Music to Haunt By: Transylvania

Nox Arcana
Official Site
Transylvania, Monolith Graphics 2005

Drac's Back!

Nox Arcana was one of groups that inspired me to do the “Music to Haunt By” series and have been a constant presence ever since then. Given how 2013 is their 10th anniversary, it would make sense for me to review their newest release that’s inspired by fan suggestions: Legion of Shadows. But since that won’t be available until Halloween, I thought I would cover their fourth album instead. That album? Transylvania.

“Transylvania Overture” sets the mood with an eerie male chorus and winds, while Joseph Vargo narrates about nightfall and the undead rising. Imagine this being “spoken” by a guest-activated tombstone or some other prop. The soft organ work and unisex chanting in Latin add to the effect. Unlike other Nox Arcana narration tracks, there’s a much longer music break here. In “The Voyage,” the soft piano opening soon faces dark synth intrusions, along with wonderful string work and organs. The often male-dominated unisex vocals and tolling bells also add to the overall feel. In addition to vampires, this can also be used in a scene with a phantom organist. The sound of wind both opens and is a constant presence in “Gossamer Mist.” The moody and unsure piano work goes work with the wordless male and female vocals. If you have a room filled with fog, be sure to use this. “The Black Coach” offers deep and stirring piano notes coupled with beautiful string work. The addition of creepy wind and storm effects, along with a unisex choir and wailing, really gets blood pumping. The sounds of wind ushers in the short (forty-four second) “Sentinels of Stone.” After hearing stone grinding upon stone, a scary gargoyle voice describes their role as guardians and how none shall trespass. “Into the Shadows” mixes fast, pounding music and low male chanting (which is soon joined by wordless female vocals and ghostly wails). There’s also some great string work and even snare drums make a surprise appearance without taking away from the scares. The female yell-chants at the end are a great touch that helps the track’s mood of excitement and danger. In “Castle Dracula,” a pipe organ and wordless female vocals are joined by tolling bells and male vocals. Wordless female vocals also feature in “Visitors in the Night,” in addition to moans, whispers and wind. As Dracula’s brides ask the listener to come with them, the track seamlessly segues into the ethereal-sounding “Brides to Darkness.” Interestingly enough, there are extra soft male vocals to be heard in the background, along with an “old” sounding harpsichord.

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Transylvania-TV Halloween Special

You have until November 1st to watch the following Halloween special. Don’t let the puppets fool you: It’s not for kids. A Vampire gets it on with a Mummy (spoiler alert) and there’s something about pickles and a Pumpkin prince but it’s fun otherwise.

 

 

Music to Haunt By: Sam Haynes

Sam Haynes
Official Site
Welcome to the Horror Show, Laptop Punk 2013

Check out my sweet back scratcher!

The mysterious musician known only as “Sam Haynes” has built up quite the reputation for himself since he first appeared on the scene in 2012. The UK-based Haynes’ debut album Halloween Carnival proved so popular that his works has been featured at theme parks in both his home country and the US, along with being used in various movie trailers. Outside of albums, his remixes, collaborations and free downloads have ensured his presence in numerous podcasts, including the legendary Nightmare City Halloween. So let’s jump right into his newest release, Welcome to the Horror Show, and see what all the fuss is about!

“All Hallows” has a spooky music box-style opening, which is soon followed by creepy violins, wordless vocals and some little electro touches. The electro influence continues (and increases) in “Ghost House,” which opens with a sample from the original 13 Ghosts about ghosts being restless and hungry. The combination of spooky organ work and drum beats has more of a dance-like feel to it than the last track. While it does have plenty of spooky touches that could allow its use in a haunt, I recommend using it either at a Halloween party or in the waiting area of your haunt. The dark, heavy introduction of “Shadows” provides a sense of creeping that is nicely aided by touches of wordless female vocals. Like the last track, “Scarecrows” can work with a wide variety of haunt scenes in addition to the type implied by the title. Listeners are sure to love the steady and spooky piano work combined with the occasional use of soft wind effects and other striking touches. If you go the scarecrow route and really want to freak out your guests, have a monster of some kind hidden under the hay pile in front of the scarecrow. Since they’ll be expecting the scarecrow to do something, being attacked from below will really shock them! We head back to the dance floor with “Zombie,” which has samples of the newscast from Night of the Living Dead peppered throughout it. The catchy beat is electr0wned and has almost carnival-like feel at times, along with various little eerie touches (you’ll recognize them immediately once you hear this). Do you have a room filled with creepy dolls? Then you’ll be sure to love “Doll House.” In addition to the soft chiming music box notes, there’s an orchestral interlude which gets a little louder and somewhat jauntier as time goes on. “Ghost Train” has some very soft electro noises at the start which remind me of crickets. They get overtaken by other music, but are always present. The moody piano music is one of my favorites, although the eerie music break that fills in for it is great too. There’s occasional heavy or spooky intrusions at times, along with very soft wordless female vocals. If you’re looking for something special for a slasher room, this is the way to go.

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Music to Haunt By: Monsters of Legend

Midnight Syndicate
Official Site
Monsters of Legend, Linfaldia Records 2013

Fire bad!  Album good...

It’s been far too long since I’ve reviewed something by the Midnight Syndicate. Thankfully, my decision to rectify this came when they announced the release of their new album: Monsters of Legend. Although the cover features the titular character from Werewolf of London and Frankenstein’s monster (more specifically, the portrayal from Bride Of Frankenstein-the liner notes have even more classic horror images), the album is more than just a tribute to Universal horror films. It also draws inspiration from various Hammer horror films and other European genre movies, from classics like Nosferatu, The Wicker Man and Black Sunday to lesser known titles like The House that Dripped Blood. On top of that, it’s also a tribute to their musical influences from those old film as they draw inspiration from legendary composers like James Bernard, Bernard Herrmann, Max Steiner and Hans Salter. This is a labor of love from people who clearly know what their stuff. Seriously, only a diehard Euro horror fan would throw a relative obscurity like Horror Hotel in the mix.

But that’s not all! The concept for this release is to draw listeners into a place where the events in such films are real and famous monsters are constantly on the prowl, rather then act as a collection of music devoted to each monster. In this case, they have decided to revisit the fictional realm of Arcacia from their Realm of Shadows album. It’s also worth noting how and the word “Arcacia” first appeared on their self-titled debut album. Strengthening the connection to their older work are newly recorded versions of “Witching Hour,” “Black Woods,” and “Twilight” from Realm of Shadows and “Requiem” and “Dark Tower” from Born of Night. As you would expect, this album is perfect for haunts based around classic monster movies But it also has potential for use in other haunt setups (and I’m not saying that just because industry legend Dick Terhune was involved), as I’ll soon show you.

“Return to Arcacia” kicks things off with the sounds of crickets, wind and a carriage coupled with music. The pianos and classic horror-style stings both set a mournful tone and give this the feel of an opening to a horror movie. The eerie, heartbeat-like musical tones are a great touch, as are the sounds of bats, ghostly wails and a spooky chorus. The stirring, spooky opening of “Into the Valley of Shadows” has a pounding tone and plenty of ghostly musical wails. The string work is excellent and there are plenty of Universal score-style touches, along with some storm effects layered in for good measure. Other effects include crickets various bird calls and a trotting horse…in addition to hints of something else. “A Watchful Gathering” starts with wind chimes (and wind, of course), along with a soft wail and pounding notes that alternate with softer touches. As we hear the carriage, crows and distant tolling bells, the wordless female vocals kick in and a sense of unease grows with the birds. The closing scream is a great touch. “Inn of the Weeping Sparrow” offers wind and chimes again, but also includes soft harpsichord notes that musically convey elegance. Wordless female vocals return, but give way to a great harpsichord solo with soft wind. After some ominous touches a pipe organ joins in for (short-lived) lighter interlude followed by distorted string work. I like how the closing effects bookending the track are a variation of what we hear at the beginning. “Unwanted Visitor” features dark and relentless musical notes, with plenty of gong strikes and “scared”-sounding strings like what you would hear in a horror movie when that one stranger to the inn who accidentally kills the mood. You know, the one who makes everyone gasp when he mentions a family name with a less than stellar reputation? We actually get a reenactment of sorts where a stranger knocks on a door and is told to be on his way, which is followed by whispers and piano work.

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Music to Haunt By: Dead By Midnight

Grave Tone Productions
Official Site
Dead By Midnight, B@Home Wreckordings 2013

IT'S CLOBBERING TIME!

This year seems to be the “Year of the Sequels” when it comes to spooky ambient CD reviews (but rest assured, there will be some new material as well). Let’ start things off by diving right into the second release by Grave Tone Productions. We begin with “Dying of the Day,” in which the sounds of wind and soft piano work usher in a spooky narrator, who warns of the dangers present when the sun goes down. This is perfect for use with a yard haunt or when handing out candy on October 31st, in addition to making a great soundtrack for a haunted house’s “greeter” prop. “Night Terror” kicks off with tolling bells, awesomely rockin’ guitars and wordless female vocals. That said, the rock does take a brief break for the sounds of soft piano work and a ticking clock. That could allow use in a room with a spooky clock prop, but the children singing about a monster (whose distorted roars close the track) over subdued guitars could also make this work in the nursery scene of a “Haunted House of Rock.” Rattling noises and slow piano work give “Fatal Melody” an eerie feel. So much so that the energetic rock elements do not detract from it. There’s a definite sense of creeping or ascending and the unisex chorus towards the end really adds to the effect. This could work in any spooky room your haunt has to offer. “Death Awaits” has a fast and heavy rock intro which sets the tone for the rest of the track. The unisex backing choir is very creepy and nicely meshes with the music box-like tones and modern horror stings. There’s even some electronic sounds that would go great in a haunt’s laboratory. Although it’s vaguely Dethklok-sounding at times, it does slow down for an orchestral feel towards the end.

Considering the name of the album and use of a clock in an earlier track, the content of “The Final Hour” should not surprise you. There’s plenty of soft, ghostly unisex wails and piano work to go with the music box-style chiming. The intensity of piano work increases quickly, along with some interesting distortion effects. Speaking of effects, there’s plenty of sound effects to be found here. There’s creaking wood, a chiming clock bell and a man meeting his gruesome end. The great use of guitars and unnerving pianos really make this track work, along with the sounds that flow into the next track: “Graveyard Waltz.” Said track takes us outdoors, with plenty of appropriate effects like blowing wind, chirping crickets and frogs, distant howls (along with footsteps and a creaking gate) coupled with bursts of piano and spooky string work. I won’t spoil the identity of the killer (given in an echoing whisper), so you’re going to have to snag a copy of this if you want to find out.

Although the opening and closing tracks are only non-rock selections (and the only tracks not to contain samples), Dead By Midnight is somewhat more restrained than their first album. As much as I love the catchy rock nature of the album (which makes it great for your general listening pleasure in addition to its use with haunts), I was especially intrigued by the “standard” haunt tracks. I wouldn’t mind seeing more of those mixed in with the rock tracks in future releases. I also like how the album tells a loose story while still letting each track work on its own. Every track can be looped (although doing that with the first and last one might be unnecessary) and playing the entire album in a loop makes for a great soundtrack when you dish out candy on Halloween. Others will appreciate how, like their last album, Dead By Midnight can be used royalty-free in professional haunted attractions. Just be sure to visit their site for further details (and notes on how they can help publicize your haunt). As for me, I’m already looking forward into their next descent into the world of ambient horror metal…

Special thanks to Grave Tone Productions for the review copy!

Gravedigger’s Local 16 is not to be held responsible for the content on or anything that may occur (be it good or bad) as a result of visiting any links on the above sites (or constructing a project that’s detailed on them). This also applies to the suggestions made here. Attempt at your own discretion.

6′+ Episode 79 is Up!

2013 Logo IconTo quote the description given at the new listing:

“With less than a week away from the big night, we try to get into the Halloween spirit with music from Guantanamo Baywatch, Flesh Roxon, The Mullet Monster Mafia, Thee Cormans and more. Do we get black and orange and dead all over? Maybe a visit from Monstermatt Patterson and a recommended movie from Dr. Gangrene can help get us…something…something…Halloween…”

Remember to email 6′+ (contact at 6ftplus.com) or leave a comment below about the show, whether you liked it or not. Tell your friends, leave a review on iTunes, but above all – enjoy.

You can find all episodes of 6′+ over at the official site as well as on iTunes, Stitcher and Spreaker. They’re also on Facebook and Twitter.

Music to Haunt By: Attrition

Attrition
Official Site
This Death House, Two Gods Records 2012 (Original release date: 1982)

Black and white is more than all right.

Most of the artists I discuss for “Music to Haunt By” are known primarily for making music specifically intended for use during the Halloween season, but this article is an interesting change of pace. Renowned around the music world for their pioneering work in the electronica, darkwave and industrial genres, the UK-based Attrition has naturally received much praise over the decades. Founded in 1980 by Martin Bowes, the original lineup teamed him with his brother Chris and Julia Niblock. That same year, Ashley Niblock (Julia’s brother) replaced Chris and a drum machine was added to the mix. The rest is (well-documented) history. But rather than cover the works that made them famous, I’m going all the way back to their very first album.

This Death House was originally supposed to be the soundtrack for the role-playing game “Death House.” As the game was never released, the album was retitled and released as a standalone cassette in 1982 under Alan Rider’s Adventures in Reality label (who is also the group’s live visuals engineer). So although the album has only two tracks, each of them is over 22 minutes long!

“Crawling” starts off with a dark and foreboding opening that sets the tone for the rest of the track. There’s electro touches, wailing wind and various noises which remind me of malfunctioning machinery. I found it to be perfect in terms of how neither the music or effects overtakes the other. It’s unnerving enough to use with a variety of settings, but the machine-sounding parts (and really spacey noises about 11 minutes in) makes me think this is perfect for a mad scientist’s lab or an alien-themed room (in a haunt that’s not entirely devoted to aliens). Imagine entering a crashed spaceship and wandering through dimly-lit rooms filled with aliens in stasis capsules, specimen jars and the remains of abduction victims. Did I neglect to mention how some of said victims aren’t quite dead yet? You might even discover that some other extraterrestrial being is the reason the ship crashed…and is now after you. You can even modify some non-alien haunt effects to add some extra scares and encounters with cocoon victims. I can see using this to create a surprise encounter in a room full of alien eggs by replacing the spider with one of these.

“Dead of night” has a lower key opening that slowly builds up. Although more musical than the last track, there’s plenty of effects like pounding, wooshing wind and a police siren-like noises at points. It’s hardy to truly describe it, but it somehow creeps out the listener by making them not sure of what is going on (or what will happen in the future). I can easily see this being used in a haunted factory, vortex tunnel or even in a room where visitors have walk over a bottomless pit (parts of the track might subconsciously make people think of falling).

This Death House is striking effective and foreshadows the band’s future sound (and success). It’s no wonder that it’s been remastered and rereleased the way it has over the years. Home haunters (or those who just want something eerie to play while handing out candy on Halloween) will appreciate how the length of the tracks make them extremely well-suited for looping. Interestingly enough, Attrition has also created soundtracks for films, the most recent one being the horror film G.H.O.S.T.

On a final note, I should explain that the sample from “Crawling” at the top of this review is actually from the album Esoteria: 1982 – 2004. Said album is a great way to get a feel for Attrition, as it offers both dark ambient tracks that are perfect for haunting and great music for general listening. A quick look through the band’s output on Bandcamp shows that many albums either fall into one of those categories or combine the two.

UPDATE: Technical issues are temporarily keeping me from posting the streaming sample track, but I hope to have the issue resolved soon.

Special thanks to Attrition for use of the image!

Gravedigger’s Local 16 is not to be held responsible for the content on or anything that may occur (be it good or bad) as a result of visiting any links on the above sites (or constructing a project that’s detailed on them). This also applies to the suggestions made here. Attempt at your own discretion.

Music to Haunt By: The Return

Once again it’s time for my annual series of haunted ambiance CD reviews. Due to a scheduling goof on my part, there won’t be any “Sounds to Scare” installments this year (but I’m hoping to change that next year). Those interested in royalty free materials are sure to enjoy this year’s go-round. While you’re waiting for this year’s series of reviews, you can pass the time by looking over last time’s participants:

Music to Haunt By and Sounds to Scare By: An Introduction
Music to Haunt By: Shadow’s Symphony
Music to Haunt By: Grave Tone Productions
Sounds to Scare By: Sounds of Gore
Music To Haunt By: Carnival of Lost Souls
Music to Haunt By: Verse 13
Music to Haunt By: The Horrorville Haunt

In addition to the above, the Mission Creeps’ album Halloween has a track called “Land of the Departed” that’s a 30 minute soundscape of various spooky sounds. It also has a creepy reading of Edgar Allan Poe’s “Shadow: A Parable” that could work well with a “storyteller” prop.

I don’t have any general tips on using sound in haunts this year. Instead, I’ve got an extra special surprise: Two free spooky album downloads! Those who salivated over the review of Darkmood’s Halloween Descends can click here to obtain it, while those looking for something completely new to them should try the Ambient Collective’s Soundtrack to Halloween. If that isn’t enough for you, here are some bonus sound effects!

As a final treat, here’s this year’s tie-in episode of the podcast featuring a great selection of spooky music to haunt your house with.

UPDATE: Although the complete version of Halloween Descends is no longer available, Notic Reign Records is still offering a generous selection of free tracks from it in the link I provided above.

Gravedigger’s Local 16 is not to be held responsible for the content on or anything that may occur (be it good or bad) as a result of visiting or downloading from any links given here. Attempt at your own discretion.

Pepper’s Ghost

This is too awesome to make jokes about.

Check out the image illustrating this article. It looks amazing, doesn’t it? If you show it to your average person, it’s practically guaranteed they’ll identify it as a hologram. It’s not, but it’s an understandable mistake. In addition to Bill Nye mistakenly asserting the Pepper’s Ghost-based effects at Disney’s Haunted Mansion were accomplished with holograms, there have been plenty of instances where products utilizing the Pepper’s Ghost effect were openly publicized as involving holograms in some way. Oh, and that “Tupac Hologram” you’ve heard oh so much about? Pepper’s Ghost.

Although several of the props I’ve discussed in the past have their origins in the 90’s, the Pepper’s Ghost illusion actually dates back to 1584! That’s when Giambattista della Porta described an illusion set up like the one this article is dedicated to in Magia Naturalis. However, the effect remained obscure for 278 years until British inventor Henry Dircks created his own version. Although he tried getting theaters to use his creation, his goal was not to make money on a flashy new special effect. Instead, the intent was to fight against hoaxers using “séances” to trick people out of their money by creating an effect superior to the ones they were using and then reveal how it works. But the expense of remodeling a theater to house the effect left theater owners leery. Enter John Pepper. Impressed by the illusion, he teamed up with Dircks and figured out a way to simplify the “Dircksian Phantasmagoria” so that it could be put into any theater and still keep the impressive quality. Although this led to the effect becoming a hit when it premiered, it also resulted in the public giving it the name “Pepper’s Ghost.” Despite Pepper’s best efforts to make sure Dircks received proper credit, the name stuck. Although Dircks bore no animosity towards Pepper, he did express his displeasure by attacking other parties. The last documented use of the effect in a theater was in 1890 and later uses of the effect involved film.

Unlike the similarly historic Bottomless Pit effect, Pepper’s Ghost has somewhat better documentation for its uses prior to its appearance in the online haunted attractions community. It was the basis of the famous “Girl to Gorilla” sideshow illusion, whose earliest performance dates back to 1960. Not long after, it was used to create the ghosts, haunted mirror and Madame Leota effects at Disney’s Haunted Mansion attraction in 1969. Due to the Imagineers failing to take the reflective nature of the effect into account during the construction of the ballroom scene, the female ghosts appear to be leading the men during the grand dance. The 70’s saw it being adapted for use in museums. While most directions for constructing the effect were aimed at professions, the oldest instructions for a home-built version that I could find appeared in an 80’s issue of Popular Electronics.

As you can easily imagine, the effect became wildly popular once instructions for it were posted online in the 90’s. And how could it not? It’s an effect which can be used with actors, animatronics (most popularly with the Flying Crank Ghost) and prerecorded videos to create amazing setups like this:

But the Pepper’s Ghost effect can be used for more than just ghosts. People have used it to create haunted mirrors and enchanted crystal balls. I can easily imagine people using it (both in haunts and in independent films) to create transformation effects, disintegrations, teleportation, alien scanners and much more.

There are plenty of tutorials available out there, including one for use with a fader switch. Others have sought to reduce the expense by replacing the glass (or plexiglass, which is much safer) necessary for the effect to work with window tinting and shrink film. It’s even possible to accomplish the effect with plastic cling wrap, although at the cost of image quality. As shown in that last link, others have opted to look for inexpensive sources of plexiglass.

Despite what the large scale examples mentioned above might have you think, the Pepper’s Ghost effect can even be housed in a small box. Besides being used for vehicle Heads-Up displays and a Star Trek: The Next Generation toy, home haunters can used it to create various types of “Transformation Boxes.” If you want to recreate the picture used to illustrate this article, you’re definitely going to want to go with plexiglass and follow these instructions. If you can’t get any plexiglass, fear not! After all, the awesome effects shown in the above video were accomplished using the shrink film method. Let your imagination, not your budget, define your limits. Successfully pulling this off at Halloween is all but guaranteed to make you the talk of the neighborhood, so have fun with it!

UPDATE: As tablets and smartphones have grown in popularity, you can now find more and more tutorials about using them to create Pepper’s Ghost effects. The sci-fi direction that some have taken this effect in using that method is a very interesting breath of fresh air.

Special thanks to Kevin Schonhofer for use of the image!

Gravedigger’s Local 16 is not to be held responsible for the content on or anything that may occur (be it good or bad) as a result of visiting any links on the above sites (or constructing a project that’s detailed on them). This also applies to the suggestions made here. Attempt at your own discretion.

Bottomless Pits

Down...down...down...

It’s difficult to pin down the exact date the bottomless pit illusion came into being, but it’s so easy to accomplish that it’s probably as old as mirrors themselves. I remember learning in history class how the famous Hall of Mirrors at the Palace of Versailles was arranged so that the room seemed to stretch out forever, so the basic effect goes back to at least 1678. And, yes, the fun house standard was indeed named after it. The effect has also been used in movies and novelty items. But despite the effect’s age, directions were next to impossible to find. That’s when Larry Lund entered the picture.

Disappointed by the lack of instructions on building on, Lund decided to step up the plate and create some. As was the case with the Trash Can Trauma, Lund’s posting of the plans online sparked a wave of bottomless pits appearing in haunted houses. In addition to the standard pit, people have created escape tunnels (even adding ladders), mineshafts, wells, portals to Hell and even outhouses! Other variants added monsters and scary surprises while others changed the materials used to construct the effect. Some played off Lund’s addition of a person calling for help by creating pits where the person calling for help was devoured by a monster! Others opted just to have the sounds of an unseen beast playing. But since we’re on the subject of variations on a design, let’s not forget the endless hallway variant of the illusion.

But what about a bottomless pit people can walk over? Surely the only way to accomplish that would be to use a detailed drawing, right? WRONG! Lund’s design can definitely be adapted to work in such a manner. Considering the sheer versatility of a bottomless pit, it’s totally understandable if you want to add one to your haunt or yard display (no matter which version you choose).

Special thanks to Larry Lund for use of the image!

Gravedigger’s Local 16 is not to be held responsible for the content on or anything that may occur (be it good or bad) as a result of visiting any links on the above sites (or constructing a project that’s detailed on them). This also applies to the suggestions made here. Attempt at your own discretion.

Costume Crazyness 2013

It’s time for another collection of goofy costumes and things just wouldn’t be the same without the usual crop of Scream stuff. I don’t get why somebody decided to make skeleton and pirate versions of Ghostface. Was this due to an overstock of Scream masks and various costumes? I’m tempted to say “Yes,” but that doesn’t explain the existence of this. And don’t get me started on the bleeding versions

Yeah, this is totally a demon mask and not Batman.

I wonder, does Hulk Hogan die a little on the inside when he signs off on stuff like this that includes a bald cap? Who am I kidding, the Hulkster apparently has no shame.

I’m a knockoff brother! What, did you really think I wasn’t going to bring up Hulk knock-offs as well?

Speaking of Hulks, this licensed Incredible Hulk looks incredibly goofy. He looks so overweight that you’d think he was a knock-off called “The Inflatable Bulk.” Seriously, it looks like a scaled of this definitely unlicensed costume. I swear, it’s not like inflatable muscles are hard to do…

Man, those gamma rays really screwed up the Hulk’s hands! Seriously, what’s with Hulk costumes not actually looking like the character?

Wow, these Spider-Man gloves are amazingly suggestive. This puts a whole new twist on the source of his web fluid…

What makes this Harley Quinn knock-off costume so interesting is the poor choice of name. You see, DC Comics owns a character called “The Jokester.”

I know what you’re thinking and no, this costume of Wolverine’s daughter wasn’t made up just so they could sell a Wolverine costume to women. “Wild Thing” really is an actual Marvel comics character…from a non-canon alternate universe series. If that series didn’t exist, I’d imagine they would’ve dug Wolverina out of the mothballs rather than use Wolverine’s actual daughter. Said “daughter” being a gender reversed ex-hooker clone.

ARE YOU KIDDING ME?!

Hhmm…a “Child Orphan” wig. I wonder if this little orphan’s name happens to be “Annie?”

So is this an old costume or did someone really think it would be a great idea to make a knock-off version of Two-Face from Batman Forever nowadays?

Want to dress up as Godzilla for Halloween? If making your own costume sounds like too much work, try buying this costume and adding this mask. Bonus points if you can get a friend to buy this and go as Ultraman.

Go to Amazon and do a search for “Ghost Hurror” if you want to see some mind-boggling knock-offs. The company behind masks like this Bart Simpson knock-off seem to be operating under the belief that adding the word “Ghost” to something’s name makes it a scary mask. I know these guys really are dead, but come on…

Halloween Viewing: VAMP (1986)

Everyone takes Halloween as a time to catch up on their scary movie quota. Either someone watches the classics–from the Universal Monsters catalog to the genre-defining slashers of the 80’s–or some not-so-classics. While trying to find something labelled as “comedy” on Netflix, the recommendation for VAMP came up. The image featured Grace Jones with face painted white and Kool-Aid electric red hair. With not much to lose but 90 minutes, the PLAY button was pressed.

It’s sort of a vampire version of “After Hours,” Martin Scorsese’s great 1985 film about a long night in the big city when everything went wrong. The story this time: To escape the rigors of a fraternity initiation, a couple of pledges offer to go into the big city and hire a stripper to appear at the house’s next big party. After falling into a space-time warp or something, they emerge in an otherworldly metropolis where the local strip club is a front for a vampire ring. Visiting businessman are invited to the back room, and that’s the last the living ever see of them.

-Roger Ebert, Vamps review

The gist is that VAMPS features two wold-be frat pledges at a Kansas university travel to the local city to find a stripper in exchange for membership in a fraternity with the plushest accommodations on campus. They procure use of a rich-kid’s car to go into town (under the arrangement they take the kid with them) and find a stripper from one of the local clubs. The club they end up is full of Vampires and it’s up to them to make it through to the morning.

Overall, I give the movie a 3/5. It’s not stupid, and for a 90-minute feature that cost 1.9 million to make in 1986, it’s not dumb. It’s not exactly Fright Night or The Lost Boys, but it’s an interesting secondary in the 80’s vampire movies. There’s a right amount of camp for this movie about vampire strippers, acting a bit ridiculous when the moment calls for it but gruesome at times. The only real vampire attack in the movie comes from Grace Jones and though it starts out as sexual in nature, the end results are animal and off-putting in a good way. 

This twenty-seven year old movie is, if anything, a good look into how the world has changed in just three decades. Early in the film, AJ is shown hauling in a pay-phone he removed from the wall of his doomroom hall-way (as opposed to the phone in my hand that is capable of broadcasting the entire movie.) Even the availability of sex has grown; the boys struggle to get a stripper when in today’s world, they could go to Craig’s List or Backpages or ask a friend of a friend. Whether or not this is better is up to you, but this shows that thirty-years ago, people went to great efforts to get something that is readily available today (that something being naked women.)

Most of the budget wisely went into effects. There were a couple times where things looked a bit ‘cheap’ but there are plenty more instances of explosions, fire and horrible dental structures to make up for. The story isn’t terrible but it isn’t as captivating as one might think. The laughs are a bit on the so-so side, which is expected because horror and comedy can be hard balancing act. I think this movie wanted to be a decent vampire movie while adding wise-cracking shots and the occasional topless woman. Mission accomplished.

Other people have discussed this – the Film Connoisseur has a write-up about the movie with some good shots from the film, while 2 Or 3 Things I know About Film points out the film’s “derivative” elements and bringing up the point that every female character is a stripper. I disagree that the movie doesn’t “slut shame,” or that the women come off as being dishonorable or “lesser than” for being strippers. Had the vampires in the movie been only women, then the idea that “women are blood-sucking monsters using sex to ruin men” would have more weight. I see that sex and vampirism are too closely intertwined. The character of Dracula is a sexual creature. Many people have utilized the vampire’s association with being a seductive, captivating creature that uses sex as a lure and Vamp is no different. It could have taken this idea in a different way but I don’t think the screenwriters or director were looking to change the genre.  

Also, for some reason, there’s a gang of Albinos in this movie. One of them has a mullet.

They all can’t be classics. It’s something to watch if you’re bored but not something to watch if you want to watch something, especially if you want to watch something good. Overall, 3/5 – kind of how my Halloween’s going. It’s a 3/5 type of year.   

Trash Can Trauma

A rare shot of Oscar the Grouch from the proposed gritty reboot of Sesame Street.

The year was 1996. That’s when Larry Lund contacted Mid-Island Appliance to obtain some used washing machine solenoids to use for the creation of Halloween props. As it turns out, owner Carl Chetta was also interested in mechanical Halloween decorations and was especially interested in Lind’s plans to pump air through the solenoids instead of water. Becoming fast friends, Chetta later contacted Lund with his plans for a new creation: the Trash Can Trauma! This wasn’t a simple pop-up head like you would see at a carnival haunted house. Instead, a trash can’s lid sudden rises to reveal a monster whose arms swipes out at you!

Naturally, the prop was a smash hit when the plans were posted on the internet in 1997 and numerous variants soon followed. Some shake around before the monster pops out, some activate lights or fog once the lid opens and others play sounds or use things other than the standard humanoid monster. Some don’t even use a monster at all! Others simplified the design so that it is quicker and easier to build while other focus on just making a head pop out. The return of the basic pop-up design led to people designing versions based around pillars, wells, tombstones, toxic waste barrels and even flower pots!

Chetta later created a variant of sorts called the Mail Box Trauma. That said, it should be noted how a similar effect did exist in the early 90’s (although the exact mechanism used to power is admittedly much different than Chetta’s). The Trash Can Trauma’s popularity also inspired the name of the Coffin Coronary automated prop. But if you’re looking to catch people unaware, you should really go with the classic version of the Trash Can Trauma that swipes its arm at people. That seemingly innocent trash can gets ’em every time…

Special thanks to Creep Crafters for use of the image!

Gravedigger’s Local 16 is not to be held responsible for the content on or anything that may occur (be it good or bad) as a result of visiting any links on the above sites (or constructing a project that’s detailed on them). This also applies to the suggestions made here. Attempt at your own discretion.

So THAT’S what happened to the ‘Transylvania Twist.’

Hanging out on twitter, our good friends at ZombiePumpkins.com asked

 

 

I sent him a link to a follow-up that Bobby “Boris” Pickett released, a two minute semi-instrumental that didn’t catch on as much as ‘The Monster Mash.’ No catchy-chorus or fake Lugosi/Karloff impression meant that the ‘Transylvania Twist’ would stay a throw-away line in a holiday novelty song until 1989.

Transylvania Twist is a movie I am slightly ashamed I had no idea about until just recently. Produced by Roger Corman and featuring both Robert Vaughn and Angus Scrimm (and a cameo by Forrest J. Ackerman?!) the movie seems to be a parody of horror movies that feature, if the Wikipedia entry is to be believed, a serious amount of H. P. Lovecraft references.

The problem, though, is that it looks like a cheap piece of crap.

Saying that the movie has Boris Karloff twenty years after he’s dead (in clips visibly lifted from The Terror) the only real big appeal of the movie is either 1) Seeing Angus Scrimm and 2) the potential for nudity because it’s the late eighties, it’s directed by Jim Wynorski and it’s got that ‘yeah, some woman’s taking her top off’ vibe to it. But if the YouTube comments are to be trusted, it was on USA UP ALL NIGHT and basic cable’s censors would then remove one of the only valid reasons anyone in their demented mind would watch this.

I’d be interested in seeing Forry and maybe having it on in the background so I’ll probably see if I can find it online in the next hour.  But man, maybe that’s why no one does the Transylvania Twist anymore.

 

Update: This post has been edited to include the trailer to Transylvania Twist

Axworthy Flying Ghost

Boo!

Although Scott Axworthy created what he called the “ghost flight system” in 1988, it was dubbed as the “Axworthy Flying Ghost” (sometimes known as the “Axeworthy Flying Ghost”) when he posted it on the Halloween-L mailing list in 1995. The name’s popularity was only rivaled by that of the prop itself. After all, what haunter could resist the idea of a ghost flying around their yard like the one in this video:

As you can imagine, there are numerous Axworthy tutorials available online, with several having made modifications to the system’s design in order to make it easier and less expensive to build.

There are also several variants of the system that don’t limit themselves to a ghost. In addition to this double ghost setup, the design has also been used to create flying UFOs and even a swarm of bats using this design based around “flying bat” toys. Someone even created an alternative to the Axworthy Flying Ghost, but the original still reigns supreme.

As was the case with the Flying Crank Ghost, a simplified (and scaled-down) version was eventually released in stores. Also like the Flying Crank Ghost, the seeming amount of work needed to create one has prevented it from being better well known outside the Halloween and haunt enthusiast circles. I’ve personally noticed how the basic concept seems to be better understood by the general public thanks to the wider availability of the stripped-down commercial version. But as the video shown earlier demonstrates, building one is well worth the effort and is sure to wow your neighbors.

Special thanks to Jeff Preischel for use of the image!

Gravedigger’s Local 16 is not to be held responsible for the content on or anything that may occur (be it good or bad) as a result of visiting any links on the above sites (or constructing a project that’s detailed on them). This also applies to the suggestions made here. Attempt at your own discretion.

Video Store Day Is Here!

VHS?  HELL YES!

If you’re a movie fan and want to depress yourself sometime, just fire up your search engine of choice and try looking for video rental stores in your area (along with the surrounding areas). Chances are you’ll find either nothing active or one lone holdout serving multiple cities. Everything else is just libraries and rental kiosks. It’s even become a cliché to joke that video stores don’t exist!

Thankfully, Canadian rental store Eyesore Cinema decided to do something about it. Starting in 2011, they started International Independent Video Store Day (aka Video Store Day). I’ll let them explain in their own words:

“This international event will be celebrated and observed the third Saturday of October each year. It’s purpose is to promote the idea of supporting your local, independent video stores. Stores owned and staffed by human beings who can be relied upon for reviews and recommendations and who truly love what they do – otherwise, why else would they still be doing it?”

Participating stores celebrate by offering various discounts, sales, contests, freebies and other special events to entice customers. Each story has their own promotions, so one store might have free goodies and another might strictly focus on discounted rentals. This year, Eyesore Cinema will be offering:

– $1.00 rentals for premium members
– $2.00 rentals for basic members
– $3.00 off all in stock DVD and Blurays (They both sell and rent DVDs)
– VSD only super deals on select titles
– Every single rental comes with a super-coupon for future use
– Prizes, loot bags, giveaways, treats and some extras that we are legally bound to not advertize.

You can learn about it at the official Video Store Day website, which also has a list of participating stores in America Canada and the rest of the world

If your local video store isn’t participating, go out and rent some stuff anyway (but be sure to let them know about the event). Some might scoff because they feel streaming is the inevitable future, but they can go screw themselves. Netflix’s numerous outages have more than proved that conventional rental stores still have their place. If you end up getting a scratched DVD?, at least you can exchange it at the store for something else. Can you do that when your streaming service craps out? I thought not. Let’s not forget how when a streaming service goes down, it inconveniences ALL the customers and not just one. I know this was touched on already back in this year’s Record Store Day promotion, but theses supposedly “obsolete” stores keep people employed and we can’t simply let them fall apart and just assume things will work out for the staff. We often hear people wanting the government to create more jobs, but why don’t we stop eliminating jobs first?

We here at Gravedigger’s Local 16 are doing our part by shamelessly appealing to your nostalgia with an episode of our podcast devoted to video stores and this collection of classic VHS box art:

Cool Cover Art
More Cool Cover Art
Even More Cool Cover Art
The People Behind VHS Cover Art

Also, here’s a little something from More Tricks and Treats:

“And thanks to the full views of Billboard magazine, I was able to find two amazing issues from the 80’s dealing with video stores’ Halloween promotions (along with tons of vintage ads for now-defunct VHS companies’ horror output).”

If that doesn’t sway you, check out these free downloadable movie commentaries:

Free Horror Movie Commentaries
More Free Horror Movie Commentaries
Still More Free Horror Movie Commentaries
Even More Free Horror Movie Commentaries

You can raid your music collection for material to play while you watch movies in order to get That Sync-ing Feeling.

Happy Video Store Day!

Special thanks to Eyesore Cinema for use of the image!

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