but that provides a chilling, eerie sense of plausibility. The release also features stickers, new artwork, a bonus SOV feature, Redneck County Fever (1992), and a variety of new interviews with the cast and crew, providing fascinating behind-the-scenes context and stories. Movies like this could easily disappear into the ether, but thankfully, labels like this are keeping them alive, living to slay another day. 

Snag it: Visual Vengeance, Highway to Hell All Region Blu-Ray, $21.99

In the Mouth of Madness (1994) OST 2xLP

Do you read, or rather, listen to Sutter Cane? Well, thanks to Terror Vision, fans of John Carpenter and Jim Lang’s genre-bending score for In the Mouth of Madness can do just that, as it is now on vinyl for the very first time.

Available in a wide variety of color variants, my personal Unhappy Campers Club blue and black splatter edition is a beauty. Featuring new gatefold artwork by Ghoulish Gary Pullin, printed sleeves, and informative liner notes, this release really is a total package. But most importantly, it sounds fantastic. 

Restored for this release from the original master tapes, In the Mouth of Madness is a distinctive score in Carpenter’s catalog. Utilizing guitars, synths, percussion, vocals, and lots of texture, the result is a propulsive, atmospheric composition. A beautifully pressed record with minimal surface noise, the genuine eeriness and rich depth of sound are elevated like never before. So much so, I caught myself nervously peering over my shoulder more than once. This release also features an additional, never-before-released cut of the opening theme, making this a for sure must-have for hardcore Carpenter enthusiasts.  

Snag it: Terror Vision, In the Mouth of Madness 2xLP, multiple price points.

Sinners (2025) 2xLP Original Score

Considering composer Ludwig Göransson just won his third(!) Oscar for this score, it’s by no means a hard sell. However, what is so lovely about listening to this particular score on vinyl is how the format enriches and elevates the listening experience. There’s a palpable texture to the music that becomes heightened by the analog format, allowing the twang, technique, and energy of the human performance to shine through. Expert mixing and mastering of the material is also evident, further supporting a dedicated listening session to truly appreciate the intentional and thoughtful choices in where and how the music hits you.

Released by Mutant, the double 140g red and black marbled record I picked up comes housed in a matte single jacket with printed inner sleeves. Despite lacking liner notes or additional bonus materials, the release is solid in terms of pressing and material quality. Surface noise is present but minimal and, honestly, only adds to the vibe and atmosphere of the material.

The soundtrack for Sinners is also available on vinyl from Mutant, and it is a perfect partner to this award-winning score from one of the biggest modern composers out there.   

Snag it: Mutant, Sinners 2xLP original score, $45.00

The post Sinners, Visitors, Madness and More: 5 Recent Physical Media Releases Worth Snagging appeared first on Bloody Disgusting!.

Posing as their own fathers, the band members have adopted eyeliner-and-excess personas as the glam metal band Grave Diggler. Watch their not-safe-for-work music video for “Hell or High Slaughter” below.

“I’ve been estranged from my father for a long time,” INK frontman Spencer Charnas explains. “But this movie, and this song, while bringing a lot of complicated feelings to the surface, also brought us back together.”

A mockumentary titled Laid to Rest: The Grave Diggler Story is forthcoming.

In theaters now, Ready or Not 2 is once again directed by Matt Bettinelli-Olpin & Tyler Gillett of Radio Silence and written by Guy Busick and R. Christopher Murphy.

Picking up moments after the all-out attack from the Le Domas family, Grace discovers she’s reached the next level of the nightmarish game — and this time with her estranged sister Faith at her side.

Grace has one chance to survive, keep her sister alive, and claim the High Seat of the Council that controls the world. Four rival families are hunting her for the throne, and whoever wins rules it all.

Samara Weaving returns to star, joined by Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, Néstor Carbonell, David Cronenberg, Elijah Wood, Kevin Durand, Olivia Cheng, Varun Saranga, and Daniel Beirne.

Meagan Navarro wrote in her review, “Watching the ultra-rich and privileged get blood-soaked comeuppance in cheeky, violent fashion makes it pretty difficult to leave Ready or Not 2 without a big grin on your face.”

Ice Nine Kills previously recorded official songs for Terrifier 3 and Scream 7.

The post Ice Nine Kills Drop ‘Ready or Not 2: Here I Come’ Music Video As Glam Metal Alter Ego Grave Diggler appeared first on Bloody Disgusting!.

After making official songs for Terrifier 3 and Scream 7, heavy metal band Ice Nine Kills has now joined forces with brand new Radio Silence sequel Ready or Not 2: Here I Come!

You might have noticed that the band uploaded a mysterious video titled “Hell or High Slaughter (Grave Diggler: Pt. 2)” onto YouTube yesterday, presented as the teaser trailer for a faux documentary titled Laid to Rest: The Grave Diggler Story.

But what does it all mean… ?!

Bloody Disgusting can exclusively report that Ice Nine Kills has a song featured in Ready or Not 2: Here I Come!

The track “Hell or High Slaughter” will be featured in Ready or Not 2, releasing in theaters March 20, but it’s not actually an Ice Nine Kills song. Rather, it’s a Grave Diggler song…

The faux ’80s hair metal band, in the universe of Ready or Not 2: Here I Come, is made up of the fathers of Ice Nine Kills’ band members, including lead singer Spencer Charnas.

In addition to “Hell or High Slaughter” being featured in Ready or Not 2, both early in the movie and during the closing credits, the music video and faux mini doc are coming soon!

The band explains, “Their sons may have eclipsed them in the 21st Century, but for a sleazy moment, Grave Diggler left its stain on hard partying rock n’ roll with decadence, desecrations, and panty raids. The group once stood shoulder to shoulder with their eyeliner-and-excess peers in Poison, Mötley Crüe, and W.A.S.P., before bad business and even worse drugs dampened the fire in their loins. By the early ’90s, like many glam bands, Grave Diggler faded from the spotlight. But history has a strange way of digglering up the past.

“When the directing duo behind Scream (2022) and Scream VI began work on the sequel to Ready or Not, they desperately wanted to include one of Grave Diggler’s forgotten classic anthems. But even after Radio Silence Productions deduced the connection with Spencer Charnas, securing the rights was no mean feat. The ensuing legal battle between fathers and sons resulted in Ice Nine Kills re-recording “Hell or High Slaughter (Grave Diggler: Pt. 2)” for Ready or Not 2 and the long-banned 1987 music video for the song seeing the light of day.”

Broken Lizard’s Paul Soter (Super Troopers), a lifelong Diggler obsessive, teamed up with director Myles Erfurth (Pandemic Sex Party) and Spencer to detail the band’s tale in the forthcoming documentary. Laid to Rest: The Grave Diggler Story features all-new interviews with Ready or Not 2’s Samara Weaving, Kathryn Newton, Elijah Wood, and directors Matt Bettinelli-Olpin and Tyler Gillett; Stephen Pearcy (Ratt); Matt Pinfield (MTV); Michael Starr (Steel Panther); Jose Mangin (SiriusXM); James A. Janisse and Chelsea Rebecca (Dead Meat); rock manager Andy Gould; and both Sonny and Spencer Charnas.

“Ice Nine Kills Presents Hell or High Slaughter (Grave Diggler: Pt 2)” and its NSFW music video will be available exclusively on the Ice Nine Kills YouTube beginning on Friday, March 20.

Watch the teaser trailer below for a taste of the retro hair metal madness…

The post Ice Nine Kills & ‘Ready or Not 2: Here I Come’ Resurrect ’80s Hair Metal Band Grave Diggler! [Exclusive] appeared first on Bloody Disgusting!.

Junji Ito’s iconic horror story, In Old Records (1997), is now exactly that: a fully produced immersive audio experience on a vinyl record, with Poppy bringing a spine-tingling English vocal performance that breathes life into the adaptation.

Fans can now experience In Old Records in a whole new way, adapted by Ryan Cady (The X-Files, MAGDALENA) and performed in English by Poppy and Shoko Nakagawa (Gurren Lagann, Dragon Ball Z) in Japanese.

The story follows a long-lost record of singer Paula Bell’s final song and the terrible curse that befalls anyone who listens. This isn’t just a collector’s item; it’s the story going meta and breaking free from the page, becoming the very nightmare it warns against.

Poppy’s album Disagree garnered her first solo female artist nomination for the Grammy for Best Metal Performance. She’s previously collaborated with Knocked Loose, Bad Omens, Babymetal, and Evanescence’s Amy Lee.

The Old Records vinyl ships in a jacket designed by Acky Bright, featuring Junji Ito’s actual bloody handprint as part of the artwork. The Kickstarter campaign will offer multiple variants of the vinyl; The Blood Splatter Variant is a Kickstarter exclusive. The Ghost Blue Edition (500 copies) and Glow in the Dark Edition (100 copies) will both be signed by Poppy. The Complete Collector’s Bundle includes all three variants signed by Junji Ito, but act fast: only 10 exist.

Back the Old Records Kickstarter campaign here and watch the ominous teaser trailer below that sees Junji Ito give his stamp of approval.

But listeners beware: The curse of Paula Bell’s final tune may linger beyond the trailer’s end…

The post Horror Legend Junji Ito Teams with Grammy Nominated Artist Poppy on ‘In Old Records’ Audio Experience appeared first on Bloody Disgusting!.

The Australian production follows three high school graduates who become stranded on a remote stretch of highway after a fatal car accident. In a desperate bid to conceal their unintentional crime, they fabricate a found footage film.

19-year-old writer-director Nick Annas makes his feature debut on the project, which explores themes of self-preservation and narrative control through a contemporary youth perspective.

Helen Tuck & Enzo Tedeschi of Deadhouse Films produce. Executive producers are Deanne Weir of WeirAnderson Films and Bobby Romia & Tianna Roberts of the newly formed Atypical Originals.

Crashout is slated to begin production later this month. Blue Finch Films is handling worldwide sales rights, excluding Australia and New Zealand.

Bird can next be seen in the supernatural horror film Leviticus, in theaters June 19 via Neon.

Catherine Laga’aia in Disney’s ‘Moana’

The post ‘Talk to Me’s Joe Bird Will Fabricate a Found Footage Film in Satirical Thriller ‘Crashout’ appeared first on Bloody Disgusting!.

Listen to “Burial” from Mother Mary, performed by Anne Hathaway and written by Jack Antonoff, Charli xcx, George Daniel and Hathaway. The full album for Mother Mary arrives April 17, the same day as the movie, and features additional songs by FKA twigs.

Anne Hathaway stars in the film alongside Michaela Coel, Hunter Schafer, and FKA twigs.

In Mother Mary, “long-buried wounds rise to the surface when iconic pop star Mother Mary (Anne Hathaway) reunites with her estranged best friend and former costume designer Sam Anselm (Michaela Coel) on the eve of her comeback performance.”

Atheena Frizzell, Kaia Gerber, Jessica Brown Findlay, Alba Baptista, and Isaura Barbé-Brown also star in A24’s psychosexual thriller Mother Mary, with Sian Clifford also featured.

Watch the previously released official trailer for Mother Mary below.

The post Anne Hathaway & Charli XCX Join Forces for New Track from A24’s Psychosexual Thriller ‘Mother Mary’ appeared first on Bloody Disgusting!.

Shot on 16mm film, the gritty horror movie hits theaters this Friday, March 6, via Independent Film Company and Shudder.

It  centers on Macy, a young woman fighting for survival after being taken by a deranged, monstrous figure intent on raising her as their child.

Fabianne Therese (John Dies at the End), Seann William Scott (American Pie), Ethan Suplee (Mallrats), and pro wrestler Max the Impaler star.

Rod Blackhurst (“Amanda Knox,” Night Swim) directs from a script he co-wrote with Brandon Weavil, based on their 2022 short Babygirl.

Following a successful festival run that included Toronto International Film Festival, Fantastic Fest, Sitges, Telluride Horror Show, and more, a prequel exploring the titular character’s origins and mythology is already in development.

Trace Thurman wrote in his review, “Where Dolly falls short in the script or originality departments it more than makes up for in the technical department, especially in the sound design and the practical gore effects. Every fleshy squelch and bone crack is not only heard, but felt, making the violence hit when it needs to.”

Dolly is rated R for “strong violence, gore, grisly images, language, and some nudity.”

The post Ear-Splitting ‘Dolly’ Clip Enters a Dollhouse Nightmare appeared first on Bloody Disgusting!.

Previously released tracks from the film include Sueco‘s “Rearranging Scars,” Ice Nine Kills‘ “Twisting the Knife” featuring Mckenna Grace, and Don Toliver‘s “Creepin.”

In theaters now, the latest installment in the slasher saga also features a new score by Marco Beltrami, who composed the music for the first four Scream films.

When a new Ghostface killer emerges in the quiet town where Sidney Prescott has built a new life, her darkest fears are realized as her daughter becomes the next target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed once and for all.

Neve Campbell returns alongside franchise veterans Courteney Cox, David Arquette, Matthew Lillard, Scott Foley, Mason Gooding, and Jasmin Savoy Brown.

Grace, Isabel May, Anna Camp, Joel McHale, Michelle Randolph, Jimmy Tatro, Asa Germann, Celeste O’Connor, Sam Rechner, Ethan Embry, Timothy Simons, and Mark Consuelos round out the cast.

Kevin Williamson (writer of Scream, Scream 2, and Scream 4) directs from a script he co-wrote with Guy Busick (Scream 2022, Scream VI).

Meagan Navarro wrote in her review, “There are enough thrills and chills injected, at least until its abysmal finale, to signal that there’s a faintly beating pulse buried somewhere under the mess.”

The post Stella Lefty & Jessie Murph Release New Songs from ‘Scream 7’ appeared first on Bloody Disgusting!.

The record’s previous singles include “Punks and Demons,” “Heathen Days,” and “(I’m a) Rock ‘n’ Roller.”

Zombie’s band consists of Mike Riggs on guitar, Rob “Blasko” Nicholson on bass, and Ginger Fish on drums.

The album is produced by Zeuss, who produced Zombie’s previous two albums (2016’s The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser and 2021’s The Lunar Injection Kool Aid Eclipse Conspiracy) and composed music for 31, 3 from Hell, and The Munsters.

Zombie and Marilyn Manson will co-headline the Freaks on Parade Tour this summer with support from The Hu and Orgy:

• 8/20 – West Palm Beach, FL – iTHINK Financial Amphitheatre
• 8/21 – Tampa, FL – MidFlorida Credit Union Amphitheatre
• 8/23 – Alpharetta, GA – Ameris Bank Amphitheatre
• 8/24 – Charlotte, NC – Truliant Amphitheater
• 8/26 – Holmdel, NJ – PNC Bank Arts Center
• 8/27 – Mansfield, MA – Xfinity Center
• 8/29 – Burgettstown, PA – The Pavilion at Star Lake
• 8/30 – Darien Center, NY – Darien Lake Amphitheater
• 9/01 – Toronto, ON – RBC Amphitheatre
• 9/02 – Cuyahoga Falls, OH – Blossom Music Center
• 9/04 – Clarkston, MI – Pine Knob Music Theatre
• 9/05 – Tinley Park, IL – Credit Union 1 Amphitheatre
• 9/06 – Noblesville, IN – Ruoff Music Center
• 9/09 – St. Louis, MO – Hollywood Casino Amphitheater
• 9/10 – Kansas City, MO – Morton Amphitheater
• 9/12 – Greenwood Village, CO – Fiddler’s Green Amphitheatre
• 9/14 – West Valley City, UT – Utah First Credit Union Amphitheatre
• 9/16 – Airway Heights, WA – BECU Live at Northern Quest
• 9/17 – Auburn, WA – White River Amphitheatre
• 9/18 – Ridgefield, WA – Cascades Amphitheater
• 9/20 – Concord, CA – Toyota Pavilion at Concord

Tickets are on sale now.

The post Rob Zombie Releases “F.T.W. 84” Music Video, New Album Out Today appeared first on Bloody Disgusting!.

While there was certainly no shortage of talent available, Craven struggled to find a composer whose music struck the right tonal chord for Scream’s fresh blend of influences, meta commentary, humor, horror, and heart. Then, during some downtime on a night shoot, Julie Plec, Craven’s assistant, struck film score gold when someone threw out the name Marco Beltrami, in, where else, but an AOL chatroom.

More than just a bit of endearing ‘90s cinematic lore, this unconventional method of finding a composer was, in many ways, perfect. In the same way that Craven and screenwriter Kevin Williamson sought to reinvigorate the tired slasher genre by subverting expectations and toying with tropes, Craven wanted to make sure Scream’s score would do the same. Rather than retread the minimalist, synthesizer-heavy sound (à la John Carpenter) that practically defined a decade, or take the more traditional full, bombastic orchestral approach (think Howard Shore), Craven wanted fresh blood with a fresh approach.

This strategy would soon pay off, with Beltrami delivering a score that felt refreshingly of its moment, deeply intimate, and oddly timeless. It would also prove to be the moment Beltrami’s career truly began and where the sonic identity of Woodsboro first emerged.

What’s your favorite scary movie?

Considering Beltrami had never scored a big feature before, his blood truly couldn’t get any fresher. On top of that, if Ghostface were to have hypothetically called Beltrami in early 1996 and asked him, “Do you like scary movies?” his answer would have been: no. More a Western guy, especially those of the Spaghetti variety, Beltrami has never shied away from the fact that he had never even seen a full horror movie prior to Scream. Although he did study under Jerry Goldsmith (The Omen, Alien, Gremlins), one of the few composers to win an Oscar for a horror score, while attending the USC Thornton School of Music. So, though self-admittedly limited, Beltrami’s early exposure to genre scores was prestigious, to say the least.

This lack of genre familiarity would prove to be a superpower of sorts for Beltrami. After a successful first meeting with Craven during a private screening of the film, he was sent home on a Friday to score the opening as a test-run, and asked to return on Monday to show what he came up with. Not having time to overthink anything and unfamiliar with many horror film score tropes, Beltrami followed his gut, scoring the scene through Casey’s (Drew Barrymore) eyes.

During a talk at Yale School of Music, Beltrami expanded on this saying, “I wasn’t as consumed with the horror as I was with the humanity.” This creative lens, coupled with Beltrami’s hybrid palette of strings, electronics, and vocal textures, impressed Craven and officially landed Beltrami the gig, complete with a modest $30k package to work with. Unable to afford a full orchestra, Beltrami got creative, utilizing 12-45 musicians in various combinations to maximize the score’s emotional impact, including that iconic cold open.

There are certain RULES that one must abide by.

With “The Cue from Hell,” Beltrami perfectly sets the sonic stage for everything to soon follow. Putting his own spin on the classic “Mickey Mousing” scoring technique, where the music is synced with the action on screen, Beltrami tweaks the idea, directly aligning the scene’s music with Casey’s emotional state. Not kicking in until the famous line, “Because I want to know who I’m looking at,” eerie piano, harp, and strings immediately translate Casey’s internal alarm bells going off. Bursts of brass appear as Casey’s unease gives way to full-blown fear, coupled with interspersed chimes mirroring the cold, piercing sound of the doorbell and ringing phone.

Following the initial discovery of Steve tied up outside, a low, swirling drone supports panning percussive rhythms, lightly punctuated by a simple piano melody, keeping tension ever-present. As Steve meets his unfortunate end, an atonal cacophony of bright brass, agitated strings, woodwinds, and percussion swells as Casey attempts to process and comprehend what she’s seeing. Once Ghostface officially enters the picture, tension gives way to action, with the score’s intensity directly responding as Casey vacillates between flight, fight, and freeze.

Then, as her parents’ car approaches, Beltrami pays musical homage to Bernard Herrmann’s Psycho score, cleverly contributing to the film’s overarching meta commentary. And while the Herrmann nod is nice, to be sure, it is the following moments where Beltrami truly shines. With Casey gasping for breath, desperately attempting to get her parents’ attention, the score pulls back, allowing haunting, manipulated electronic sounds to give way to achingly beautiful strings and layered vocals, telegraphing the tragedy, panic, and subsequent heartbreak experienced by both Casey and her parents. By so intuitively focusing on Casey’s experience in this moment, Beltrami pulls the audience in dangerously close, making those final, perfectly horrifying moments hit all the harder.

This is life. This isn’t a movie.

Everything Beltrami demonstrates in the cold open continues to permeate the score throughout its runtime. For example, with Sidney (Neve Campbell), a gorgeous, wordless solo vocal melody (performed by singer Rose Thompson) often accompanies her scenes. Still struggling with her mother’s murder, this vocal element embodies her grief, always walking alongside her. It also adds a layer of loneliness to Sid and how she feels death deeply, something even her most supportive friends can’t truly understand. Like Sid, these vocals are the true anchor and heart of the score.

The same could be said of the use of the piano, often in similar relation to Sidney. Typically a solo instrument, even in an orchestra setting, it is yet another hint at Sidney’s isolation within her world. A gorgeous example of both is the track “Red Herring.” As Sid kills time with a nap, waiting for Tatum (Rose McGowan) to call, soothing piano and strings embody Sid’s melancholic state. At the same time, the ticking clock within the scene keeps tempo, blurring the lines of cinematic reality. It also highlights Beltrami’s personal affinity for Spaghetti Westerns and classic European film scoring, evoking a vibe reminiscent of composers like Ennio Morricone, Pino Donaggio, and Bruno Nicolai, as well as their frequent collaborations with vocalist Edda Dell’Orso.

Even when not directly tied to one specific character, the attention to emotional undercurrent is always front and center in Scream’s score. Take the track “Trouble in Woodsboro” for example. Here, Beltrami utilizes gritty electronic texture, twangy guitar, layered, manipulated vocals, static, chimes, piano, and percussion to capture this moment in Woodsboro. Despite its clean streets, manicured lawns, and picturesque suburban charm, this particular track shows the darker, anxious side of Woodsboro, simmering just beneath the uneasy surface.

Not only does this intuitive approach deepen our relationship with the various characters and the town itself, but it also provides a clear, decisive separation from the film’s many incredible pop songs. Whereas Beltrami’s score is more internal, supporting the film and its action on an emotional level, the soundtrack builds out the world, grounding it in a larger place and time. Yet even then, Beltrami cleverly blurs the lines. Whether it’s the integration of chimes and bells to partner with the signature sound of “Red Right Hand” by Nick Cave and the Bad Seeds, or platformed moments of percussive piano and synthesizers to allow John Carpenter’s Halloween score to float seamlessly from one screen to the next, the attention to detail is genuinely remarkable, and a subtle reinforcement of the movie’s hyper self-awareness.

Please don’t kill me, Mr. Ghostface, I wanna be in the sequel!

Considering everything we’ve touched on (and more, to be sure), and Scream’s huge box office success, it’s no surprise that Beltrami was asked to return to the franchise time and time again. Smartly, even when a sequel wasn’t guaranteed, Craven and Beltrami both agreed not to create a theme or sonic cue for Ghostface. This decision was made not only to distance itself from past horror franchises but also to preserve and foster ambiguity for both current and potential future Ghostface suspects. And future Ghostface suspects there would be, indeed.

Ultimately scoring Scream 1-4, plus three additional movies for Wes Craven: Red Eye, Cursed, and My Soul to Take, Beltrami is now making his triumphant return to the franchise with Scream 7. He would also go on to score films like Snowpiercer for Bong Joon-ho, The Hurt Locker for Kathryn Bigelow, Hellboy for Guillermo del Toro, Halloween H20 for Steve Miner, 3:10 to Yuma for James Mangold, along with dozens and dozens more. Honestly, not too shabby for a guy who didn’t even like horror movies.

And to think, it all started in a little town called Woodsboro.

Special thanks to Ashley Cullins, author of the book Your Favorite Scary Movie: How the Scream Films Rewrote the Rules of Horror, for valuable information included in this piece.

The post Do You Like Scary Music? A Look Back at Marco Beltrami’s ‘Scream’ Score appeared first on Bloody Disgusting!.

GUNSHIP wrote the new track, “Tell Me When The World Stops Ending,” exclusively for Toxic Commando ahead of the game’s launch on March 12 for PlayStation 5, Xbox Series, and PC via the Epic Games Store and Steam. Pre-orders for the game are now open.

Developed by Saber Interactive, the studio behind titles Hellraiser: Revival and Evil Dead: The Game, and published by Focus Entertainment, the game is a blood-soaked zombie shooter on a cinematic scale. The partnership is a natural evolution: GUNSHIP’s creative bond with synth maestro John Carpenter dates back to his appearances on “Tech Noir” and “Tech Noir 2.”

Listen to “Tell Me When The World Stops Ending” at your preferred music service now.

The synthwave group said of this collaboration, “We grew up utterly obsessed with John’s films and his iconic soundtrack work. His artistry has been a constant source of inspiration and continues to shape the music we create as GUNSHIP. Having been fortunate enough to collaborate with him on two of our own tracks, saying yes when we were invited to contribute to his video game was an instant ‘HELL YEAH!’”

Beyond the music, developer Saber Interactive invited GUNSHIP to conceive the animated trailer’s concept after revealing they were longtime admirers of the band’s cinematic music videos.

Watch the energetic and stylish fruits of their labor with the offical animated game trailer below, which features the new track and sees an animated Carpenter mutate into a tentacled undead monster.

John Carpenter’s Toxic Commando sees players team up in squads of up to four players — with full crossplay support across PC and consoles — and send the Sludge God and its horde of things-that-should-never-be back to the underworld. Pick your character, choose the class that matches your playstyle, pile into your favorite ride, and unload an array of gunfire, grenades, special abilities, and freaking katanas.

The post Listen to GUNSHIP’s New Zombie-Slaying Track Written for ‘John Carpenter’s Toxic Commando’ Now appeared first on Bloody Disgusting!.

It’s the third song released from the film, following Sueco‘s “Rearranging Scars” and Ice Nine Kills‘ “Twisting the Knife” featuring Mckenna Grace.

Two more new tracks — “Criminal” by Jessie Murph and “The Kill” by Stella Lefty — will debut on February 27. Scream 7 will also feature a new score by Marco Beltrami, who composed the music for the first four Scream films.

The latest installment in the slasher saga opens in theaters — including IMAX, Dolby Cinema, 4DX, and other premium large formats — on February 27 via Paramount.

Kevin Williamson (writer of Scream, Scream 2, and Scream 4) directs from a script he co-wrote with Guy Busick (Scream 2022, Scream VI).

When a new Ghostface killer emerges in the quiet town where Sidney Prescott has built a new life, her darkest fears are realized as her daughter becomes the next target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed once and for all.

Neve Campbell returns alongside franchise veterans Courteney Cox, David Arquette, Matthew Lillard, Scott Foley, Mason Gooding, and Jasmin Savoy Brown.

Grace, Isabel May, Anna Camp, Joel McHale, Michelle Randolph, Jimmy Tatro, Asa Germann, Celeste O’Connor, Sam Rechner, Ethan Embry, Timothy Simons, and Mark Consuelos round out the cast.

The post Don Toliver Drops ‘Creepin’ from ‘Scream 7’ Soundtrack appeared first on Bloody Disgusting!.

The Lost Boys: A New Musical is of course an adaptation of the 1987 horror classic from director Joel Schumacher, with the cast including Ali Louis Bourzgui as lead vampire David (originally played by Kiefer Sutherland), Maria Wirries as Star (originally played by Jami Gertz), and LJ Benet as the soon-to-be-turned Michael (originally played by Jason Patric).

Meet the cast on two official posters below, originally debuted by Gold Derby.

The horror musical’s cast also includes Shoshana Bean as Lucy Emerson, Benjamin Pajak as Sam Emerson, Paul Alexander Nolan as Max, Jennifer Duka as Alan Frog, Miguel Gil as Edgar Frog, Brian Flores as Marko, Sean Grandillo as Dwayne, and Dean Maupin as Paul.

The Lost Boys: A New Musical will be Directed by Michael Arden, featuring Music and Lyrics by The Rescues, Book by David Hornsby & Chris Hoch, Story by James Jeremias & Janice Fischer, and Produced by James Carpinello, Marcus Chait & Patrick Wilson (The Conjuring) by special arrangement with Warner Bros. Theatre Ventures.

When a mother and her two teenage sons move to Santa Carla in desperate need of a fresh start, they soon uncover the darker side of this sunny coastal community. While Lucy tries to piece her family’s life back together, Michael keeps pulling away in search of belonging.

As he finds connection with a local rock band and its charismatic leader, his younger brother Sam comes face-to-face with a terrifying reality: When night falls, Michael’s new friends are even more dangerous than they first appeared.

The Lost Boys performances begin at the Palace Theatre on March 27, with opening night set for April 26. The show will run through November. Tickets are on sale now.

Joel Schumacher directed the original The Lost Boys movie in 1987, wherein two brothers move to a new town and discover that the area is a haven for vampires.

That movie introduced Corey Feldman, Corey Haim and Jamison Newlander as the vampire-slaying Frog Brothers, who later returned in two direct-to-video sequels. The most recent installment in the saga, The Lost Boys: The Thirst, celebrated its 15th anniversary last year.

Over the years, various other Lost Boys projects almost took flight, including a fourth movie, a Frog Brothers television series, and another television series from The CW.

The post ‘The Lost Boys’ Broadway Musical Posters Spotlight the Return of the ’80s Vampires appeared first on Bloody Disgusting!.

Scream 7 star Mckenna Grace joins the band on the new single, a crossover between one of modern metal’s most ambitious bands and one of horror cinema’s most enduring properties.

Ice Nine Kills frontman Spencer Charnas previews, “Twisting the Knife is our tribute to Wes Craven and the Scream franchise, which means so much to us. Scream is baked into the DNA of who I am and of Ice Nine Kills—my love of horror, comedy, and the collision between the two. I was already obsessed with Halloween and Friday the 13th, but Scream was the first I saw in theaters. Hearing the killer talk about horror movies, in that distinctively pop-culture savvy Kevin Williamson way, blew my mind.”

“When we learned that Mckenna Grace is a fan of our band, it made perfect sense to invite her to sing,” Charnas continues. “She recorded her part in my home studio, in the same room where I keep my screen-used Scream knife prop, one of the four rubber knives made for the first movie. Marco Beltrami’s Scream scores are just as influential to me as any other component of the films. In our song, there are echoes of the moody atmospheres he’s created, with our own INK twist.”

Mckenna Grace adds in a statement of her own, “Making this song was such a special experience for me- I am such a big INK fan and it was such an amazing opportunity to be able to play with a different style of music. I am so inspired by Amy Lee’s vocals and we all wanted to channel Scream and Sydney’s story as best as we could.”

Accompanying today’s release is a “Nightmare on The Knife” limited edition merch drop.

Watch the official music video for Twisting the Knife below, a killer homage to the Scream legacy that includes a post-video narrative short that continues the ever-expanding INKverse lore. The voice of Ghostface himself, Roger L. Jackson, reprises his iconic role. The story picks up directly from 2025’s “The Laugh Track,” which saw Matthew Lillard playing himself.

This installment escalates the meta-horror further, with David Arquette (as himself), alongside Johnny Brennan, creator of The Jerky Boys, as Francis Rizzowitz.

Listen to “Twisting the Knife” on your preferred music platform now!

The post Twisting the Knife – Watch Music Video for Ice Nine Kills x ‘Scream 7’ Track Featuring Mckenna Grace appeared first on Bloody Disgusting!.

SPOILERS for 28 Years Later: The Bone Temple ahead!

Early in the film, long before the “Number of the Beast” sequence brings the house down, Nia DaCosta‘s narrative checks in on Kelson, who’s still busy tending to the Bone Temple of the title. Sweaty, dirty, his skin painted with iodine, he’s dragging bodies around and doing his research while singing…Duran Duran? Yes, as Kelson’s own record collection makes clear later, he’s a Duran Duran fan, and his meager record collection has at least three of their albums: 1981’s self-titled debut, 1982’s smash sensation Rio, and 1993’s sorta-comeback self-titled release, known among fans as The Wedding Album. His ownership of those records also means we get to hear three of the band’s most identifiable singles: “Girls on Film” (1981), “Rio” (1982), and most strikingly, “Ordinary World” (1992).

Why does Duran Duran matter so much in the context of this film? Well, on a very basic emotional level, it’s just kind of fun to see this eccentric doctor walking through an apocalypse, singing pop hits from Duran Duran under his breath as he hauls around corpses. The use of “Rio” and “Girls On Film,” both dance-pop hits that cemented Duran Duran as part of the Second British Invasion of British pop, is then contrasted with the ballad “Ordinary World,” a song about grief and trying to get used to loss. Even if you know nothing about Duran Duran’s music going in, you can feel that in the film.

But I think these needle drops run a little bit deeper than a handful of brief emotional touches, and to understand why, all we need to do is think about the kind of world Kelson grew up in. Ralph Fiennes was born in 1962, so if we assume Kelson is of the same approximate age, we understand that he came into adulthood right at the beginning of the 1980s in Britain, as Duran Duran’s star was on the rise. Whether he was initially a fan or not, you can picture him as he begins his medical school career surrounded by Duran Duran’s music on the radio and on telly. The early 1980s were saturated with it.

At the same time Duran Duran was rising, though, another key piece of British culture fell into place as Margaret Thatcher rose to power as Prime Minister. Anyone who knows anything about modern British history (or anyone who’s watched The Crown) understands the pain that so many Brits endured under Thatcher and her policies, and while Kelson doesn’t ever really regale us with the personal politics he held in early adulthood, he seems like the kind of compassionate soul who would’ve chafed at her more austere, authoritarian measures at the very least. We have to take certain leaps of understanding and interpretation, but for Kelson, Duran Duran seems to symbolize, at its poppiest, the kind of music that reminds him of his days as an ambitious, hopeful young man.

But there’s more to excavate here than just the political context in which Duran Duran rose to stardom. The band is recognized as one of the musical contributors to the New Romantic movement, which was a reaction to and a shift away from the punk rock that had so thoroughly transformed the British music scene in the late 1970s. More glam than punk, the New Romantics emerged at a time when Britain, like most Western cultures in the 1980s, was emphasizing image and polish and aspirational thinking.

In some ways, you can even link its rise with Thatcherism, with its own focus on image and projecting prosperity above all else, no matter what was really going on. The link’s certainly there in some aspects of the New Romantics, but it gets more interesting when you consider that lead singer Simon Le Bon once said Duran Duran wanted to be “the band to dance to when the Bomb drops.” They were a band very aware of the darkness in their culture, even if their early hits were more about girls than geopolitics. That alone is enough to add heft to Kelson’s sing-alongs while he’s working. The bomb’s already dropped, and he’s still dancing.

Then comes “Ordinary World.”

That particular single emerged in the wake of Duran Duran’s fade from pop superstardom as the 1980s ended. Like many bands of their era, they were struggling to adapt to changes in musical tastes and the wider culture, and their previous album, Liberty, was a major letdown. “Ordinary World” was written amid that disappointment and sense of loss, and to hammer the point home, the lyrics are about one of Le Bon’s departed friends.

It’s a song about the weight of loss, and the nagging feeling that you might never be able to make it back to an “ordinary world” when the weight wasn’t so crushing. Kelson would have first heard the song when he was about 30, his medical training probably concluded, his own practice as a doctor still in its infancy. He would have faced loss in those years, whether it was loved ones or patients or both, and like so many Duran Duran fans, the song would’ve been a balm. Now, 28 years after the Rage Virus swept through his home, it’s still a rallying cry, because Le Bon’s vocal offers an alternative for when the ordinary world isn’t there: “I will learn to survive.”

Nothing is accidental in the 28 Years Later film. The bits of history, of pop culture, of music that leak through from the old world (the ordinary world, if you will) are deliberate choices by the creative team. That tells us Duran Duran’s music means something to the filmmakers, and by extension, Dr. Kelson. Even after all these years leading his monastic existence, Kelson still remembers who he was as a young man, what he hoped for, what he thought possible. He remembers the songs that buoyed him, and buoy him still, and even if he can’t survive, he’ll keep trying, and he’ll leave this world with his soul intact.

28 Years Later: The Bone Temple is now available on Digital.

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It’s the first of four singles from the film, to be followed by “Twisting the Knife” by Ice Nine Kills featuring Mckenna Grace on February 19 and “Criminal” by Jessie Murph and “The Kill” by Stella Lefty, both on February 27.

Scream 7 will also feature a new score by Marco Beltrami, who composed the music for the first four Scream films.

The latest installment in the slasher saga opens in theaters — including IMAX, Dolby Cinema, 4DX, and other premium large formats — on February 27 via Paramount.

Kevin Williamson (writer of Scream, Scream 2, and Scream 4) directs from a script he co-wrote with Guy Busick (Scream 2022, Scream VI).

When a new Ghostface killer emerges in the quiet town where Sidney Prescott has built a new life, her darkest fears are realized as her daughter becomes the next target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed once and for all.

Neve Campbell returns alongside franchise veterans Courteney Cox, David Arquette, Matthew Lillard, Scott Foley, Mason Gooding, and Jasmin Savoy Brown.

Grace, Isabel May, Anna Camp, Joel McHale, Michelle Randolph, Jimmy Tatro, Asa Germann, Celeste O’Connor, Sam Rechner, Ethan Embry, Timothy Simons, and Mark Consuelos round out the cast.

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“Long Face” is streaming on the newly launched Vampire Lestat artist pages at all major digital music services, with additional songs to be released in the coming months.

Performed by Lestat actor Sam Reid with music and lyrics by series composer Daniel Hart (The Green Knight, A Ghost Story), the song will be featured in the show.

“‘Long Face’ is the first song I wrote for ‘The Vampire Lestat,’ recalls Hart. “We decided early on to make David Bowie a big influence for Lestat’s musical style and persona, and there’s certainly some Ziggy Stardust in this song.

Hart continues, “But we chose Bowie not only for his glam era, but because he was a chameleon. Expect Lestat to change his musical colors throughout the season as well, as he discovers how to remain true to himself, and how to express that truth on stage every night.”

From showrunner Rolin Jones, “The Vampire Lestat” is the third season of AMC’s “Interview with the Vampire,” based on Anne Rice‘s The Vampire Chronicles book series.

In the rock and roll-centric season, the Vampire Lestat goes on an electric multi-city tour while being haunted by “muses” from his wild and rebellious past. As his band’s popularity and star power rises, so does Lestat’s influence over vampires and humans alike, leaving others to contend with Lestat’s power in the face of the Great Conversion, an unnatural surge in the vampire population.

Jacob Anderson, Assad Zaman, Eric Bogosian, Delainey Hayles and Jennifer Ehle star with Reid.

“The Vampire Lestat” is executive produced by Jones, Mark Johnson, Hannah Moscovitch, Christopher Rice, and the late Anne Rice.

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Scream 7 aims to continue the tradition with four original songs that will be streaming ahead of the film’s release:

• February 13: “Rearranging Scars” by Sueco
• February 19: “Twisting the Knife” by Ice Nine Kills featuring Scream 7 actress Mckenna Grace
• February 27: “Criminal” by Jessie Murph
• February 27: “The Kill” by Stella Lefty

With rap from Sueco, hard rock by Ice Nine Kills, genre-bending pop from Jessie Murph, and indie pop by Stella Lefty, it’s shaking up to be an eclectic soundtrack.

Scream 7 will also feature a new score by Marco Beltrami, who composed the music for the first four Scream films.

The latest installment in the slasher saga opens in theaters — including IMAX, Dolby Cinema, 4DX, and other premium large formats — on February 27 via Paramount.

Kevin Williamson (writer of Scream, Scream 2, and Scream 4) directs from a script he co-wrote with Guy Busick (Scream 2022, Scream VI).

When a new Ghostface killer emerges in the quiet town where Sidney Prescott has built a new life, her darkest fears are realized as her daughter becomes the next target. Determined to protect her family, Sidney must face the horrors of her past to put an end to the bloodshed once and for all.

Neve Campbell returns alongside franchise veterans Courteney Cox, David Arquette, Matthew Lillard, Scott Foley, Mason Gooding, and Jasmin Savoy Brown.

Grace, Isabel May, Anna Camp, Joel McHale, Michelle Randolph, Jimmy Tatro, Asa Germann, Celeste O’Connor, Sam Rechner, Ethan Embry, Timothy Simons, and Mark Consuelos round out the cast.

https://twitter.com/ICENINEKILLS/status/2019773072740692067

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For Yamaoka, the most important principle in scoring Silent Hill, be it film or video game, is: “Do not explain fear.”

“In many films, music clearly tells the audience: this is sad, this is scary, this is the moment to feel uplifted. But in the world of Silent Hill, the moment you do that, fear and sadness collapse the instant they are explained.”

For Return to Silent Hill, Yamaoka took a different approach when scoring the film, preferring to keep the music at “a slight distance,” rather than having the music “embrace’” the scene. “As a result, the audience can no longer be sure whether they are listening to music or hearing sounds that exist inside the world itself. For longtime Silent Hill fans, this may feel unsettling—and, at the same time, strangely familiar.

The music for this film does not aim for listeners to remember a striking phrase. Rather, it seeks to leave behind a state where, after the film has ended, only an emotion remains—one that cannot be easily put into words.”

Here’s the lengthy track list for the soundtrack:

1. Ashes In The Moonlight
2. The Letter
3. The Forest
4. Homeless Guy / Heaven’s Night
5. The Lakeview
6. The Portrait
7. Entering Silent Hill
8. The Field
9. Armless Creature
10. Ashes That Remember You
11. The Bath Room
12. Return to Darkness
13. Running into Darkness
14. Your Father
15. A Corridor Without End
16. The House That Breathes
17. Tailing
18. The Altar
19. Dormant Voices
20. Brookhaven Hospital
21. Dance Studio
22. Echoes Of A Fading Figure
23. Chasing Laura
24. Head No. 2
25. Red Pyramid
26. The Gathering
27. Our Name
28. Promise Me
29. The Maze
30. The Ritual
31. Spider Lady
32. Red Pyramid Spider Sting
33. A Tune Left Behind
34. Room 318
35. 2nd Armless
36. Glass Tears
37. Woodside Apartments
38. The TV
39. The Nurses
40. Laura’s Lullaby
41. Waking up in the Hospital
42. The Breakup
43. Return To Darkness 2
44. The Furnace Dream
45. The Elevator
46. Moonlight Burial
47. Moth Mary
48. Dormant Eyes
49. Déjà Vu
50. Outta My Mind

Starring Jeremy Irvine as James, alongside Hannah Emily Anderson as Mary Crane, Return to Silent Hill sees James receive a letter from his lost love, Mary. He is drawn to Silent Hill—a once-familiar town now consumed by darkness. As he searches for her, James faces monstrous creatures and unravels a terrifying truth that will push him to the edge of his sanity.

Christophe Gans, who also directed the 2006 film adaptation of Silent Hill, wrote the script for the new movie alongside Sandra Vo-Anh and William Josef Schneider.

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It’s the third single from Zombie’s eighth studio album, The Great Satan, following “Punks and Demons” and “Heathen Days.”

The band’s current line-up includes Mike Riggs on guitar, Rob “Blasko” Nicholson on bass, and Ginger Fish on drums.

The record is produced by Zeuss, who produced Zombie’s previous two albums (2016’s The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser and 2021’s The Lunar Injection Kool Aid Eclipse Conspiracy) and composed music for 31, 3 from Hell, and The Munsters.

The Great Satan will be released on February 27. Vinyl, CDs, and cassettes are up for pre-order at Nuclear Blast Records.

Zombie and Marilyn Manson will co-headline the Freaks on Parade Tour this summer with support from The Hu and Orgy:

• 8/20 – West Palm Beach, FL – iTHINK Financial Amphitheatre
• 8/21 – Tampa, FL – MidFlorida Credit Union Amphitheatre
• 8/23 – Alpharetta, GA – Ameris Bank Amphitheatre
• 8/24 – Charlotte, NC – Truliant Amphitheater
• 8/26 – Holmdel, NJ – PNC Bank Arts Center
• 8/27 – Mansfield, MA – Xfinity Center
• 8/29 – Burgettstown, PA – The Pavilion at Star Lake
• 8/30 – Darien Center, NY – Darien Lake Amphitheater
• 9/01 – Toronto, ON – RBC Amphitheatre
• 9/02 – Cuyahoga Falls, OH – Blossom Music Center
• 9/04 – Clarkston, MI – Pine Knob Music Theatre
• 9/05 – Tinley Park, IL – Credit Union 1 Amphitheatre
• 9/06 – Noblesville, IN – Ruoff Music Center
• 9/09 – St. Louis, MO – Hollywood Casino Amphitheater
• 9/10 – Kansas City, MO – Morton Amphitheater
• 9/12 – Greenwood Village, CO – Fiddler’s Green Amphitheatre
• 9/14 – West Valley City, UT – Utah First Credit Union Amphitheatre
• 9/16 – Airway Heights, WA – BECU Live at Northern Quest
• 9/17 – Auburn, WA – White River Amphitheatre
• 9/18 – Ridgefield, WA – Cascades Amphitheater
• 9/20 – Concord, CA – Toyota Pavilion at Concord

Tickets are on sale now.

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As featured in the slasher sequel’s memorable nightmare sequence, the infectious jingle is performed by actress Leah Voysey.

The song is written by Jon Kaplan & Al Kaplan, who returned to compose “It’s a Terrifier Christmas” for Terrifier 3. The brothers are also screenwriters, penning the likes of Match, Zombeavers, and “Critters: The New Binge.”

The digital release is accompanied by new artwork by former Garbage Pail Kids artist Mark Pingitore.

Written and directed by Damien Leone, Terrifier 2 sees a resurrected Art the Clown return to Miles County where he targets a teenage girl and her younger brother on Halloween night.

David Howard Thornton stars as Art the Clown along with Lauren LaVera, Elliott Fullam, Sarah Voigt, Kailey Hyman, Casey Harnett, Samantha Scaffidi, and Amelie McLain.

Leone is currently developing a fourth — and, perhaps, final — installment in the gory franchise, which will delve into Art’s backstory.

The post ‘Terrifier 2’s “Clown Cafe” Song Is Now on Streaming Services appeared first on Bloody Disgusting!.

Composed by director John Carpenter and Jim Lang, the score has been newly mastered from the original master tapes.

The 2xLP album is housed in a gatefold jacket featuring artwork by Gary Pullin, liner notes pulled from new interviews with Carpenter and Lang, and printed record sleeves.

Its pressed on five color variants:

• Sutter Cane – blood in blue (limited to 200) – $39.98
• Pickman – yellow/red/black (limited to 200) – $39.98
• Hobb’s End – glow green with black swirl (limited to 200) – $39.98
• Black (limited to 50) – $39.98
• Bespoke (limited to 94) – $79.98

Two bundles are available. Priced at $74.98, the Sutter Cane bundle comes with the album, a long sleeve shirt, and a bumper sticker.

The Lovecraft bundle includes all that plus a screen print, standee, mug, canvas bag, enamel pin, and postcard set. Limited to 100, it costs $175.

The soundtrack also comes on red cassette, limited to 200, for $13.

Written by Michael De Luca (Freddy’s Dead: The Final Nightmare), In the Mouth of Madness follows an insurance investigator who discovers that the impact an elusive horror writer’s books have on his readers can be deadly.

Sam Neill stars in the 1994 cosmic horror film with Julie Carmen, Jürgen Prochnow, David Warner, and Charlton Heston.

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Halloween. Escape from New York. Assault on Precinct 13. These are the movies that usually come to mind when fans think of John Carpenter as a film score composer (hell, a lot of us practically have the music from those movies committed to memory).

Their themes are iconic and showcase what’s made the legendary director’s musical output so memorable. Through the synthesizer – an instrument he will always be synonymous with – Carpenter creates layers of atmosphere anchored by melodic hooks that refuse to leave your brain. As a result, he joins the ranks of film composers whose instantly recognizable style has helped them achieve rock star status (at least to us movie nerds).

As is the case with any popular musician with a lengthy catalog, it’s easy to get caught up listening to just the hits. There’s a reason why certain Carpenter scores, like the films they’re paired with, have become seminal records for so many fans. But there are many other fantastic pieces of music to be found throughout his career.

So, here are five John Carpenter scores that deserve more love. Some are underappreciated while others appear to be slept-on entirely. All, as the kids say, are bangers. Give them a spin, if you haven’t already, and see if you agree.

Village of the Damned (1995)

If you’re only familiar with John Carpenter’s 80s output, then his remake of the sci-fi horror classic Village of the Damned will be a fascinating listen for several reasons. For starters, those curious to hear what his synthesizer would sound like accompanied by a small orchestra will find their opportunity here. Also adding to the unique flavor of the score is the fact that Carpenter had a different musical collaborator for this picture. While much of the previous decade was spent working with Alan Howarth, this project saw him teaming up with Kinks lead guitarist Dave Davies, most notably on the track “March of the Children.” The end product is a score that sounds unlike anything heard in a Carpenter film to that date.

Prince of Darkness (1987)

The second film in John Carpenter’s “Apocalypse Trilogy” is a steady and deliberate affair. The tension ratchets up incrementally, similar to how the laws of nature slowly begin to defy themselves as the movie’s title baddie gestates in his glass womb. The score to Prince of Darkness illustrates that mounting dread beautifully, providing a smorgasbord of highlights. The pulsing “Opening Titles” plays like a staccato heartbeat, informing us of the impending awakening of the sleeper, while “Darkness Begins” sounds like the perversion of a sacred hymn, complete with a demonic organ and choir. But it’s “The Devil Awakens” that really brings the heat, beginning with a hint of quiet menace before exploding into chaos. It’s Carpenter’s most complete sounding score from start to finish, and it’s no surprise that it’s one of his favorites.

Body Bags (1993)

Listen: I defy you to tell me “The Coroner’s Theme” isn’t a goddamn bop. If that single opening track was the only decent piece of music found in Body Bags, I’d still say the score was underrated; that’s how much it slaps. Thankfully, while it definitely is a high point, there are plenty of other great moments in this collaboration between Carpenter and Jim Lang (who would go on to work with John on In the Mouth of Madness the following year). There’s the jazzy Twin Peaks-esque “Long Beautiful Hair,” the chillingly disturbing finale that is “…Pluck it Out,” and “The Picture on the Wall,” which sounds like a distant cousin to Halloween’s “Main Title Theme.” It might not be the moodiest entry in Carpenter’s discography, but it’s hell of a lot of fun.

Christine (1983)

This may seem like a weird choice for a list of underrated works, but hear me out. Yes, it’s been agreed upon in recent years that “Moochie’s Death” is an absolute heater of a tune. It’s uncanny the way Carpenter is able to give voice to Christine’s single-minded rage and bloodlust, and it’s often the theme that comes to mind for folks when they think of the film. But what always gets me in the feels when watching the movie are the score’s quieter moments. There’s so much going on in “Arnie’s Love Theme,” for instance. On the surface, there’s the sound of the character’s obsession building, but beneath that, we hear the aspects of Arnie’s personality that make him a perfect target for an entity like Christine: his loneliness, insecurity, and self-loathing. To me, this is one of Carpenter’s most emotionally rich musical outings, and it deserves a place amongst his best works.

Vampires (1998)

If you’re a fan of the blues or Memphis soul, you’re probably going to perk up when you look through the list of musicians John Carpenter enlisted for Vampires, his criminally underrated horror western. Steve Cropper and Donald “Duck” Don, one-half of the iconic Stax Records instrumental group Booker T & the M.G.’s, lend their immense talents to the score, along with Doobie Brothers and Steely Dan guitarist Jeff Baxter. Big names aside, what makes this movie so interesting sonically is the fact that it gives us both sides of the Carpenter musical experience. We get the synth maestro with his brooding and atmospheric melodies (“Sunrise Death,” “Valek’s Portrait”) and the rock & roll-loving bandleader (“Slayers,” “Motel Sex”). It all makes for one of the most versatile and infinitely listenable scores to be found in Carpenter’s catalog.

Follow along all week long as we salute John Carpenter.

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Fans will be transported to the Goblin City as Henson’s 1986 film is screened on a cinema screen accompanied by a live band performing the full soundtrack in sync with David Bowie‘s iconic original vocals.

Bowie stars opposite Jennifer Connelly and a variety of creatures created by Jim Henson’s Creature Shop in the film, which follows a teenager as she journeys through a fantastical maze to save her baby brother from the Goblin King.

Labyrinth features a soundtrack of unique and memorable melodies, with Bowie’s original songs like “Magic Dance,” “Underground,” and “As the World Falls Down,” along with Trevor Jones‘ orchestral score. The collaboration between Bowie and Jones provides a distinctive musical experience, capturing the whimsical elements of the film.

Jim Henson’s Labyrinth: In Concert 2026 tour dates:

• September 14 – Buffalo, NY – Riviera Theater
• September 15 – Syracuse, NY – Palace Theater
• September 16 – Lebanon, NH – Lebanon Opera House
• September 17 – Boston, MA – Wilbur Theatre
• September 18 – Albany, NY – The Egg
• September 19 – Stamford, CT – Palace Theatre Stamford
• September 20 – Red Bank, NJ – Count Basie Center for the Arts
• September 22 – Harrisburg, PA – Whitaker Center for Science and the Arts
• September 23 – Huntington, NY – Paramount Theater
• September 25 – Glenside, PA – Keswick Theatre
• September 26 – Munhall, PA – Carnegie of Homestead Music Hall
• September 27 – Cleveland, OH – Agora Theatre
• September 29 – Columbus, OH – Kemba Live
• September 30 – Cincinnati, OH – Taft Theatre
• October 01 – Royal Oak, MI – Royal Oak Music Theatre
• October 02 – Nashville, IN – Brown County Music Hall
• October 03 – Milwaukee, WI – Pabst Theater
• October 04 – Rockford, IL – Coronado Performing Arts Center
• October 06 – Saint Paul, MN – Fitzgerald Theater
• October 07 – Des Moines, IA – Hoyt Sherman Place Theatre
• October 08 – Chesterfield, MO – The Factory
• October 09 – Omaha, NE – The Astro
• October 10 – Kansas City, MO – Uptown Theater
• October 11 – Tulsa, OK – Tulsa Theater
• October 13 – Colorado Springs, CO – Pikes Peak Center
• October 14 – Salt Lake City, UT – Kingsbury Hall
• October 16 – Seattle, WA – Moore Theatre
• October 17 – Eugene, OR – McDonald Theatre
• October 18 – Portland, OR – Revolution Hall
• October 20 – Napa, CA – Uptown Theatre
• October 21 – Turlock, CA – Turlock Community Theatre
• October 22 – San Jose, CA – San Jose Civic Center
• October 23 – Fresno, CA – Warnors Theatre
• October 24 – Los Angeles, CA – United Theater on Broadway
• October 25 – Las Vegas, NV – The Pearl
• October 27 – Cerritos, CA – Cerritos Center for the Performing Arts
• October 28 – El Cajon, CA – Magnolia
• October 29 – Phoenix, AZ – Orpheum Theatre
• October 30 – Albuquerque, NM – KiMo Theatre
• November 01 – Austin, TX – ACL Live
• November 03 – San Antonio, TX – Tobin Center for the Performing Arts
• November 04 – Dallas, TX – Majestic Theatre
• November 05 – Houston, TX – Bayou Music Center
• November 06 – New Orleans, LA – Jefferson Performing Arts Center
• November 07 – Huntsville, AL – Mars Music Hall
• November 08 – Atlanta, GA – The Eastern
• November 09 – Charleston, SC – Charleston Music Hall
• November 10 – Orlando, FL – The Plaza Live
• November 11 – Jacksonville, FL – Florida Theatre
• November 12 – Fort Lauderdale, FL – The Parker
• November 13 – Clearwater, FL – Ruth Eckerd Hall
• November 15 – Chattanooga, TN – Walker Theatre
• November 17 – Knoxville, TN – Tennessee Theatre
• November 19 – Louisville, KY – The Louisville Palace
• November 20 – Roanoke, VA – Berglund Center
• November 21 – Richmond, VA – Carpenter Theatre
• November 22 – Washington, DC – Lincoln Theatre
• November 24 – Concord, NH – Chubb Theatre

“Watching audiences connect with Labyrinth this deeply has been extraordinary. From the costumes to the sing-alongs, the energy in every theater is electric,” says John Kinsner, CEO of Black Ink Presents. “With the film celebrating its 40th anniversary, this tour gives audiences a chance to rediscover the soundtrack with Bowie’s vocals and Trevor Jones’ score in a way that feels completely fresh and genuinely unforgettable.”

Jim Henson’s Labyrinth: In Concert pre-sale starts January 15 and tickets go on sale January 16. VIP packages will also be available.

Despite being seen as a box office disappointment upon release, grossing $34 million globally against a $25 million production budget, Labyrinth has enjoyed a vibrant second life as a cult favorite.

Robert Eggers (The Witch, Nosferatu) closed a deal to direct the long-gestating Labyrinth sequel last year.

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The psychological body horror thriller is written and directed by Adam Hoelzel (Beast of Burden) and Sonja O’Hara (“Doomsday”).

O’Hara, Marissa Bode (Wicked), and Greg Tarzan Davis (Top Gun: Maverick) star. The cast also includes Brendan Sokler, Stephen Ellis, and Tracey Buckner.

Echoing the provocative terror of The Substance, the film follows a mycologist who experiments on herself to escape a destructive romance — only to trigger a nightmarish unraveling of identity, desire, and the body.

O’Hara stars as Ro, a mushroom expert who falls into a love triangle that spirals into obsession. Bode plays Greta Mills, her ambitious research partner who unwittingly becomes entangled in the violent conflict.

Johnson cameos as Persimmon, an eccentric young nurse inspired by 1970s Sissy Spacek. Sharif Jr. plays Jones, a mourning widower who runs a mysterious self-help group. Roszak plays Hunter Poole, a tech-brained antihero whose unsettling calm challenges Greta.

For O’Hara, the writing process proved deeply cathartic, shaped by her experience as a young breast cancer survivor.

“Body horror isn’t just metaphor for me — it’s memory,” says O’Hara. “It’s not just about watching a body mutate, but remembering when yours did. The surgeries, the chemicals, the scars — they’re all real-life special effects. This isn’t escapism. It’s confrontation.”

The film is produced by MARS via Besties Make Movies and Corey Moosa (Margin Call, Banshee Chapter) through Group of Ferrets, co-led by Michael K. Dwyer and David Hopwood.

Executive producers include Bode, Sharif Jr., Calvin Roszak, Garrett Recker, Jeffrey Weber, Raechel Zarzynski, Craig Coffman, Anthony DiMieri, Aaron Millar, and Nikki Skelly.

Supported by the Tribeca Film Festival’s Vital Stories Lab,  Snare will enter production this month in Los Angeles.

Kirby Johnson by Gregory Wallace / Omar Sharif Jr. by Michael Collopy / Simon Roszak by Sean Henderson

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Two versions of the trailer — the original Japanese audio with English subtitles and an English dub — are playing below.

The film follows Rita, a resourceful but isolated young woman volunteering to help rebuild Japan after the mysterious appearance of a massive alien flower known as Darol.

When Darol unexpectedly erupts in a deadly event, unleashing monstrous creatures that decimate the population, Rita is caught in the destruction — and killed. But then she wakes up again. And again.

Caught in an endless time loop, Rita must navigate the trauma and repetition of death until she crosses paths with Keiji, a shy young man trapped in the same cycle. Together, they fight to break free from the loop and find meaning in the chaos around them.

Ken’ichirô Akimoto directs with Yukinori Nakamura serving as co-director from a script by Yûichirô Kido (“Star Wars: Visions”).

Studio 4°C (The Animatrix, Justice League: The Flashpoint Paradox) is the animation studio behind the project, with Warner Bros. Japan producing.

All You Need Is Kill invades theaters this Friday, January 16, via GKIDS.

The post ‘All You Need Is Kill’ Trailer – Anime Based on the Same Novel as ‘Edge of Tomorrow’ Opens Friday appeared first on Bloody Disgusting!.

In an exclusive announcement for Bloody Disgusting, the video and soundtrack label continues its dedication to preserving obscure movie soundtracks with a premiere subscription club perfect for vinyl enthusiasts and horror fans alike.

Members will receive six first-time vinyl releases, each pressed in-house at Graveface Press, which is owned and operated by Terror Vision’s sister company, the Savannah indie label Graveface Records. Five of these exquisite LPs will be unique surprise colorway hand-pour editions exclusive to subscribers, while one will be a bespoke hand-made edition, to be revealed along with the title’s release.

Each will be available for individual purchase via Terror Vision, but only club subscribers will receive unique and limited hand pours, special add-on items, and a killer exclusive clubber T-shirt to boot! 

Bloody Disgusting is thrilled to announce the 2026 Terror Vision Subscription lineup:

IN THE MOUTH OF MADNESS (1994) score composed by John Carpenter & John Lang

BODY BAGS (1993) score composed by John Carpenter & John Lang

TERROR TRAIN (1980) score composed by John Mills-Cockell

 THE PIT (1981) score composed by Victor Davies

BORDELLO OF BLOOD (1996) score composed by Chris Boardman

THE WRAITH (1986) score composed by Michael Hoenig & J. Peter Robinson

Club members will get to spin in style with unique pairings from a variety of exciting partnerships.

Mills-Cockell’s Terror Train score will arrive with a deluxe offering from Puncture Wound Pins, while the score to Lew Lehman’s coming-of-age horror The Pit will be accompanied by a 10-page fan art/short story zine from Savannah-based artist Kalie Demerjian. Subscribers will revisit the sounds of Mike Marvin’s The Wraith in an original T-shirt — complete with matching bumper sticker — from Halftone Horror and enjoy a newly-designed figurine from Psycho Street Bum to complement the score of Body Bags.

Additional surprises will be revealed as members receive these exciting gifts. 

Subscribe now to access these exclusive offerings and ring in the new year with Terror Vision!

The post Terror Vision Launches Vinyl Subscription Club with ‘In the Mouth of Madness’ and More [Exclusive] appeared first on Bloody Disgusting!.

Lead singer Spencer Charnas received a call from Ghostface live on stage at the show on Friday night, the two coming together to tease… something… in the works for Scream 7.

Scream 7 will be slashing into theaters on February 27, 2026, and while we know nothing about the collaboration with Ice Nine Kills at this time, fans of the band are sure to be thrilled about their official involvement. The band’s songs and music videos are very often horror-themed, with INK recently celebrating the Terrifier franchise with their hit “A Work of Art.”

The gruesome video for “A Work of Art” featured David Howard Thornton as horror icon Art the Clown, and it debuted in select theaters alongside Terrifier 3 back in October of last year.

Spencer and the gang are massive horror fans and they always do right by the movies they decide to pay tribute to, so the tease about their involvement in Scream 7 is very exciting.

Stay tuned for more on the Ice Nine Kills x Scream 7 mashup…

Check out some killer photos below from the Ice Nine Kills concert in London this past weekend, which come courtesy of photographer Salma Bustos. The band was even joined on stage by original Scream star Rose McGowan, who was “killed” live on stage by Art the Clown!

What else is Ice Nine Kills working on? The band has been teasing their own horror movie The Slashin’ of the Christ, which has Greg Nicotero on board as producer. INK frontman Spencer Charnas wrote the movie’s script alongside Paul Soter (Super Troopers), but the project’s current status is unclear. Keep your eyes peeled on SlashinoftheChrist.com for updates.

 

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Photo Credit: Salma Bustos

Photo Credit: Salma Bustos

Photo Credit: Salma Bustos

The post Hello, Spencer: Ice Nine Kills Teasing Official Collaboration with ‘Scream 7’ Next Year! appeared first on Bloody Disgusting!.

Today, I have one for just about any occasion under the sun. Is it my wife and my anniversary? In the Mood for Love will do nicely. Running errands around town? Kiki’s Delivery Service turns even the most mundane task magical. Looking to get back at those party-hardy neighbors for causing yet another sleepless night? Let the dulcet tones of A Nightmare on Elm Street 2: Freddy’s Revenge be the soundtrack to their attempts at slumber.

I also have a whole bevy of scores to help drum up some Christmas spirit when I’m not feeling particularly holiday inclined. Since it’s the season of giving, I’d like to share with you some of the spookier discs that I like to spin (this is a horror site, after all). Maybe they’ll get you in the mood to trim the tree, chug some nog, or do unspeakable things to that smug Elf on the Shelf you were gifted last year. Or perhaps they’ll just help you get through this crazy (sometimes hellish) time of year.

Either way, I hope you enjoy it and have a lovely holiday!

Dial Code Santa Claus (1989)

If you’ve never seen Home Alone’s cooler, scarier, and significantly more depressing European cousin, please do yourself a favor and pop it on. Dial Code Santa Claus, in the great tradition of French cinema, manages to both touch your heart and send you down an existential spiral, making it (in my estimation, at least) a perfect Christmas movie. Its score is no different. In the liner notes of the album, composer Jean-Félix Lalanne speaks of the six months he spent locked in his garage with his assistant, playing all the instruments featured in the score himself and sampling everything he could record. “Anything worked for me,” he writes. “As long as the colors of the sound took me on undiscovered paths.”

The result is an eclectic set of tracks that run the gamut from festive (“Le Grand Père et L’Enfant”) to funky (“La Danse Du Malin”) to freaky (“La Mor du Rêve”). Then there’s the album’s single, “Merry Christmas.“ Sung by Bonnie Tyler (belter of such iconic songs as “Total Eclipse of the Heart“ and “Holding Out for a Hero”), the ballad both captures the nostalgia of the Christmas season and sums up wonderfully the darker themes of the film itself. “Kids, don’t grow up like us/Who could change the plan,“ Tyler sings with her legendary rasp. “Here comes the darkness/Time to be sad.“ For those who find this a melancholy time of year, there’s kinship to be found on this disc.

Krampus (2015)

Most Christmas fright-flicks seem to fall into two categories. The first features horrors of the human variety, usually in the form of a deranged killer stalking and dispatching their victims during the holiday season. Figuratively, and oftentimes literally, these are slasher films dressed in a Santa Claus costume. The second variety takes the supernatural approach, sprinkling some otherworldly magic into the terrors it presents. One of the best to come out of this school is Michael Dougherty‘s Krampus, a film that, while not the first to utilize the German folktale, is probably most responsible for the barrage of “Demonic Santa“ movies we received in the mid-to-late 2010s.

Douglas Pipes, who composed the music for Dougherty’s other holiday horror love letter, Trick ‘r Treat, crafts probably the most festive-sounding score featured on this list. “It’s a good mixture,“ he described it in an interview with writer Michelle McCue in 2015. “Part mischievous, part playful, but it’s horrific.“ That balance he strikes results in much of the film’s sonic charm. Tracks like “Bells, Bones, and Chains“ and “Creatures Are Stirring“ highlight the movie’s darker comedic elements while also chilling you to the bone, while “The Wish“ injects some heart into its quieter moments. For folks who enjoy some fun with their frights, this album is for you.

Black Christmas (1974)

If you’re hoping to feel all sorts of messed up this holiday season, look no further than this Carl Zittrer classic. A horror veteran and frequent Bob Clark collaborator, Zittrer’s work on Black Christmas is legitimately terrifying and hauntingly abstract (the composer has cited Tōru Takemitsu’s work on Kwaidan as a big influence). For years, it was thought to be lost until the original masters were miraculously located by Zittrer and Waxwork Records. Not long after, the music label gave the score its first-ever release, complete with a gorgeous cover by artist Gary Pullin.

Divided into two sections (“Silent Night“ and “Evil Night”), the album is more of a dramatic soundscape than your standard collection of tracks. In his liner notes, Zittrer describes it as “a re-imagined, re-composed, and re-mixed interpretation from Billy’s perspective.“ Using musical cues, choral arrangements of various traditional Christmas carols, and dialogue from the film (expect to hear a lot of Billy’s horrific ramblings), the composer gives us a deeply unsettling view into the mind of the film’s killer. It’s a fascinating listen, but certainly not for the faint of heart.

Gremlins (1984)

Jerry Goldsmith and Joe Dante worked together four times before the legendary composer’s death in 2004. All of these efforts were solid, but the music made for Gremlins might be their most iconic. “Dante’s manic style and love of comedy, horror, and science fiction was the perfect collaborator for someone like Goldsmith,“ wrote one reviewer years later, and it’s true that Joe appeared to bring out the quirky side of the composer’s personality (if you want proof, look no further than the dog barks he slipped into The’Burbs).

Like the film itself, the music for Gremlins is a deft balance of light and dark tones, exemplified by the instantly recognizable tracks “The Gift“ and “The Gremlins Rag,“ the former serving as Gizmo’s theme and the latter the gremlins’. Beyond those obvious highlights, the score has other nicely contrasting moments, such as the cookie cutter Americana of “Late for Work“ and the maniacal goofiness of “Kitchen Fight.“ Gremlins has always struck a chord with those who have a complicated relationship with Christmas, and its score is no different.

Batman Returns (1992)

I know what you’re thinking: “You’ve put Batman Returns on this list? How gauche!” To which I say, go back and watch the infamous nose-biting scene or the moment where Batman discovers Max Shreck’s charred corpse and tell me the film doesn’t have some spookiness coursing through its veins. What’s not debatable, though, is the fact that the music Danny Elfman composed for Tim Burton‘s second Bat-outing was some of the best of his career. After some initial frustrations during the creation of his score for 1989’s Batman (apparently the producers of the film had their minds set on John Williams), Elfman had more room to play and more confidence in his abilities this second time around.

“The first one was like holding on to a freight train that was out of control, “he would relate years later in an interview with writer Owen Williams. “The second one was my territory, and I just had fun with it.“ That relaxed atmosphere led to a smorgasbord of killer tracks. The “Batman Theme“ returns, this time with new variations that give the famous march some added spice. Danny DeVito’s Penguin gets a tear-jerker of a theme that goes a long way in helping to humanize the grotesquely visaged villain. But the film’s standout motif has to be “Selina’s Transformation,“ which manages to be equal parts tragic and terrifying, much like the character it personifies.

The post 5 Christmas Horror Scores for You and Yours to Get Into the Holiday Spirit appeared first on Bloody Disgusting!.

Keep Halloween festivities rolling through the holidays when John Carpenter Live arrives on Screambox on December 12.

Watch the Master of Horror as he performs his iconic scores from Los Angeles on Halloween Night. From Halloween and The Fog to Escape from New York and Christine, see unmistakable synth-driven soundscapes brought to life.

The Halloween performance features John Carpenter onstage with longtime collaborators Cody Carpenter and Daniel Davies, with his Fall 2025 tour marking John Carpenter’s first public performances since 2018. Don’t miss your chance to catch one of Carpenter’s first shows in seven years, especially with no upcoming performances currently scheduled.

Even better news, perhaps, is that you can sign up right now and get the first three months for $6.66 in total! 

Also in related John Carpenter news, the horror master will executive produce and lend his name to the horror anthology series “John Carpenter Presents” and has also revealed plans to release his unused Death of a Unicorn score.

Look for John Carpenter Live: Halloween from Los Angeles on Screambox in just over two weeks.

The post Where to Watch ‘John Carpenter Live: Halloween from Los Angeles’ on Streaming Next Month appeared first on Bloody Disgusting!.

It’s the second single from Zombie’s eighth studio album, The Great Satan, following “Punks and Demons” which debuted last month.

The band’s current line-up includes Mike Riggs on guitar, Rob “Blasko” Nicholson on bass, and Ginger Fish on drums.

The record is produced by Zeuss, who produced the previous two Zombie albums (2016’s The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser and 2021’s The Lunar Injection Kool Aid Eclipse Conspiracy) and composed music for 31, 3 from Hell, and The Munsters.

The Great Satan will be released on February 27, 2026. Vinyl, CDs, and cassettes are up for pre-order at Nuclear Blast Records.

Zombie’s first-ever public art show is currently on display at Morrison Gallery in Kent, CT, extended until December 7 due to overwhelming demand.

The post Rob Zombie Releases New Song & Video ‘Heathen Days’ appeared first on Bloody Disgusting!.

Christmas Is Forever: Now & Then pairs Schoelen’s brand-new holiday recordings with four previously recorded, never-before-released tracks, and one of them was lovingly crafted for horror fans.

Horror had been part of Schoelen’s vision for her holiday album from the start. “The idea of Christmas and horror, I just love,” she tells Bloody Disgusting. That’s not just because it was inspired by her return to the screen with the upcoming genre film Ralph’s Perfekt Christmas; Schoelen wanted to give back to the horror fans. “Those are the people I know, those are my peeps.”

“I really wanted to bring horror into it. I started to write a song, and it didn’t feel right to me. I really thought about it, like, how do I want to bring horror into Christmas? So, I came up with an idea.”

That idea? Schoelen, who co-produced the album with producer Brandon Jarrett, has assembled an all-star horror lineup for a special rendition of “Here Comes Santa Claus (Right Down Santa Claus Lane)“ featured on Christmas is Forever.

Judie Aronson (Friday the 13th: The Final Chapter, Weird Science), Barbara Crampton (Re-Animator, Suitable Flesh), Krsy Fox (Terrifier 3, Little Bites), and Diane Franklin (Amityville II: The Possession, Bill & Ted’s Excellent Adventure) all lend their vocal talent to Schoelen’s special track, and the result is an infectiously catchy rendition that’ll get stuck in your head.

Photo credit: Mikel Healey

Aronson states, “Being asked to sing on Jill’s album with her, Barbara, Diane, and Krsy is an incredible thrill! I’ve known Jill since the early ’80s- she was always that gorgeous, magnetic friend whose talents had no limits! Her acting pierces straight through your soul, and her voice- smooth molasses with a touch of grit. She’s one of those rare people who radiate kindness, joy, and creative fire.”

“When Jill told me about her idea for a Christmas album- and that she wanted to record one of the songs with our group of friends, all Horror Icons- I knew it would be something truly special,” Aronson continues. “She played me early raw tracks of her reimagined Christmas classics, and I was blown away! Then came her new original song, which she had just written, and it literally gave me goosebumps. Leave it to Jill to add ‘brilliant songwriter and music producer‘ to her already sky-high list of talents! Recording ‘Here Comes Santa Claus’ with Jill and our friends was pure joy. I love a good karaoke night or belting one out in the shower, but this was my first real studio experience. It felt like the best holiday party ever! With my headphones on and the infectious dance beat pumping, I sang, giggled, danced, and improvised through the recording session. Through the glass, I could see Jill and Brandon at the deck laughing and smiling from ear to ear- enjoying the moment as much as I was.”

Aronson echoes Schoelen’s enthusiasm for marrying horror and the holidays: “Bringing a little horror flair to the holidays felt perfectly us—a fun blend of a little mischief, a little spooky, a little sparkly, and all heart. It’s about friendship, laughter, and our love for all things frightfully festive.

“I couldn’t be prouder of what we created together. Jill’s album and our collective single ROCK! Looks like we’ve officially formed the ultimate Horror Girl Rock Band!“

Diane, Jill, Judie at mic recording “Here Comes Santa Claus (Right Down Santa Claus Lane)”

“When Jill Schoelen asked me to sing backup on a Christmas song with her, I was floored. (I knew she was foremost a singer, so that is something one would not ask lightly.) I LOVE to sing, but do not consider myself a singer, but I wanted to support her any way I could! I also loved the idea of a group of horror actresses coming together to work on the project. All the ladies here are established actresses, but I never knew they sang! It was an exciting discovery, and the fact that we are all friends made it even better,“ Diane Franklin says of the special collaboration.

Franklin gives a peek behind the curtain of her experience: “When I got to the recording studio, Judie Aronson, Jill, and [Brandon Jarrett] were there. Judie had just finished, so I was up next. I felt a little self-conscious because they had all never heard my voice before, and I didn’t know if they’d like it. Brandon made me feel comfortable and safe, and I thought, ‘Well, here we go. It’s time to be brave.‘ I just went for it. Well, let’s just say it went better than I expected. Weeks later, Jill said we needed to do a group photo. What?! That is such a fun idea! The photo shoot was phenomenal! It was the first time we actresses were seeing each other since the recording sessions, and it brought a newfound respect, bonding, and love for Jill’s creation. The production, designed by Jill and Barbara Crampton, was A-plus, with professional stylists and top-tier photographer, Leslie Bohm. Now add five professional horror actresses, who individually bring their own expertise, confidence, and iconic personalities, and you’ve got MAGIC.”

“But this all comes down to one thing,” Franklin adds. “The magic of having five horror actresses record this song together is a reflection of the beauty, kindness, and love of Jill Schoelen. Her heart, humbleness, and sincerity have brought us together. Money, power, or connections could not have made this happen.

“It is our friendship in adulthood that makes this Santa song SLEIGH!!“

Jill & Barbara recording behind the scenes

Crampton also couldn’t be more supportive of Schoelen and this all-star lineup. “I adore my female contemporaries in the horror genre,” she tells Bloody Disgusting. “We are all friends and get together regularly for fun, support, and collaboration. When Jill told us she was doing a Christmas album and wanted us to sing on one of her songs, I said yes immediately. In addition to her great acting skills, she’s been honing her masterful music capabilities for a while, and I’m so excited for the world to see her beautiful work realized.”

Crampton continues, “‘Here Comes Santa Claus’ brought some FINAL GIRLS out of the spooky Halloween season and into the cheerful and festive times of Christmas. Jill’s song is catchy and bubbly and sure to become a holiday staple not just for horror fans, but for anyone who wants a little joy, merriment, and magic at Christmas. It was an honor to work with her and our friends on this one song of Jill’s brilliant new holiday album!“ 

For Krsy Fox, the collaboration only furthered her love of holiday horror fun. “I’m big time into Christmas and love Christmas movies and especially holiday music, so when Jill first asked me if I would sing on a song with her, I said yes immediately,” She explains. “First, because I LOVE Jill and would basically do anything she asked, but secondly, I was so excited to hear she was doing a holiday album! When she brought in the rest of our friends, and I heard the fresh take of ‘Here Comes Santa Claus’ Jill and Brandon came up with, I was even more excited.”

“If I learned anything from being a part of Terrifier 3, it’s that Christmas and horror go amazingly together, and people love it,” Fox adds. “All the girls bring something so special to the track, and I can’t wait for all the horror and Christmas fans to hear it!

“Jill’s whole album is beautiful and an instant holiday classic.”

You can listen to the special collaboration and full album on Spotify, Apple Music, and Amazon Music. Physical media lovers will want to head to JillSchoelen.com for a limited pressing of the album on vinyl.

Photo credit: Lesley Bohm

The post Jill Schoelen Assembles All-Star Horror Lineup for Special Track on Holiday Album ‘Christmas Is Forever’ appeared first on Bloody Disgusting!.

Composed by Academy Award winner Alexandre Desplat (The Shape of Water, Godzilla), the score is pressed on 2xLP colored vinyl with two versions to choose from.

The deluxe edition, a one-time pressing of 2,000, is housed in a textured gatefold sleeve featuring leatherette spine trim with gold spot varnish accenting, inspired by Victor Frankenstein’s notebook.

It includes a 28-page, hand-stitched booklet with liner notes by Desplat and film music journalist Charlie Bridgen, behind-the-scenes photos, medical drawings from the film, and sheet music.

The standard edition features artwork by Francesco Francavilla on a gatefold jacket, housed inside a die-cut creature slipcase along with an obi strip and insert.

The deluxe version costs $60 and is estimated to ship on January 30, while the standard edition costs $45 and is due out on December 26.

Mutant writes, “It’s a work that stands proudly alongside previous musical iterations and is another evolution in the ongoing collaboration between Del Toro and Desplat. Gorgeous and thoughtful, Frankenstein is much more than just the sum of its parts.”

Based on Mary Shelley‘s genre-defining 1818 novel, Frankenstein is on Netflix today.

Brilliant but egotistical scientist Victor Frankenstein brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.

Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Felix Kammerer, Lars Mikkelsen, David Bradley, Christian Convery, Ralph Ineson, and Charles Dance star.

Meagan Navarro wrote in her review, “There’s no question that Frankenstein is absolutely breathtaking, with imagery and set pieces that instantly embed themselves in your memory. It showcases del Toro’s strength as a filmmaker, creating immersive worlds that enhance what he does best: championing monsters and their tragic humanity instead of using them to scare us.”

The post Guillermo del Toro’s ‘Frankenstein’ Soundtrack Pressed on Vinyl by Mutant appeared first on Bloody Disgusting!.

Composed by Koh Nakagawa (The Machine Girl, The ABCs of Death), the extended composer’s cut clocks in at nearly two hours.

It’s pressed on 3xLP translucent ruby red colored vinyl and housed in a jacket featuring artwork by Patrick Carroll.

Limited to 1,000, the album will be available in select record stores beginning November 28 via Recently Deceased.

In Tokyo Gore Police, when a crazed scientist develops a virus that causes humans to mutate, a samurai sword-wielding police officer is called in to annihilate the unnatural creatures.

The 2008 Japanese sci-fi horror splatterfest is directed by Yoshihiro Nishimura, who co-wrote the script with Kengo Kaji and Sayako Nakoshi.

Eihi Shiina stars with Itsuji Itao, Yukihide Benny, Jiji Bū, Ikuko Sawada, and Shun Sugata.

The post ‘Tokyo Gore Police’ Soundtrack Pressed on Vinyl for Record Store Day Black Friday appeared first on Bloody Disgusting!.

If you’re curious how that works, watch an exclusive clip below for a five-minute preview of the toxic mayhem that awaits.

Mr. Melvin will have its New York City premiere at the Museum of the Moving Image this Friday, November 7, followed by a Q&A with Kaufman.

It will also screen at The Broadside in New Orleans on November 13 and the Saskatoon Film Festival (alongside the original Toxic Avenger) in Saskatchewan, Canada, on November 25.

With the approval of Kaufman and Herz, Andrew L. Miller, Kaufman’s assistant, and Adam Peltier, star of Troma’s upcoming film The Power of Positive Murder, re-edited the Toxie sequels based on the original script.

In the 127-minute film, after ridding Tromaville of evil, Melvin Junko, the Toxic Avenger, has nothing left to fight. Evil has been vanquished, his mop is clean, and his heart feels… empty.

Depressed and emotionally adrift, a psychiatrist with questionable motives encourages him to reconnect with his long-lost father in Japan. But this heartfelt journey is merely a charade, as Apocalypse Inc. lures Toxie overseas in order to blast him with Anti-Tromatons, corrupting his superhuman senses.

Blinded to the forces of evil, Toxie returns home and becomes a corporate puppet for infernal forces bent on enslaving Tromaville… and the world! Can the Toxic Avenger reclaim his soul and save Tromaville once again, or is the hero of the people doomed to become the very monster he always feared?

Toxie actor Ron Fazio provides new voiceover for Mr. Melvin, which also stars Phoebe Legere, John Altamura, Rick Collins, Lisa Gaye, Rikiya Yasuoka, Tsutomu Sekine, Shinoburyû, Mayako Katsuragi, Jessica Dublin, and Michael J. Kaplan.

I wrote in my review, “Mr. Melvin is the superior way to experience Part II and Part III. Better paced and more palatable without sacrificing any of Troma’s signature eccentricities, it represents the best version of the sequels.”

The post ‘Mr. Melvin’ Clip Cuts Together ‘Toxic Avenger Part II’ & ‘Part III’; NYC Premiere This Friday [Exclusive] appeared first on Bloody Disgusting!.