HANK STEINER, MONSTER DETECTIVE, ISSUE ONE

(Scott R Schmidt/Tyler Sowles/Sara Sowles; 32 pages; SOURCE POINT PRESS; 2014)

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Hard boiled film noir detective meets things that go bump in the night in the premiere issue of HANK STEINER, MONSTER DETECTIVE; or, maybe a more apt description for the minions of the monster underworld would be “things that get bumped off in the night.”

HANK STEINER, MONSTER DETECTIVE Page 5 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)

HANK STEINER, MONSTER DETECTIVE Page 5 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)

Hank’s Tower City mirrors a world divided; there’s the Human Side and the Monster Side. Both communities would like nothing better than that the twain never should meet. This first issue begins with – as all great detective stories should – a body. The desecrated body of something… not human has been pulled out of the river that separates the two sides of the city. The police on the Human Side grouse and grumble about having to handle a suspicious death from the other side, especially during the playoffs; the detective in charge is not about to miss the playoffs, so he’s called in back-up from the Monster Side: “Stand down, fellas, that’s a pal of mine, Frank.” Well, close… “It’s Hank.” In true noir fashion, our hero delivers a running inner-monologue-as-therapy, beginning here: “I hate humans. Comedians, every one.” Detective Steiner quickly identifies the putrid remains: “Looks like you fellas got yourselves what used to be an imp.” Equally as quick, the human cops dump the case on Hank, telling him to “Take him with you when you’re done.”

HANK STEINER, MONSTER DETECTIVE Page 9 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)

HANK STEINER, MONSTER DETECTIVE Page 9 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)

Back across the bridge, we meet Hank’s operatives, including his secretary, Iris, and a human informant (and garbage man) named Gus. The garbage man’s trash talk (literally) leads the big guy to some underhanded dealings coming from the goblin underworld boss, a fat, cigar-chomping Mafioso called Madtooth. Action comes fast and furious, as Steiner confronts some of Madtooth’s underlings and a trio of vampiric babes in a pool room dive that serves as a front for the mob’s business activities. Of course, Madtooth’s intervention leaves more questions than answers, as he tells Hank that they’re merely the middle men for something far more nefarious than his boys’ illegal shenanigans. Like many of the finest films of the genre, things take a rather unexpected turn, leading to an apt justice being meted out to the criminal element; also mirroring those classic movies, that justice comes in the form of a too-quick resolution. This plot could very easily have been delivered as a multi-issue storyline, fleshing out the characters (recurring and otherwise), the historical background regarding the animosity of the two districts of Tower City and the origins of Hank Steiner’s world.

HANK STEINER, MONSTER DETECTIVE Pages 14-15 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)

HANK STEINER, MONSTER DETECTIVE Pages 14-15 (Written by SCOTT R SCHMIDT, art by TYLER SOWLES and SARA SOWLES)

But… that’s a trifling complaint. Scott R Schmidt’s story and dialogue is fast-paced and quick-witted. One could almost envision Humphrey Bogart (well… maybe Raymond Massey) in the role of the Monster Detective. Tyler Sowles’ artwork is powerful and uncluttered, with his wife, Sara’s muted colors adding to the overall noir feel of the book (by the way, she is responsible for page layouts and lettering, as well). If Schmidt and the Sowles can deliver high quality stories like this in a consistent manner, the future certainly looks bright for the denizens of Tower City… or, at least as bright as things ever get in Hank Steiner’s world. I personally cannot wait for future installments, hopefully ones that will answer some of my questions about the whos, the hows and the whys of just what is happening in Tower City. HANK STEINER, MONSTER DETECTIVE is available at your favorite comics shop or, you can secure it digitally from DriveThruComics  or Comixology. Now… go ye forth and consume, comics lovers. The fun part of your brain will love you for it.


COLISEUM/DOOMRIDERS: NOT OF THIS WORLD

(MAGIC BULLET RECORDS/AUXILIARY RECORDS/LEVEL PLANE RECORDS; reissue 2016, original release 2005)

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Eleven years ago, Ryan Patterson of Louisville three-piece Coliseum released a split EP on his Auxiliary label, sharing the slab with a Boston band called Doomriders, one of Nate Newton’s many side projects when he isn’t playing bass for Converge. The intent of NOT OF THIS WORLD was to pay tribute to Glenn Danzig’s eponymous metal monster, Danzig. Each choosing one song from Danzig’s 1988 debut, the bands added some originals – very much in a similar vein to Danzig’s dark metal – to the mix (Coliseum, two tracks; Doomriders, one). Now, as part of their twentieth anniversary celebration, Magic Bullet Records has taken the two tribute tracks and stuck ‘em on a special 7” reissue. I wouldn’t have minded hearing the whole thing, but… I will definitely take what I can get.

Coliseum (Matt Jaha, Mike Pascal, Ryan Patterson, circa 2005) (uncredited photo)

Coliseum (Matt Jaha, Mike Pascal, Ryan Patterson, circa 2005) (uncredited photo)

Coliseum’s contribution, “Am I Demon,” comes across as standard-issue lo-fi heavy rock… you know, the good stuff. It’s kinda like Mountain and Blue Cheer tag-teaming with Lemmy, taking the low road while the ref’s not looking to retain their championship belts. Patterson offers suitably dark and gravelly vocals, as well as some brilliant guitar work; bassist Mike Pascal and bassist Matt Jaha lay down an underpinning that is so brutish, so heavy that you could caulk a window with it. If you like what you hear – and who wouldn’t? – check out the band’s latest release, 2015’s ANXIETY’S KISS, available here.

Doomriders (Chris Bevilacqua, Nate Newton, Jebb Riley, Chris Pupecki, circa 2008) (uncredited photo)

Doomriders (Chris Bevilacqua, Nate Newton, Jebb Riley, Chris Pupecki, circa 2008) (uncredited photo)

Possession” comes from Doomriders… DUH! The track starts with a wicked backward guitar that leads into a riff that reminds me of “Battle Axe” by Billion Dollar Babies, with sort of a minimalist (for a metal band, anyway) percussion thing from Chris Bevilacqua and Jebb Riley’s sonorous bass groove; the guitars, supplied by Newton and Chris Pupecki, are more akin to Tony Iommi’s dense slabs of tonality than anything else. Danzig’s punk pedigree is definitely on display on this one, particularly with the Misfits style gang vocals on the chorus. You gotta go back to 2013 to find new music from the quartet with the album GRAND BLOOD. You can find that and everything else Doomriders at this location.

NOT OF THIS WORLD original packaging.

NOT OF THIS WORLD original packaging.

So, short and sweet… just like this awesome blast from the past. Any fan of pure metal, hardcore or any type of aggressive music, really, will want this limited edition release in their collection; likewise, if you’re a fan of any of Glenn Danzig’s previous work, whether it be the Misfits, Samhain or Danzig, this record will fit in nicely with those, as well. It’s available on black, white or clear vinyl from Magic Bullet or any of the usual suspects.


CHRONICLES OF TERROR: THE MONTHLY HORROR ANTHOLOGY, ISSUE FOUR

(Kim Roberts/Various Writers and Artists; 80 pages; WP COMICS; 2016)

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The English people are a weird lot. They have a very dry, wicked sense of humor. They have also given us some of THE most frightening tales of horror… ever! Their views on Christmas are… let’s go with “skewed,” shall we? It goes well beyond the fact that they maintain a stubborn habit of saying “Happy” rather than “Merry” when wishing one well during the season of goodwill. Many of those views have been engrained for centuries; well before, I’m sure, the Church usurped the holy days, celebrations and traditions surrounding the winter solstice. All of this is my wholly American way of introducing you to a relatively new comic from the UK called CHRONICLES OF TERROR and, in particular, the fourth issue, a collection of Christmas themed stories sub-titled “Santa’s Twisted Tales.” Now, to be certain, all of the pieces here do not come from the minds and hands of our stalwart British friends; in point of fact, a “Creator of the Month” feature highlights Ohio comics writer and publisher of Disposable Fiction Comics, Jack Wallace.

CHRONICLES OF TERROR, Issue 4: "Snowvenge" (written by KIM ROBERTS, art by HARALDO)

CHRONICLES OF TERROR, Issue 4: “Snowvenge” (written by KIM ROBERTS, art by HARALDO)

Starting with the magnificent, delightfully gruesome cover image by Haraldo (like Cher, I suppose, this artistic genius only needs the one name), this book takes on every traditional concept – both religious and secular – regarding Christmas, as well as the so-called “pagan” rites and rituals of more ancient (some would say “arcane”) holy days. Haraldo’s stunning artwork is back in an imaginative take on the old “revenge is a dish best served cold” proverb; with a brilliant story and script by anthology editor, Kim Roberts, “Snowvenge” is certainly setting the bar high as an opening salvo, as it hits on all cylinders, from concept to finished art. “The Never” is a cautionary tale from the twisted brain of writer Eric Gahagan… a warning from the Anti-Santa for children everywhere about peeking at their presents. Pietro Vaughan’s hard angular lines and thick black shadows are akin to the fever-dream sets used in the brilliant, century old German expressionist horror film, THE CABINET OF DOCTOR CALIGARI. Ever wonder what the Jolly Elf’s reindeer eat to keep their energy up on those long Christmas Eve journey? Paul Bradford and artist Allen Byrns paint a very vivid picture in “Reindeer: Oh, Deer – Oh, Dear.”

CHRONICLES OF TERROR, Issue 4: "Charles 'Chucky' Dickens' 'A Christmas Carol'" (written by GABE OSTLEY, art by GABE OSTLEY and CHRIS ALLEN)

CHRONICLES OF TERROR, Issue 4: “Charles ‘Chucky’ Dickens’ ‘A Christmas Carol'” (written by GABE OSTLEY, art by GABE OSTLEY and CHRIS ALLEN)

Gabe Ostley’s obscenely off-kilter “Charles ‘Chucky’ Dickens’ A Christmas Carol” is eight pages of wildly gratuitous violence featuring the obligatory firefight between Death and Satan and his goat-minions, as well as Cthulhu, the festering corpse of the famed author of THE STORY OF THE GOBLINS WHO STOLE A SEXTON (if I’m not mistaken, he may have written some other fairly famous pieces, as well) and, of course, the totally unlikeable (anti-)hero of the story, a rooster named Cluck, appearing here as Scrooge McCluck; as Cluck is so repellant, I cannot wait for another installment of his adventures. Chris Allen’s vivid palette adds to the already surreal Hellscape. “The Ancestors” delves into some of the “pagan” beliefs and rituals that have become a part of traditional Christmas celebrations. MC Carper’s art has an old-world quality that fits Hunter Eden’s story perfectly, just as Chris Allen’s colors suit Carper’s line-work. As people of varying cultures and religions have migrated farther and farther from the homes of their fathers, the desire to break away from those familial and cultural bonds has grown, even as the need to remain grounded in those cultures and religions is instilled by the ancestral ways invariably follow (and, sometimes, haunt) the immigrant; this story follows one such tortured soul to his own inevitable conclusion. Though only three pages in length, “The Book of Eden Z: Come Gentle Christmas Angels” is… beautiful. The story is simple, elegant and sentimental; I’m not ashamed to say that it brought a lump to my throat and a tear to my eye. What do the spirits of children who are the victims of some unexpected violence wish for on Christmas? J Christopher Greulich’s story is both heart-warming and heartbreaking and his magnificent black and white art is among the best in this volume.

CHRONICLES OF TERROR, Issue 4: "Bad Santa" (written by KIM ROBERTS and CHRIS ALLEN, art by BRADEN HALLETT); "Unwanted Gifts" (written by JAMES JOHNSON, art by JAMES JOHNSON)

CHRONICLES OF TERROR, Issue 4: “Bad Santa” (written by KIM ROBERTS and CHRIS ALLEN, art by BRADEN HALLETT); “Unwanted Gifts” (written by JAMES JOHNSON, art by JAMES JOHNSON)

Bad Santa,” from writers Kim Roberts and Chris Allen and artist Braden Hallett is a cautionary tale of greed and the importance of inspecting each and every package, making sure to read any and all warning notices… even hand-written ones from in-house quality-control engineers. James Johnson’s “Unwanted Gifts” holds the least appeal, story-wise, for me. I don’t know why… it has so many horror linchpins: Loving family set upon by demon spores/spirits/whatevers living in the limbs of the family’s chosen fir tree, each possession driving the inhabited family member over the edge and, as they succumb to their inhabitants, further into the world of ancient Solstice religious beliefs and secular Christmas traditions. Maybe that’s the problem: Johnson’s plot is just too chock full of thoughts and ideas and visions to be coherent enough for a numbskull like me. The blood and the guts (yards and yards of guts!) and the extreme mayhem are cool, though. A drunken stepfather, an uncaring mother and an alien monster all impact poor little Sidney as she awaits a visit from Santa Claus on “Christmas Eve,” though, maybe not in the way that you would imagine. Jojo King’s story does a fine job of exploring the young girl’s hopes and wishes, while the artwork of Alister Lee aptly relates the horror of the season. The ending is much more graphic but is still very reminiscent of this issue’s earlier “Reindeer: Oh, Deer – Oh, Dear.”

CHRONICLES OF TERROR, Issue 4: "The 512th Day of Christmas" (written by JACK WALLACE, art by REINALDO LAY CONTRERAS and CHRIS ALLEN

CHRONICLES OF TERROR, Issue 4: “The 512th Day of Christmas” (written by JACK WALLACE, art by REINALDO LAY CONTRERAS and CHRIS ALLEN

The remainder of this fourth issue of CHRONICLES OF TERROR is comprised of special features and pin-ups, including a killer pin-up by Gabe Ostley (with suitably bright colors from Chris Allen) called “Christmas Turkey.” As mentioned earlier, a “Creator of the Month” feature focuses on Jack Wallace, writer and co-publisher (with the by-now ubiquitous Chris Allen) at Disposable Fiction Comics, who discusses his entrance into the comics industry, working with a wide variety of artistic talents and the pitfalls of self-publishing. Following this in-depth profile is a five page preview of Wallace’s latest graphic novel, THE 512TH DAY OF CHRISTMAS, with magnificent art from Reinaldo Lay Contreras (better known as Rei Lay) and colors from… you guessed it: Chris Allen. More info about and ordering info for the book is available at Disposable Fiction Comics; plus, you can order your own copy (physical or digital) of this Yule-themed CHRONICLES OF TERROR (as well as the first three issues of the incredible anthology) here. Enjoy! And… Merry Christmas, one and all.


RAVENWOLF TOWERS, EPISODE ONE: BAD MARY

(FULL MOON FEATURES/FULL MOON ENTERTAINMENT (32 minutes; Unrated); 2016)

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Populated by the usual freaks, degenerates, mad scientists and monsters that have become staples in any of his devilishly off-kilter features, Charles Band’s new web series, RAVENWOLF TOWERS, will be an acquired taste for the uninitiated, but… for those familiar with such delightfully gory offerings as THE GINGERDEAD MAN, PUPPET MASTER or GHOULIES, this first episode is like manna from the dark gods. The premiere installment of the seven-part series debuted on December 13, to coincide with the full moon; future episodes will follow suit, bowing on the six subsequent full moons. RAVENWOLF TOWERS can be viewed at Full Moon Entertainment’s streaming platform and their Amazon channel; each episode will also be offered as a stand-alone DVD release (no word yet on a collected DVD release).

RAVENWOLF TOWERS (George Appleby) (publicity still)

RAVENWOLF TOWERS (George Appleby) (publicity still)

The half-hour opener is titled “Bad Mary” and begins with an obligatory sexual encounter which – in true Band fashion – ends with one of the participants dying on the floor, minus an arm after checking the couple’s wardrobe for a boogie man. The horribly deformed giant in the wardrobe (so hideous, in fact, that he has to be played by two actors – Robert Cooper and Nihilist Gelo) is a member of the freakish, incestuous family who inhabits the top floor of the formerly opulent Hollywood hotel. And, then, things start to get weird… GENERAL HOSPITAL, soap opera weird. The newly hired assistant manager of the Ravenwolf, Jake (Evan Henderson), is warned by his histrionic boss (Sonny King) to stay away from the eleventh floor unless specifically requested by the family living there. During this admonishment, a suspicious character calling himself Doctor Ivan Ivanoff (a dark, understated performance from George Appleby, who has a resume that includes GAME OF THRONES and SHERLOCK) appears, seeking to rent a room. When the manager asks him to fill out an application for the room, the good doctor produces a stack of hundred dollar bills and is immediately given a key, offering insight to the management’s priorities. Once in his room, it becomes apparent that Ivanoff is a very different kind of doctor.

RAVENWOLF TOWERS (Shiloh Creveling, Evan Henderson) (publicity still)

RAVENWOLF TOWERS (Shiloh Creveling, Evan Henderson) (publicity still)

As fate – or, someone’s insidious plan – would have it, Jake is called to a room on the tenth floor due a leak from the floor above. By the way, as part of what Charles Band calls a “love letter to Full Moon fans past and present,” the occupant on ten will look very familiar to Band and Full Moon devotees. Jake’s repairs on eleven are interrupted by a beautiful young woman (Shiloh Creveling), crawling down the hallway, asking for help. Thinking the girl is being held against her will, Jake does the only reasonable thing he can think of: He takes her to his room and beds her. In the meantime, two of the occupants on the eleventh floor, a bedridden and irascible old coot (played with venomous glee by Arthur Roberts) and his daughter (portrayed in true scenery-chewing fashion by Full Moon mainstay, Maria Olsen) are told by their creepier-than-thou offspring that her son and brother, the giant in the wardrobe has disappeared. After dealing with the mess left by the brute Samson (collecting and destroying the remains in the room, as well as dragging off his traumatized bed-mate for a little late night blood-draining ritual), the father/brother/uncle/son/what-have-you asks a very simple question: “Oh, by the way, where’s Mary?” At which point, things reach a crescendo of weird… we’re talking ANOTHER WORLD weird here, with twisting plot-lines that will leave even the most clear-headed among us feeling a bit dizzy and scratching their head in an “I did not see that coming” sort of way as the credits roll. And, I haven’t even mentioned the very familiar clown who inhabits room 1012!

RAVENWOLF TOWERS (publicity still)

RAVENWOLF TOWERS (publicity still)

With this first episode, it might seem that Band is attempting a bit too much – getting most of the exposition (or “origin,” if you rather) out of the way before charging full-tilt into the mayhem in the next six installments. Time – and episode two – will tell; so, strap in, kiddies… another full moon is nearly upon us!


LAMB OF GOD: THE DUKE

(EPIC RECORDS/NUCLEAR BLAST ENTERTAINMENT; 2016)

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I don’t know if you are a fan of Lamb of God or if you know anything about their passionate, compassionate singer, Randy Blythe. I don’t really care but, you should know about this incredible new EP from the aggressively progressive boys from Richmond, Virginia; you see, Randy and his bandmates care and they are more than willing to go the extra mile for their fans and put their money where their mouths are. I’m just gonna let Mister Blythe speak for himself about this record’s title track: “A little while ago, I became friends with a fan named Wayne Ford – he was terminal – leukemia. I talked with him often, even video chatted him into the studio. He was very calm about his impending death, and we discussed it very openly. I learned a lot from him. This song is for him.”

Lamb of God (Randy Blythe with Wayne Ford, 2012) (uncredited photo)

Lamb of God (Randy Blythe with Wayne Ford, 2012) (uncredited photo)

Randy was made aware of Wayne’s illness in October 2012, when one of Wayne’s buddies asked him if he could give his sick friend a shout-out from the stage; Randy met Wayne and his wife after the show, giving him a much needed shot of positive energy. A little over two years later, in January 2015, Randy received an e-mail telling him that Wayne was losing his fight with cancer; Randy contacted Wayne and they stayed in touch for the next few weeks, as Lamb of God worked on their next album (VII: STURM UND DRANG), with Blythe even allowing Wayne to video conference with him during recording of his vocal tracks (something that even his LoG brethren aren’t allowed to experience). On February 3, 2015 Randy learned that Wayne had succumbed to the disease. His immediate response was to write a song for Wayne Ford, called, perhaps with a bit of divine intervention, “The Duke,” as Wayne’s father later told Randy that he was a huge John Wayne fan and that he had named his son after the legendary actor known as the Duke. The band has also set up a charity campaign for the Leukemia and Lymphoma Society online, at propeller.la/lambofgod.

Lamb of God (John Campbell, Chris Adler, Randy Blythe, Willie Adler, Mark Morton) (photo credit: TRAVIS SHINN)

Lamb of God (John Campbell, Chris Adler, Randy Blythe, Willie Adler, Mark Morton) (photo credit: TRAVIS SHINN)

Now that you know what kind of men… no, make that Men… the guys from Lamb of God are, here’s why you should check out the music they make. “The Duke” is a progressive metal tour de force. The track features pounding drums (should it be otherwise?) from Chris Adler, a John Campbell bass line that thrums ominously along the bottom and inventive, pulsating guitars from the tandem of Willie Adler and Mark Morton, topped off with a stunning solo; Blythe’s vocals are mostly clean, only hitting on that well-known throaty growl on the chorus. I always considered Lamb of God to be a very technically proficient group, but this song really blows me away! The other new tune is “Culling,” which is more of the same, while not quite as inventive; this one is all abut the groove. There’s a Zakk Wylde style stun guitar running throughout, with a fleet-fingered, trebley solo punctuating the affect. Randy’s vocals revert to the norm here: Intense, guttural screams, which ain’t a bad thing.

Lamb of God (Randy Blythe, 2005 SOUNDS OF THE UNDERGROUND TOUR) (photo credit: DARREN TRACY)

Lamb of God (Randy Blythe, 2005 SOUNDS OF THE UNDERGROUND TOUR) (photo credit: DARREN TRACY)

The remaining three cuts are live versions of three numbers from VII: STURM UND DRANG. The first, “Still Echoes,” recorded at Germany’s Rock am Ring festival in 2015, features quick, precision strikes from the four musicians while still delivering a vicious, pummeling riff. The last two, “512” and “Engage the Fear Machine,” are from the 2016 edition of the Bonnaroo Music and Arts Festival. The autobiographical “512” is particularly moving, as it recalls Blythe’s plight, being locked away in a Czechoslovakian prison awaiting trial on charges of manslaughter; the music, especially the snaking, circular guitar figure gives the song a suitably claustrophobic feel. By the way, the full story of Randy’s ordeal is told with brutal honesty in his memoir, DARK DAYS is available from Da Capo Press and all major book outlets, both online and brick and mortar varieties… or, you could check out a copy at your local public library. If the above story about his interaction with one terminally ill fan hasn’t given you proof of the man’s character, this book surely will!


GRIDFAILURE: FURTHER LAYERS OF SOCIETAL COLLAPSE

(THE COMPOUND RECORDS; 2016)

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I like noise! Noise is good. Particularly the conflagration of noise manifested by David Brenner, recording as the dark ambient project, Gridfailure. Five months after the release of the bone-jarring debut, ENSURING THE BLOODLINE ENDS HERE, Brenner is back with FURTHER LAYERS OF SOCIETAL COLLAPSE, an EP that is full of the best kinds of noise, utilizing field recordings, as well as heavily processed rock and pop instrumentation, lending the entire proceeding the air of a landscape decimated by industrial collapse. In less than thirty minutes, David (who is co-founder of the influential extreme music public relations firm, Earsplit) takes the listener on a trip that is – alternately – serene and pastoral, frightening and apocalyptic. In short, this is a sound pastiche for the thinking man. The seven-tracks, released on October 31 as a free download (name your own price) at Gridfailure’s Bandcamp page, is scheduled for a limited edition cassette release in the near future. In the meantime, feel free to listen below.

Gridfailure (David Brenner) (uncredited manipulated photo)

Gridfailure (David Brenner) (uncredited manipulated photo)

If you’re familiar with paranormal investigative shows like GHOST HUNTERS or GHOST ADVENTURES or the “found footage” of THE BLAIR WITCH PROJECT, you will recognize the underlying vibe of “A Severing of Ties.” The entire thing plays like an EVP (electronic voice phenomena) session conducted deep in a haunted forest, with weird, disembodied voices buried in a sea of white noise. Toward the end of the track, some tribal percussion (courtesy of Full Scale Riot’s BJ Allen) peeks out of the miasma. “Digital Crush” maintains the thematic thread of the first piece, as the drums resurface briefly at the beginning, before more found sounds and other-worldly voices are introduced into the mix; what appears to be a ghostly single-note piano coda intrudes on the whole affair, while crickets, cicadas and other woodland noises filter in and out to great affect. On “Android Infusion,” the EVP detector has been replaced by a transistor radio tuned to a weak-signal free-form Jazz station transmitting from somewhere within a war zone. “Get Fucked Dance” sounds like a residual (looped) haunting at the site of a horrible train wreck, relaying images of doom, destruction, pain and… a Native American wind instrument?

With “Broken Systems,” the skittering and buzzing of insects reacting to the wildly fluctuating radio waves and apocryphal voices seem to announce the opening of the Gates of Hell. The sounds of forest creatures is slowly replaced by a fever dream of industrial cacophony on “Indian Point Direct Proximity Warning Tester.” This calm before the atomic fallout is, quite naturally, played out over the incessant drone of a warning siren. “Woodlands of Self-Impalement,” though the final track, is the pivotal centerpiece of this dystopian soundscape, encompassing nearly one third of the total time. Thunder in the distance heralds the heavy winds and the storm is upon us; the creatures – natural, spiritual, demonic – cease their chirping and moaning and laughing… the dream, the inner turmoil gains momentum as the white noise of despair overtakes all thought, leading to silence and the sweet release of…


ANCIENT: BACK TO THE LAND OF THE DEAD

(SOULSELLER RECORDS/ELLEFSON MUSIC PRODUCTIONS; 2016) UPDATE BELOW

Ancient Cover Artwork

Twelve years after the band’s last release (NIGHT VISIT) and seven years after the latest version of the band came together, Ancient is back with what may be their most nuanced music ever. The album is not without problems, but BACK TO THE LAND OF THE DEAD is more than solid enough to keep the group’s diehard fans happy and new listeners – like me – intrigued. The album exists in both digital and CD forms, as well as a two record set, pressed on beautiful gray vinyl (available only from Soulseller Records; EMP has released a marbled blue version); this review follows the latter’s format.

Ancient (Zel, Nicholas Barker, Dhilorz) (photo credit: FABIO KOCELE)

Ancient (Zel, Nicholas Barker, Dhilorz) (photo credit: FABIO KOCELE)

Thunderous double bass drums explode on the de facto title track, “Land of the Dead,” while the guitars and bass seem to be buried in the muck and mire of a poorly executed mix. The vocals of band founder, Zel (shortened from Aphazel), are of the standard black metal variety: Gutteral, but not in the least bit unpleasant, as some other voices in the genre can be. The guitars begin to distinguish themselves in the second half of the tune, particularly with an odd, short solo that somehow works within the context of the driving hailstorm of noise. “Beyond the Blood Moon” features rudimentary progressive riffing. Once more, the vocals are buried in the mix a bit too much to be REALLY effective; a shame, too, as the lyrics are a cut above: “Chaos, fear, turmoil, despair/Millions dazed, trapped in the snare” and “What lies beyond the blood moon?/Will the end occur too soon?” are just samplings of the song’s bleakness. Plus, bonus points are awarded for fitting “sagacity” and “antediluvian” into the densely constructed wordscape. Okay… with “The Sempiternal Haze,” I’m finally starting to get a bead on Zel’s voice; it falls somewhere between that dude from Venom and King Diamond (though without the latter’s range). The levels seem to be… uh… leveling out, as the gigantic bass and guitar riffs are a bit louder than the drums, without dampening the full-throttle pounding one iota; the vocals seem to be cranked more, as well. A softer, more melodic break – a la Tony Iommi – leads into a nice guitar solo.

The Empyrean Sword” sets a wicked-fast pace from the get-go. The drums sound like helicopter blades decapitating a group of people who forgot to duck; the guitars churn and roil as the bass pounds in rhythm to the breakneck speed of Nicholas Barker’s percussion work. Some very nice guitar flourishes show up, once more, during a couple of slow breaks, the last right before Barker tears into a final, rapid-fire martial beat that would make Thunderstick proud. On “The Ancient Disarray,” another Iommi-esque guitar noodle leads into a downward spiral of chaos. The track features more pronounced guitar and vocals but, in breaking lockstep with Zel’s guitar parts, Dhilorz weaves some fairly interesting bass runs just below and through both the vocals and guitars. The vocals give way to an arcane-sounding incantation which lends a certain sense of authenticity to the whole affair, particularly as it leads to the song’s abrupt end. “Occlude the Gates” finds Zel’s voice taking on an animalistic, demonic air, even as the music assumes a more measured approach. The drum parts seem to be more well thought-out and… musical and powerful, as opposed to speed for the mere want of speed; the guitars hit on a majestic Maiden-like riff progression, sounding quite crisp and on-point. Even though the vocals are harder to decipher here, the song is actually one of the best on BACK TO THE LAND OF THE DEAD.

Ancient (Zel) (publicity photo)

Ancient (Zel) (publicity photo)

The majority of side three encompasses a three part “suite” called “The Excruciating Journey,” an apt title indeed, as themes of darkness and light, good and evil poke a finger in the eye of world politics. As the vocals continue to be brought to the fore in a more aggressive manner, the lyrics seem to become more garbled. However, with the triumvirate’s first movement, “Defiance and Rage,” the charging guitars and perpetual brutality of the drums continue unabated, making the piece virtually impossible to ignore. “The Prodigal Years” shows a softer side of the band… musically, anyway. Here, the lyrics are delivered in whispers, barely audible, which makes the song even creepier. “The Awakening,” the final piece of the triptych, is a return to the musical themes of “Defiance and Rage.” As the trio turns up the heat, Zel gets right to the heart of the matter: “Rot! Grime! Angst and blight!” The second chorus tears the scab completely off the festering wound, intoning, “Just a neverending disarray, can’t avoid going astray/Like a fly in a flushing toilet/Surely seems the end has come.” The music doesn’t become less urgent or bludgeoning on “Death Will Die,” but there is something violently majestic about the guitars and keyboards that make this one a stand out. In fact, with Zel’s voice turning back to the biting growl of the first several tracks, this could just be the best tune on the record.

Ancient (Dhilorz; Zel; Nicholas Barker; Ghiulz Borroni) (publicity photo)

Ancient (Dhilorz; Zel; Nicholas Barker; Ghiulz Borroni) (publicity photo)

Side four opens with “The Spiral.” Powerful and intriguing, the tune’s circular (dare I say, “Spiraling?”) guitar figure offers up the record’s ultimate classic rock riff, referencing Alice Cooper and Deep Purple,as well as the twin-guitar assault of bands like Thin Lizzy and Iron Maiden. As cool as “Death Will Die” is, this track comes in a close second, due to its diversity in approach; for six-plus minutes, the band manages to incorporate not only several styles of metal, but straight-forward 1970s hard rock into the album’s matrix, including a slight slowing of the tempo behind a cool dual guitar part. Again, a more pronounced keyboard presence adds to the overall effect. It seems that band mastermind Zel has divided …LAND OF THE DEAD into two quite different parts. The first five or six numbers are playing to the Ancient base – the long-time fans who are here for the dome-crushing blackened riffs and ceaseless drive of the double kicks; the second is, for want of a better term, more experimental, giving the trio a chance to stretch out and display their talents on a wider stage. “Petrified By Their End” is a perfect example: While maintaining the band’s ultra-heavy roots, it tends to lean toward the progressive. There are four distinct sections to the nine-and-a-half minute piece that will hold even the most cynical listener rapt throughout. In point of fact, the Alice reference comes into play again as, at about the six minute mark, there’s a buzzing beehive guitar solo that reminds me of Glen Buxton’s killer (pun intended) work on “Halo of Flies.” The album ends with a bonus track (but, not really a bonus, as it appears on every configuration and version of the record). “13 Candles” is a cover of the Bathory tune that I’m not sure really adds anything to the original, but covers are always fun. Having just discovered Ancient with this album, I have just one request: Please… don’t wait another dozen years to release your next record.

(UPDATE) After further listens to BACK FROM THE LAND OF THE DEAD, I must amend my thoughts regarding the sound quality on the first few tracks of the record. The sound is not as muddied and muffled as I originally opined; seemingly, the problem actually lies with the digitized version I used for this review. So… turn it up and enjoy!


SCREAMS IN THE NIGHT: THE KATIE KEENE INTERVIEW

Katie Keene (publicity photo)

Katie Keene (publicity photo)

Every generation needs its “Scream Queen,” a pretty young lady destined to be set-upon by various creeps, ghouls, monsters and demonic beings in horrific movie after horrific movie. Katie Keene is working very hard at being this generation’s version of the frightened survivor of such horrendous happenings, appearing in a slew of horror flicks including LOST LAKE, UNION FURNACE, the new CLOWNTOWN and the upcoming hospital torture film, INOPERABLE. In a recent interview, Katie discussed her craft, her favorite Halloween memories, her very real case of coulrophobia and her INOPERABLE co-star, the reigning Queen of Scream, Danielle Harris. Strap in, boys and girls… Katie Keene is an up-and-coming talent who is really gonna play on your fears.

THE MULE: Okay… first things first, give us a quick synopsis of CLOWNTOWN and tell us a little bit about your character, Jill.

KATIE KEENE: So… CLOWNTOWN… a little killer clown action for you. A couple of friends go to see a concert, they kinda get lost along the way and end up in this really small town full of killer clowns. Jill is a friend that’s going with the rest of her buddies. You know, couples date. And, she gets stuck with the rest of her buddies in this terrible town… of killer clowns.

THE MULE: You do a lot and I mean… a LOT of screaming in this film. Did you ever lose your voice during your oxygen-depleting, throat-mangling, near-operatic performance?

KATIE: My big screaming scene in CLOWNTOWN, that was a tough one. I have a space that I go to and I sit in this space on set. I’m there way before we’re filming, sitting at that tree, just zoning in… I just kind of sit in the environment and… sorta let that get to me emotionally and, buddy, when I’m directed to scream and to not stop screaming, that’s what I do. I just bring everything I’ve got. I give everything my little body can give. And, when I do it, I’m physically exhausted after but… I never lose my voice. So, that’s kinda cool.

THE MULE: So, you’re physically exhausted, but that must take an emotional toll on you, as well.

KATIE: Absolutely… it does. It’s really a lot of work. I’ve made a couple of horror movies and horror movies are hard to make. They take a lot out of you emotionally. There’s so much screaming, there’s so much high emotion and, when you’re in high emotion like that every day for a month or however long, it works on you… it works on your body, it takes a toll on you. My body is literally giving everything I can to the role. That’s what I love to do.

THE MULE: You mentioned that you’ve been in a couple of horror movies before CLOWNTOWN. So, what really frightens you?

KATIE: Well, that would be those filthy clowns! Clowns are my biggest fear in all the world and when they had… When I took this role, I didn’t know it was about killer clowns. When Tommy, the director, asked, “Oh, you want to be in a movie?” So, yeah… after I booked the role, I was so excited and then he said, “But, we have to let you know… it’s about killer clowns!” I was so taken aback and was a little speechless because I have a legit fear of them. As a young girl… I suffer from terrible nightmares and ever since I was a young girl, I dream about clowns. I’m SO scared of them. It’s crazy to be thirty years old and be afraid of clowns, you know. That’s a real fear that I have and it took me a minute to really check in with myself to see if this was something I could do and I was just like, “You know what? It could be the greatest acting I’ve ever done ’cause I’m not gonna be acting… I’m really going to be scared!”

THE MULE: Oh, yeah… you gotta watch out for those killer clowns! I don’t trust any of them!

Katie Keene on the set of CLOWNTOWN (uncredited photo)

Katie Keene on the set of CLOWNTOWN (uncredited photo)

KATIE: Oh, no! Gosh, aren’t they just so terrifying?

THE MULE: So, aside from CLOWNTOWN, what’s coming up for you next?

KATIE: After this movie, actually with some of the same producers, I was… on another horror film called INOPERABLE. We’re finished filming now, but that’s my newest film coming up on the horizon. And that’s just now having a trailer come out and starting to get a little buzz from that. Then, continuing my day-to-day actor life here in LA, you know, auditioning for all kinds of different things day-to-day and working on the craft and seeing what you can land next. It’s kinda nice, ’cause I’ve got a couple films that are coming out around the same time. It’s really cool, especially with the Showmi and the Netflix. You know, I’ve got a couple movies on a couple of different things and people see the trailer for CLOWNTOWN and they go, “Oh, I’ve been a fan since LOST LAKE” or “I’ve been a fan since UNION FURNACE” or a couple other horror films I did… they’re starting to come out around the same time. It’s great for my career; people recognize me from a couple other very small independent horror films. It’s just so cool to be recognized, that people are watching some of these films. It’s just great!

THE MULE: Oh, absolutely. Now, INOPERABLE… I have seen the trailer for that one and, yeah… I guess that’s another thing that can be kinda creepy… hospitals.

KATIE: Absolutely. That hospital we filmed in WAS creepy. It was not a very fun hospital. It’s so neat what scares people… that’s what so fun about horror films – it’s like, there’s so many things you can make scary, you know, you can just play on peoples fears. I know,,, the fear of clowns is very common. There are so many people. And, fear of hospitals… people are scared of hospitals and there are just so many… so much opportunity to play off the fear of real people but… can I just say, it’s really fun!

THE MULE: Yeah, it is. I mean… people love to be scared.

Katie Keene is terrorized and tortured in LOST LAKE (publcity still)

Katie Keene is terrorized and tortured in LOST LAKE (publcity still)

KATIE: Yeah, they love to be scared! You know what? I like to be scared. Halloween is my favorite holiday. The scary haunted houses, they scare me. I mean, I know they’re actors… I used to act in them but, now, that’s what scares me – going to haunted houses. Horror films these days, I’m very critical. It’s very hard for me to find a scary movie that really scares me. I’m always like, “Bring it on! Bring me everything you got!”

THE MULE: I’m less than an hour away from Saint Louis and there are some really good haunted houses there. I’m talking world class haunted houses.

KATIE: Oh, absolutely! And, people will drive from all over to go to the real good ones. It’s crazy! It’s such an interesting thing that people just love to get the shit scared out of them!

THE MULE: You mentioned Halloween. It’s probably everybody’s favorite holiday… well, Christmas is up there, too. But, anyway, what is your favorite Halloween memory?

KATIE: Oh, wow… I’ve just got so many. You know, the Halloween I really liked, I was working in a haunted house; it was a couple years back. It was the Hollywood Haunted Hayride… I don’t know if you’re familiar with it but, they do big haunted houses here in LA. I was working that for Halloween one year and we just had a ball! It was just so much fun. That’s the most recent one that really sticks out in my mind. I always try to do something crazy for Halloween. A lot of Halloweens these days, I’m working. As a child, growing up, we always would dress up and trick or treat and then, when I got a little older, then started the pranks. I was always running around in camouflage, me and my buddies from school… we were big pranksters. So, every Halloween, everybody was going to get egged or pranked in some way. I had a lot of fun on Halloween growing up… always trying to scare people. I’ve got so many good Halloween memories.

THE MULE: Cool. I was just going to get back to INOPERABLE again. What is it like to work with Danielle Harris? She’s kind of a queen of the scream movies.

KATIE: Danielle… yeah, she sure is. Danielle was so great, such a big help to me, such a good friend to me, such a good mentor. She’s been working since she was three years old and now she’s kinda the big scream queen, you know, with HALLOWEEN. That’s what she does. We were so in awe… it’s always really neat when you grew up watching someone on television and then, a few years later, down the road, there you are working with them in a movie. A known movie. It’s always so great. She was just so very informative, she’s very professional. I love to watch her work, I love to watch her act and to hear her ideas and her thoughts. It was just so professional; you could just tell she’s been doing it her whole life. It was just great to see. We have a similar… She gave me a lot of great advice for my own career. She did a lot of horror films; I’m kinda… in that way, as well… doing a lot of horror films. She gave me great advice and had only nice things to say about my acting. She was like a friend and a mentor, too. I just loved her. She was amazing to work wth, so professional, so good at what she does… it’s second nature to her. It’s so cool to see people work that way, She’s a love, a friend of mine to this day. I really appreciate that. Just a lovely lady.

INOPERABLE (Katie Keene, Danielle Harris) (publicity still)

INOPERABLE (Katie Keene, Danielle Harris) (publicity still)

THE MULE: Awesome. We will be looking for that one and CLOWNTOWN is coming up soon. Thanks for the time and maybe we’ll talk again around the time INOPERABLE is released.

CLOWNTOWN

(MILLMAN PRODUCTIONS/STEEL HOUSE PRODUCTIONS/ZORYA FILMS (85 minutes; Unrated); 2016)

clowntown-final-dvd-art

This could very well be the first current events, topical horror movie ever made. It is released in the midst of a “Creepy Clown Mania” that has overtaken small towns from coast to coast; in many in rural areas, there are (mostly unsubstantiated) reports about children being menaced and stalked by people dressed as clowns. Personally, I think it’s all a magnificently choreographed – if terribly misguided (think Orson Welles’ 1938 radio broadcast of THE WAR OF THE WORLDS) – promotional stunt… maybe one intended to prepare audiences for CLOWNTOWN. Be that as it may, the Tom Nagel/Jeff Miller hack and slash is, actually, “Inspired by true events.” Apparently, October 2014 saw numerous armed people in Bakersfield, California dressed as clowns, scaring the populace at-large. I guess I missed that newscast… or, just maybe, living here in the middle of the country, I’m kinda used to seeing armed clowns at the corner store and at the family diner down the street. (Before a large contingent of angry townsfolk come after me with torches and pitchforks… that was a joke! Sheesh… why so serious?) Some of the situations our hapless heroes find themselves in call for a major suspension of reality on the part of the viewer, much like great hack ‘n’ slash movies of the past, like FRIDAY THE 13TH. That doesn’t make the film any less enjoyable for what it is: A Halloween movie meant to scare the crap out of you.

CLOWNTOWN (David H Greathouse) (publicity still)

CLOWNTOWN (David H Greathouse) (publicity still)

CLOWNTOWN begins – as most such stories do – with a preamble, a foreshadowing of the impending violence. A pretty blond babysitter (I would identify her as “Interchangeable Blond Rack 247,” but that would be demeaning and chauvinistic, so I won’t… the actress’ name is Kaitlyn Sapp, by the way) and her two charges enjoy a final swim before the kiddies’ bedtime; a foreboding mention of the sitter’s predecessor and random shots of clown-related knick-knacks inevitably lead to the… well, that would be telling, wouldn’t it? Fast forward fifteen years as four friends (played by Brian Nagel, Lauren Elise Compton, Katie Keene and Andrew Staton), on a road trip through Southern Ohio to a concert in Columbus, pull into a roadside diner to ask directions and use the facilities. A pair of workers (director Tom Nagel and Jeff Denton) sit at a window booth, one wanting to be on his way home and bemoaning the slow, leisurely manner of his friend’s eating style; remember them… they’ll be back later. Also adding to the (weird) local flavor is the county sheriff (Christopher Lawrence Chapman) and a leering old dude with lewd intentions (don’t worry about him, though, as he ends up dead in the next scene).

CLOWNTOWN (Chris Hahn, Lauren Elise Compton, Brian Nagel) (publicity still)

CLOWNTOWN (Chris Hahn, Lauren Elise Compton, Brian Nagel) (publicity still)

With directions for a shortcut offered by the Sheriff, the revelers are on their way. On the road once more, Mike (Staton) asks his girlfriend to locate the nearest gas station, but Jill (Keene) discovers her phone is missing. Sarah (Compton) calls Jill’s number in hopes of locating it; a male voice answers the call and directs the group to the nearby town of Clinton, promising to meet them there with the phone. The town seems deserted as the four head to the designated meeting place; after several frustrating hours spent waiting, the decision is made to abandon the phone for the time being and get back on the road to Columbus. The group returns to their vehicle only to find that it has been tampered with and won’t start; as the hood is closed, they finally see another person, a menacing looking man dressed as a clown and wielding a machete. The man disappears as Brad (Nagel) and the others approach. Desperate to be on their way, they begin searching for additional signs of life in the town and eventually run into Billy and Dylan, the two homeward bound workers from the diner, who have just had their own encounter with a clown. As notes are compared, the clowns return and Billy is… well, let’s just say that things quickly degenerate from that point. Heading into a suitably foreboding junkyard, the quintet is quickly reduced to a quartet as Jill is caught lagging behind the others; the hotheaded Mike is ready to confront the murderous clown horde, but is held at bay by the levelheaded leadership of Dylan (Denton).

CLOWNTOWN (Chris Hahn, David H Greathouse, Ryan Pilz) (publicity still)

CLOWNTOWN (Chris Hahn, David H Greathouse, Ryan Pilz) (publicity still)

That works out so well for the harried remnants of the little group that they find themselves surrounded, cowering in the husk of an old Winnebago until a grizzled citizen-in-hiding comes to their rescue – a variation on the whole “Follow me if you want to live” theme. Frank (Greg Violand) comes across as a stereotypical homeless psychotic, but once our heroes regroup in an abandoned warehouse, the truth about why he is the way he is comes to light. It seems that Clinton was once a thriving railroad stop, until a horrendous train wreck ruined the economy and turned the village into a virtual ghost town where the clowns imposed their own style of marshall law on the remaining citizens. Frank concludes the story by emphasizing, “Clowns own this town now.” Dylan says, “I heard rumors of clowns in this town, but I thought it was just bullshit to scare people. I heard it all started with some crazy, messed up family.” Looking away, Frank replies, “I don’t know nothin’ about that.” Which, of course, means… the clowns have discovered their hiding place and are on the hunt again. The sad thing about the whole predicament is highlighted at about the forty-four minute mark of the film, when Sarah tells Brad that she doesn’t really like Country music, anyway – had she made that fact known way back before the original foursome set out for Columbus, they would be safe at home, not running for their lives from a gang of homicidal Bozos (the killer crew are played by David H Greathouse, Ryan Pilz, Alan Tuskes, Beki Ingram and former WWE/WCW/ECW wrestler, Chris Hahn). But, then, what fun would that be for us?

CLOWNTOWN (Alan Tuskes; Katie Keene, Lauren Elise Compton; Beki Ingram) (publicity stills)

CLOWNTOWN (Alan Tuskes; Katie Keene, Lauren Elise Compton; Beki Ingram) (publicity stills)

So, anyway… with Frank and his new friends once again on the run, the clowns begin to exhibit certain preternatural – if not supernatural – abilities: Heightened agility, strength, speed and a high tolerance for pain among them. It’s also around this point in the flick that we finally get a glimpse of Jill’s fate; she isn’t dead, but she is being held captive at the clowns’ “compound.” The fact that she is still alive actually came as a bit of a surprise to me, even though the actual body count throughout the entire movie is startlingly low for one of this genre. Don’t get me wrong, there are plenty of gruesome scenes to keep today’s horror fan watching, just not a lot of people dying. After escaping from the clowns (and doing damage to at least one), Frank gives the others directions to find Jill, but along the way, they are set upon once more, as Brad is separated from Sarah and Mike. Now, well after dark, Brad sees lights on in a house; entering the home, he finds a woman (Maryann Nagel… that’s right, this low budget screamer is a family affair, with many a Nagel and Uncle Greg Voiland involved, either behind or in front of the cameras) with screws looser than Frank’s and, upon seeing a familiar picture on the mantle, begins to put things together. Meanwhile, Mike and Sarah are captured as they try to get help and removed to the clowns’ sanctuary. There really aren’t a lot of surprises left by this point, but getting to the end of the story is still a lot of fun… in a “brain-disengaged” sort of way. As I mentioned at the top of this review, CLOWNTOWN ain’t Shakespeare; it’s just good, cheap fun meant to scare the bejeezus out of you around Halloween time. Having said that, I must congratulate the writers for the humorous deaths of a pair of clowns in the last few minutes of the movie. For those who are interested in such things, the movie features a very HALLOWEEN-esque soundtrack. As far as parental warnings, there are more than a few very violent scenes, some implied bondage and one topless babysitter… kinda mild for a horror film nowadays, actually.

CLOWNTOWN is coming to DVD and Video-On-Demand on October 4, 2016… just in time for Halloween and your “Creepy Clown” or “Scream Queen” festivities.


INTIMATELY LOUD: THE JON AUER INTERVIEW

jon50

After a year of loss (drummer Darius Minwalla and former bassist Joe Skyward both passed away) and of new beginnings (the release of their first record in six years, SOLID STATES), the Posies – Jon Auer and Ken Stringfellow, with drummer Frankie Siragusa – hit the road with a string of secret, “Pop-Up” shows. Playing in unconventional locations and venues, the newly revitalized band has hit upon one of the more intriguing ways to get their music out to the most die-hard Posies fans. I had the opportunity to speak with Jon Auer before a recent show in Minneapolis, which found him traveling and taking a ferry to his appointed destination.

THE MULE: So, you’ve been doing this since you were… what, seventeen? The Posies, solo work, REM, Big Star…

JON AUER: Well, yes…there’s solo work and I’ve been in Big Star. Ken’s done REM and also Big Star… we’ve both done many other things and worked in many different situations with different people… for instance, I’ve also worked on a record with William Shatner and Ben Folds (2004’s HAS BEEN).

THE MULE: Well, there you go. That’s even more important; that’s really impressive!

JON: Right, haha! But, anyway… you were saying?

THE MULE: How do you keep things fresh? How do you maintain that initial excitement? You know… what you felt at the beginning?

JON: I think it’s by trying to not repeat ourselves. That’s had a huge impact on the amount of enjoyment that I or we get out of what we do. I mean, I think it’s the same in life; if you’re sorta coasting and doing what you’ve always done perhaps it’s nice for awhile but eventually it can become stale. I mean, it may be comfortable in a way but… is it exciting? That’s the question. And, I think we’ve been very good about making the effort to not just take an easy route when we make a record or try something new. I think that if you examine every one of our records there are common threads for sure but they are all very different, each their own distinct thing… like little aural time capsules of where we were at the point in time we made them. I don’t know, man… I mean, there are bands that just try to do one thing and they do it – like Orville Redenbacher, you know? “Do one thing and do it better than anybody else” haha! – That works for certain groups… AC/DC springs to mind; I mean, I don’t really think I’ll be expecting a new AC/DC record to surprise me. If they do, that would be kinda cool but, by the same token – no offense to AC/DC – will I really need a new AC/DC record if it doesn’t? I mean… I could be wrong but I’d wager it’s probably just gonna sound like what you would expect. The Posies aren’t like that. We fall into the camp of musicians and artists who ask “What’s the point of repeating yourself?” But, the funny thing is, though we often make concerted efforts to sound massively different and then, you know…. we are who we are anyways. It may be different from what we’ve done before, often very much so, but it still sounds like “us.” It doesn’t ever sound like a completely different band because it still has the vocals and the harmonies and the way that we write songs, it’s just… It’s more like buying a new outfit ’cause you wanna try a new look or feel or maybe like trying some kind of new food that you’ve never had before because you don’t want to keep the same items on the menu all the time. It’s that kind of vibe. That’s what keeps it fresh: The new ideas and approaches.

The Posies (Jon Auer, Ken Stringfellow) (photo credit: DOT PIERSON)

The Posies (Jon Auer, Ken Stringfellow) (photo credit: DOT PIERSON)

And, adding to that, this whole method of touring that we’re utilizing now is another way in which we’ve been able to re-invigorate the process because it’s not being done in way that we’ve experienced ourselves before. It’s a new format, a new line-up… we’re going out as a three-piece, playing unlikely spaces, unusual venues. We’ve turned it into a way of doing things where it’s just… the band. We are the crew, we are the roadies, we are the ones who sell the merchandise… we’re the drivers. We do it all.

THE MULE: So, it’s almost back to the beginning again.

JON: In a way, yes. We’re finding… you’d think it would be kind of like, “Oh jeez, what have we taken on? It’s too much!” But, the opposite has occurred where I feel like, “Wow, I’ve got a real sense of purpose here” because there’s always something to do and nobody’s doing it for us. You either succeed or fail by your own hand, whatever you have to accomplish on any given day. It’s really kinda up to you; there’s no one else to shoulder anything on. All the activity morphs into having a lot of satisfaction with what gets accomplished, which is a ton.

THE MULE: Right. Uh… how did this idea of the pop-up show come about and how does that exactly work?

JON: Well, as far as this recent touring we’re doing, Ken toured in a very similar manner with an artist named Holly last year and he thought it would work really well with us… and he was right, big time. Due to scheduling, we missed a window in 2016 to do a regular club tour and this is what we did instead and it was a real eye opener, a pleasant surprise. That said, I’ve got to go back a little farther even. I realize that playing living rooms or atypical spaces isn’t a new concept. I mean, other people have been and are doing it and I admit that even as a solo artist, I’ve done… I had a nice little… what would you call it? Not a tour per se, but I had a nice little thing going where I would do certain house concerts every year at the same places since the mid-2000s. I had a nice group of regulars, really cool people, that would have me to visit and perform and they were always super great places and people there were just people there to listen. The audiences were a nice cozy size and merch sales were always good. Often there would be excellent bottles of wine around, you know… nice meals and you were well taken care of and had a great time hanging out around the show as well. There’s a lot to be said for that way of doing it; you take that and compare that to the model of maybe playing a dingy rock club in some city and then staying in, say, a Motel 6, if you wanna be cost effective, and it’s not quite the same equation, is it? Haha! Don’t get me wrong… there are many cool, classic clubs in America but then there’s often the issue that not everybody in the club is there to see you. Like, maybe there’s someone that comes because they’re a friend of the bartender or they just come to casually check you out for a few songs or they just come because they got on the list for free and wanna drink beers and talk in the back and they aren’t listening to you anyway.

That’s why this whole pop-up thing, playing in these unique venues, is so… works so well, because you really don’t get anybody there that’s just a casual audience member; they’re all usually, generally, fans that have many of your records. Or, they’re bringing people with them who’ve never heard really us but are very curious, like they’re friends are trying to indoctrinate them into the ‘ways’ of the Posies, pass it on to them. People are very respectful and they’re there because they want to listen and have a fun hang. Not only that, they’re also willing to hear us play new stuff, you know? It’s not just someone showing up to hear the hit. You know what I mean? Like they want to hear the one song and then they’re gonna leave? That never happens. We actually play our entire new record in our set… we mix it in with other stuff, of course, but, we play all twelve songs most nights. Nobody seems to mind and I think we did a very good job of designing our set list so there’s just enough familiar stuff and new stuff mixed together in the right combination at the right times so that nobody gets bored or too anxious…us included. It’s worked out incredibly well. I mean, when you experience something like this and everybody has such a good time, you kind of wonder, “What’s the point of doing it the other way?” And, also, in terms of the whole pop-up concept, it really does add mystery to the whole event as well and I mean, hey…who doesn’t like a little mystery in life? That also keeps things interesting, keeps things humming. It makes everyone more curious and filled with more anticipation and then there’s also the surprise and payoff of showing up and finding out, “Oh, this is where the show is tonight!” Okay… I’m in a back yard in Phoenix. Or, I’m at some recording studio I’ve always wanted to go to that I didn’t know they did shows there. Or, my God, look at this amazing house and how good it would sound in here.” Anyway, it’s surprising how well it’s worked… and that’s why we’re doing it again: Because it was so good.

THE MULE: Very cool. So, you’ve kinda half way answered one of my… well, actually a couple of other questions. The first, about how the tour is going; obviously, it’s going swimmingly well. And, the other thing is, obviously, I’m talking to you not only because of SOLID STATES, but also because you are playing in kinda my back yard, next Wednesday, in Saint Louis. So, I was going to ask you what we could expect at the Saint Louis show.

The Posies (Ken Stringfellow, Frankie Siragusa, Jon Auer) (photo credit: RENE OONK)

The Posies (Ken Stringfellow, Frankie Siragusa, Jon Auer) (photo credit: RENE OONK)

JON: Well, you know… uh, it’s cool because I don’t think we’ve done a Posies show in Saint Louis since… I want to say… 2005 maybe? Is that even possible? Hmm… Maybe it was even longer ago than that, maybe Ken and I played as a duo last time around, in 2000 or so… it’s been a while, you know? The last time I was actually in Saint Louis for anything, I think, was to play with Big Star, at a small outdoor festival with Son Volt, I believe. I forget where it was…I want to say it was downtown by some impressive looking architecture, some State buildings or structures like that. This time around I think you can expect us to be psyched to be playing a place we haven’t really done enough playing in. And you can also expect something visceral … there’s a lot of energy in our show; I mean, the record’s very… it has a lot of energy in it but, it’s also rather lush and pretty and moody and the live show kicks all of it up a couple of notches at least, because it’s just… well, it’s louder for one thing! Word to the wise: Bring earplugs! I’d tell everybody to do that. It’s not a quiet show and a lot of these shows are in smaller and/or unusual spaces where the acoustics are more explosive sounding… So, it’s always good to have some protection for your ears. Seriously, folks. You can really expect some… We don’t phone it in, you know, just because we’ve been doing what we do for quite a while now. I mean, we really try to give it our all every night, no matter how far we have traveled to get there or if our bodies are aching or whatnot. I mean, there’s no point coming to do it if we’re not having… we just want people to have a great time and enjoy it ourselves.

THE MULE: Okay… this may be kind of a hard question for you to answer. But… uh, I’m gonna ask it anyway. How did the deaths of Darius and, later, Joe effect the recording process and plans for the tours you’ve been doing since?

JON: Well… Darius was… Oh, jeez… I mean, it’s the kind of thing you really can’t do justice to in an interview, honestly, you know. Explaining just how much of an impact not having Darius and then Joe around anymore had… just how much of an impact that’s had on my life, on our lives…well, I mean, in the case of Darius, you’re talking about someone who played in my solo band three years before he joined the Posies and then he was with the Posies fourteen years afterwards. He was pretty much my best male friend and I was devastated when he died. And, he died right near the beginning of… I’d say a third to maybe almost halfway through making SOLID STATES? So, the question for me then became, “What do I even want to make a record for anymore?” I was super distraught and confused by the loss and I was constantly trying to make sense out of losing him when ultimately there was no sense to be found in any of it. Eventually, what ended up happening was it worked its way into some of the remaining songs I hadn’t written yet and… how could it not, y’know? It’s funny, because I always think it’s kind of obvious but, many people, they need more direct clues or a clearer road map to figure it out because they often misconstrue a song’s meaning… and fair enough, people interpret songs the way they want to interpret them unless they’re clearly spelled out, sure. And, I bring in some… we often use unusual imagery and metaphors so, actually, it’s not always so straight forward. For instance, there’s a song “Unlikely Places,” I’ve seen many reviews of it now, and unless people knew what it was about, some seem to consider it… they think it’s about a boy and a girl relationship, a romantic relationship and it’s so far from that. It’s really about me dealing with the loss of Darius, what it did to me and where I was trying to go or get to to figure out how to deal with the loss. People can help you and you can get advice… you can do therapy and you can do whatever but, no one can really totally… It’s such a personal thing. No one can get you through it, to a place where you can live with it, but yourself in the end. I don’t know what you’ve experienced as far as loss… parental or… but, it was a total ‘before and after’ moment for me in life, losing Darius, and…well… that’s just the way it is. We did eventually soldier on and got back to the music but it was painful. There’s another song, “Rollercoaster Zen,” that is for Darius. If you really look at the lyrics to that, you can see that I’m talking about him… almost to him. The dreams I’ve had… I had… oh, God, I had some incredibly vivid dreams about him, like he was still here. I don’t know. I don’t wanna keep going on too much about it because it’s too hard to explain, totally. But, you get the vibe, right?

THE MULE: Yeah. I actually just lost my mother a few weeks ago and… I was actually her caregiver for the last ten years and… it’s rough, man.

JON: So you’ve been… You know – in an even more primal way, since it’s your mother – probably the stuff I’m talking about. It just is what it is but it doesn’t make it any easier to deal with. You’ve just got to learn live with it eventually, you know? And it takes time. And it can bubble up at the weirdest times in the weirdest places, the grief, yes?

THE MULE: Right and, like you were saying, everybody is trying to help… there are the platitudes, “It’ll get better” and I know all that stuff but, there are times where it’s just like, “Leave me alone. Let me deal.”

Darius Minwalla; Joe Skyward (uncredited photos)

Darius Minwalla; Joe Skyward (uncredited photos)

JON: Yeah, and you know what?… It’s so true… at times, often there’s nothing worse than a platitude because… you know people mean well but, it really doesn’t do justice to the loss. It’s nobody’s fault, but it doesn’t. It doesn’t really help so… it would almost be better if people would… So, yeah, I feel for you, man. There’s been a couple for me recently… As mentioned, Darius… and right before we went our first tour this year in Europe, Joe passing as well…In his case, Joe had been dealing with his cancer for awhile so we knew that he was in trouble and trying to work through it but when he finally passed it happened so fast that it was shocking too. I mean, one day I just woke up to a Facebook message from our old drummer, Brian Young, who was in the band when Joe was in the band, and… it was just pretty much, “Joe passed.” and I was just…I felt like… it was hard to believe. So then it became not only one friend lost in the last couple of years, but two. It’s still hard to believe, to wrap my head around it all, that they are no longer with us. I don’t know how old you are; I’ll be forty-seven this year.

THE MULE: Yeah… I got you beat by a few years.

JON: Okay. Still, my brother and I were just talking about this… he mentioned that really we’re just getting to the point in our lives, the ‘season’ you could say, where that’s gonna be part of our lives from now on. Like, simply, the older you get, more loss can occur… Okay… we’re getting pretty philosophical here now but… it seems true enough.. The record ended up being a way to help me deal with some of that and it kinda does a little bit and helps me celebrate lost friends… but, I don’t think anyone likes that kind change, losing people close to you, learning about loss the hard way. It hurts. My God! But, ultimately…what else can you do? We’ve gotta get back to life and live as best we can.

THE MULE: Exactly. Well, let’s get back to some more, uh… rock and rolley kind of things. Actually, last question and I will let you get back to life. Beyond SOLID STATES and this tour, what is next for you, personally, and the band?

Dynamo Royale (Tiz Aramini, Jon Auer) (photo credit: JASON TANG)

Dynamo Royale (Tiz Aramini, Jon Auer) (photo credit: JASON TANG)

JON: I have some other projects that I’d like to promote more, spend more quality time with. There’s a duo project with Tiz Aramini called Dynamo Royale that I’m working on a proper release for. The record’s called STRAIGHT ON THE DIAGONAL and there will be more time to spread that around. You can find it and us on Bandcamp as well. It’s quite different from the Posies, perhaps more layered even, but it still has that kind of… it’s got my melodic sense woven in there with hers as well. It’s a very unique collaboration. I’d also like to make another solo record. It’s been… Jeez, the last one I put out, SONGS FROM THE YEAR OF OUR DEMISES was in 2006 so, like… I’m way overdue! And, there’s also a group I’m part of called Unseen Beings with Stephen Becker from Le Concorde and Brian Young, who played with Fountains of Wayne and now plays with The Jesus and Marychain, we have a record called AKA INFINITY due to be released next year. Then, hopefully, along with all that, we’re going to continue to realize some Posies reissues that we’ve been talking about. One of them has been out for a while – our first record, FAILURE – on this great label called Omnivore Recordings. They do excellent reissues with deluxe packaging and a lot of care, the works…we feel they like do things right, let’s put it that way. They’ve been asking to do our three major label records too: DEAR 23, FROSTING ON THE BEATER, and AMAZING DISGRACE. That’s been in talks for a while and I think 2017 might be the year for it, when they actually do come out or at least they start to come out.

And then, beyond that…I had so much fun doing this last round of touring, it was so reinvigorating and life affirming after everything we went through so, I think we’d… You never can predict what’s going to happen exactly but…I think we’d really like to try to make another Posies record and sooner than later, you know? Not wait another six years… Try to get one out in the no so distant future because… hey, we’re not getting any younger and we’re having so much fun. I think we all thought this, you know, that this is working, what we’re doing now feels good… we’re playing great, we’re enjoying it, we are a good working unit … and I don’t think we expect to enjoy it as much as we did. I certainly didn’t. To me, it feels like we thought, well, let’s see if we can do this even, after what we went through with losing our bandmates and… we pulled through and it feels… It feels really good. So, uh… I’d like some more of that feeling, please.

The Poseis (Ken Stringfellow, Jon Auer, Franke Siragusa) (photo credit: MARC GOLDSMITH)

The Poseis (Ken Stringfellow, Jon Auer, Franke Siragusa) (photo credit: MARC GOLDSMITH)

Jon and the Posies are playing a pop-up show in Saint Louis, on Wednesday, September 28. For ticket prices and location, visit the band’s website. Other upcoming tour dates and more news about the Posies are available there, as well.


JOHN THAYER: FACE TO FACE

(EON RECORDS; 2016)

4PAN1T

If that name looks vaguely familiar, there’s good reason for it… John’s little brother, Tommy, is Ace Frehley in KISS; not really – the younger Thayer, who spent a couple of decades as the band’s sorta right hand everyman, stepped into the boots and make-up when the original Space Ace left the band for the second (or was it the third?) and final time. But, this review isn’t about Tommy, it’s about his brother, John and his latest EP, called FACE TO FACE. John’s music is as far away from KISS as you’re likely to hear: A slick alterna-pop sound with a high gloss production sheen. Thayer and his current partner-in-crime, Rob Daiker, handle vocals, most instrumentation and production on this third release. The title track kicks things off, with some really nice – dare I say, “pretty?” – vocals and layers of strings, provided by a group called the Magik-Magik Orchestra. “Not Afraid” has a little harder feel; featuring a slightly Gothic tone and a solid guitar solo, the song is fairly impressive. As good as the track is, I’m just not sold on the over-production. I certainly wouldn’t mind hearing this one in a live setting… I’m betting that it absolutely burns on-stage with a full rock band.

John Thayer (uncredited photo)

John Thayer (uncredited photo)

Another strong entry is “Really Doesn’t Matter.” The number has a definite Tom Petty feel to it, delivered in a standard rock ‘n’ roll format with two guitars, bass and drums with the occasional orchestral flourish. “Angel” is what is called, within the industry, “Adult Contemporary.” Not that there’s anything wrong with that; the song really isn’t too bad, falling somewhere between Nsync and the fluffier bits from Goo Goo Dolls. On “Lonely Eyes,” the guitars have a harder edge and the orchestration somehow sounds rather ominous, if not downright vicious. The whole sound of the tune is kind of haunted, with a dark, lonely feel to it. The track threatens from the beginning, finally letting rip with a mean guitar solo. FACE TO FACE isn’t long, clocking in at just under nineteen minutes, and it sounds just a little too slick for my tastes but, the songs themselves and the performances are top notch; if you are a fan of the glossy pop and rock that dominated radio and MTV from the early 1980s into the pre-Grunge ’90s, John Thayer will sit nicely in your collection with those bands and records. You can order FACE TO FACE, as well as John’s previous EPs, LAUREL STREET and TAKE IT BACK from the artist’s website.