Connect with us

Editorials

10 Albums That Are Perfect For A Rainy Day!!!

Published

on

Depeche Mode – Playing The Angel

I’ve never hidden my love for Depeche Mode, the electronic band that not only survived the 80’s but is still incredibly popular and relevant today. Their music is catchy yet dark, throbbing with melancholy and nostalgia. The 2005 album is one of my all-time favorite albums and, much like Terminal Twilight, is an album that I can start on track 1 and leave to play throughout.

Opeth – Damnation

More known for blending the progressive jazz/rock/folk of the 60’s and 70’s with modern black and death metal, Opeth is nonetheless still widely recognized for writing gorgeous mellow tracks. While the band was initially very nervous issuing Damnation, especially only a few months after what many hail as their heaviest album (Deliverance), their fears were unfounded as the fan base not only accepted but in fact embraced the metal-absent release. It’s a rich, organic, warm album that features some stunningly beautiful moments while maintaining an air of sadness.

Katatonia – Night Is The New Day

A truly mesmerizing album, Night Is The New Day is a work of art, one that practically demands the full attention of the listener. I wasn’t as taken with The Great Cold Distance as I had been by Viva Emptiness, so hearing the work on NITND was nothing short of a thrill. This along with with In Absentia are the two albums that feature heaviness that may seem out of place with the rainy day theme. However, in context, it fits entirely.

King Cobb Steelie – Mayday

This group, along with White Willow, are perhaps the least known on this list, which is a near criminal shame. King Cobb Steelie’s Mayday sounds like a mix of Portishead and Depeche Mode, mixing in snappy trip hop-esque beats with electronic landscapes, clever guitar work, enchanting vocals, and more that can only be appreciated with a full listen. But what drew me into this album was the usage of real life ambient sounds, such as rusty doors squealing shut, being used in the background of tracks. The unexpected sounds added in whole new depths to the music, mixing music with the natural world around me.

Akira Yamaoka – Silent Hill 2 OST

I honestly can’t tell you the number of times I’ve listened to this album. Easily in the hundreds, that’s for sure. Yamaoka weaved a glorious soundtrack, one that still haunts and entrances people to this day. He took the near industrial ambience of the original soundtrack and gave it a haunting musical depth that I’d, to that point, never heard nor experienced before. Even today, when the thunder is rumbling and the sky is pouring and streaks of rain slide down my windows like tears, I put this album on and just lay back to enjoy the moment.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

Pages: 1 2

Editorials

‘Phantasm’ – Why the Horror Classic’s Exploration of Death Still Resonates 45 Years Later

Published

on

As Benjamin Franklin famously wrote, “In this world nothing can be said to be certain, except death and taxes.”

The horror genre offers a controlled environment in which viewers can reflect on their own morality, whether it be via catharsis or escapism, but a personal loss can complicate one’s relationship with horror. Even the most hardened of fans may struggle to find comfort in the genre after experiencing the death of a loved one.

45 years ago today, Phantasm helped viewers confront death head-on while subtly exploring the grief that accompanies it. In the film, 13-year-old Mike (A. Michael Baldwin) convinces his older brother-turned-guardian Jody (Bill Thornbury) and their affable neighborhood ice cream man, Reggie (Reggie Bannister), to investigate a mysterious mortician dubbed The Tall Man (Angus Scrimm).

Phantasm was the third feature from writer-director Don Coscarelli (The Beastmaster, Bubba Ho-Tep). The seed was planted upon witnessing the audience react to a small jump scare at a preview screening for his previous effort, the 1976 coming-of-age tale Kenny and Company. Chasing that jolt of adrenaline, he challenged himself to make a movie that delivers scares regularly throughout.

The independent production was shot in 1977 on weekends over the course of nearly a year in and around southern California’s San Fernando Valley. The 23-year-old Coscarelli shrewdly rented the film gear on Fridays and returned it Monday morning, getting three days of work out of a single day’s rental fee. When all was said and done, the film cost an estimated $300,000.

Unable to afford a full crew, Coscarelli also took on director of photography and editing duties. His father, Dac Coscarelli, receives a producer credit for providing a large chunk of the film’s funding. Additional financing was invested by doctors and lawyers, accruing a total estimated budget of $300,000. His mother, Kate Coscarelli, served as production designer, wardrobe stylist, and makeup artist under different pseudonyms, and she later wrote the novelization.

Hot off the success of John Carpenter’s Halloween, AVCO Embassy Pictures purchased Phantasm for distribution. It was released on March 28, 1979 in California and Texas before expanding to other territories and becoming a box office success. It spawned four sequels, with Coscarelli and the core cast on board throughout, along with a cult following that counts Quentin Tarantino, Rob Zombie, Snoop Dogg, and JJ Abrams (who named Star Wars: The Force Awakens‘ Captain Phasma in its honor) among its ranks.

PHANTASM Remastered

The film embraces nightmare logic – in part by design, as Coscarelli drew influence from Suspiria; partly the result of extensively editing down an overlong first cut to a tight 89 minutes. The it-was-all-a-dream ending is a rare one that doesn’t undermine the entire movie that preceded it. Not every plot point is spelled out for the viewer, and some dots may not completely connect, but the narrative is conveyed in such an engrossing manner that it hardly matters.

A particularly striking pair of back-to-back sequences occur at the conclusion of the first act. Following a late-night graveyard excursion, the camera pulls out on a shot of a sleeping Mike to reveal his bed in the cemetery with The Tall Man poised over him while ghouls attack from their graves. The next day, Mike witnesses The Tall Man affected by the chill of Reggie’s ice cream truck via a spine-tingling slow-motion zoom.

The special effects also shine, from flying metallic spheres that suck the blood out of victims’ heads to lifelike severed fingers that bleed viscous yellow gore. The visuals are supplemented by progressive music composed by Fred Myrow and Malcolm Seagrave, to whom Coscarelli recommended electronica maestro Vangelis and Pink Floyd’s Dark Side of the Moon. Despite its repetition throughout the film, the power of their haunting musical theme is never diluted.

The cast was populated by amateurs, but occasionally hammy performances are far outweighed by naturalistic character moments, best exemplified by the scene in which Jody and Reggie jam on their guitars together. In addition to serving the plot by introducing the tuning fork that plays an integral role in the finale, it allows the viewer to better connect with the characters, thereby making their peril all the more frightening.

It’s character building like this that makes Phantasm‘s exploration of death so effective. The film is ultimately about Mike coming to terms with the passing of Jody, portrayed as the cool older sibling every adolescent wishes they had. Mike confronts his fear by dreaming up a final adventure with his dearly departed brother in which they manage to defeat death itself, represented by The Tall Man. Upon doing so, he’s awakened to the harsh reality that Jody died in a car accident, allowing Mike to reach the final stage of grief: acceptance.

Continue Reading