Haunted Attraction Walkthroughs

In the late 90’s, the only way to get a feel for what a haunted attraction was like was to either sort through photo galleries online or to read lengthy written descriptions with pictures. But as streaming video technology got better and the price of digital cameras went down as time went on, filmed tours through a haunt became the default way to experience haunted attractions.

There are plenty of reasons why people watch them. Perhaps you’re not able to visit any in your area. Perhaps you’re just a Halloween enthusiast who just can’t enough of haunted attractions (like me). Or maybe your appetite was whetted by the Tiki-themed haunt walkthrough videos that were posted awhile back. Whatever the case is, I think you’ll enjoy the following selection of tours through various haunted houses, both home and professional. I even threw in some haunted hayride videos for good measure. Please keep in mind that strobes and other flashing lights might be present in the following:

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Thinking about Halloween 2012

It’s two days before October when I write this.

Tonight, I’m headed out to Otto’s Shrunken Head to see the Tombstone Brawlers and hang with the monsters in an event that waves good-bye to September. (The Vibrators are also playing elsewhere but free show+drinks > show w/ticket + drinks in my cash-strapped state.) Come Monday, when the 09 switches over to 10, it all begins.

Except—it’s been going on for weeks now. Halloween has set up shop in in Walgreens, Duane Reeds, Rite Aids and Targets. All the pocked marks of dead retail lots are probably filled with the orange pus of Spirit Stores. When pumpkin-flavored donuts appear, it’s the unofficial start of the Halloween season, at least in my coffee-addicted mind.

I always feel this pre-season revulsion at Halloween, which is not unexpected. I’m, by freak design, a always-half-depressed and miserable person. I don’t know if I should be thankful that I keep that misery and depression internal; though, because of its containment, I can have an external excitement towards things like Halloween, surf music, the movie Repo Man, etc.

Maybe the greater accessibility diminishes my enthusiasm. Finding a new scary band in April, where they don’t belong, heightens the discovery. Watching horror movies in January seems more taboo. One of the twins over at VoodooSugar / VoodooPin told me of a Halloween Warehouse where she lives and how the yearly trip brings out unfettered joy. And I know I would feel the same way if I were to go there. But this time right now, knowing how the world’s going to be garishly painted orange+black for two more weeks, before the red+green starts to bleed in, well. It’s hard to get the blood going.

I do enjoy Halloween. I like the creativity that comes with it. I enjoy the weather. So this feeling right now, two days before October officially starts? I call it a bit of the introvert’s hesitation that makes me dread going up the high dive ladder. Once I jump off the edge, though, I enjoy the trip.

Over the next month, we’ll have more content here than the two months combined. Feel free to share it with your friends and to comment. Talk with us. Let us know what you think or what you’re doing. Or send pictures of your Halloween costume – contact@gravediggerslocal.com.

Happy Halloween.

Killjoy Goes To Hell

Burn Juggalo Burn!

To say that Killjoy has had better days would be an understatement. Accused of failing his last mission, the demonic clown has been dragged to the depths of Hell to stand trial. With each successful charge, Killjoy loses one of his many aliases. If found guilty, he’ll loose them all and be erased from existence! Since the prosecutor and Killjoy’s lawyer both have agendas of their own, Killjoy’s posse has to scramble to rescue their boss. But since their only hope is the survivor of Killjoy’s last massacre and they’re stuck in Hell, things are going to get interesting…

From the above description, you might think Killjoy Goes To Hell is one of those faux sequels made from a few sequences of original footage built around lengthy excerpts of stock footage. I can thankfully say this movie is not the Puppet Master: The Legacy of the Killjoy franchise. In fact, the only time stock footage is presented is in a single sequence where said footage is sped up to visually represent a character’s testimony. Instead, the film jumps between the characters in Hell and the survivor of the last film’s time in an asylum (where they are being questioned by detectives trying to locate the bodies of the victims from Killjoy 3), usually at the point where a character would have to recount the events of the last film.

The film itself is a mixed bag. Trent Haaga does his best with the limited material, I just didn’t find it up to his usual standards. I will admit the elevator sequence at the beginning cracked me up, though. Although there’s a ton of obvious computer-generated special effects, some of the concepts are admittedly interesting. Who would have thought that Hell is actually a floating island/prison ship combo? Sadly, the imagination shown in said effects peters out when it comes down to the actual writing. The clown rebellion subplot is underdeveloped and there are several plot holes. Although the court’s revulsion to Killjoy admitting to having sought out consensual sex was hilarious, it doesn’t make sense considering how no issue is made out all for his similar relationships with his demonic lovers (and you had better believe they come up in the movie). Hell, the very mission that Killjoy is on trial for was actually successful if you go back and pay attention to the previous film’s plot! There are also scenes of Freakshow and Batty Boop attacking people and seemingly drinking some of their blood. Originally, I had assumed they were doing this to get enough material to summon up a character to testify on Killjoy’s behalf, but that didn’t turn out to be the case and their blood drinking is never referred to again. While I don’t love Killjoy Goes To Hell, I don’t hate it either. Let’s just say that prefer it to The Dead Want Women but find it inferior to Killjoy 3.

Killjoy Goes To Hell clocks in at about 93 minutes (factoring in the credits, that is) and each second of it both looks and sounds great due to the crystal clear A/V quality of the widescreen transfer. As is often the case for Full Moon release, the DVD has chapter stops but no chapter selection menu of any kind. The special features consist of a short “Making Of” featurette and several trailers. Said featurette is about 6 1/2 minutes long and features a nice mix of stock footage from the film mixed in with behind-the-scenes footage and interviews with the actors. The usually enigmatic actor who plays Freakshow gets a nice segment where he explains his character and some of the special effects and the actor portraying the asylum’s doctor gets to reveal that he usually produces Full Moon movies rather than act in them. Trent Haaga briefly appears in costume (and in character), proving yet again that he needs the opportunity to improvise more in the Killjoy films.

The “Remastered Trailers” lack a “Play all” option and consist of previews for Puppet Master, Puppet Master 2, Puppet Master 3, Castle Freak, Zombies vs. Strippers, Killjoy Goes To Hell, and Killjoy’s Revenge (along with a promo for the Full Moon Grindhouse Collection and a teaser for the upcoming Reel Evil). The “remastered” part refers to how the trailers for the first few vintage Full Moon titles appear to combine widescreen remastered footage with the original, unrestored audio from the original trailers. The rest of the trailers are also widescreen and the quality is what you’d expect from movies that were made within the last few years. I should note that the trailer for Killjoy’s Revenge and the “Grindhouse Promo” are the same ones described in the linked reviews. It should also be noted that the DVD starts with a fullscreen trailer for Puppet Master: Axis Rising that features clips of all the characters from the franchise (with a mixed bag of visual quality).

Instead of repeating myself as to how I felt about this particular movie, I’d like to close this review with my interest in the film Reel Evil. Although the found footage genre has been played out the in world of horror, the teaser included on this DVD is extremely promising. If Full Moon can keep the high level of quality demonstrated in it up throughout the rest of the film’s story of videos found at the scene of mysterious disappearances, they’ll definitely have a hit on their hands.

Special thanks to Full Moon Features for the review copy!

Alice Cooper’s Identity Crisis

The story goes that, back in the early 80’s, Vincent Furnier (better known as Alice Cooper) was approached by some foreign filmmakers about starring in a horror movie. Cooper was hesitant about the idea, until the filmmakers assured him that the film would only be seen in the Philippines. As it turns out, this was less than true and Monster Dog was seen all over the world. In it, he plays a rock star named “Vincent Raven” who runs afoul of a werewolf while trying to film some music videos at his childhood home. As most hardcore fans of his will tell you, the movie is only worth seeing as a curiosity or as a way to hear his performances of the two songs written for the film, “Identity Crisis” and “See Me In The Mirror.” In fact, that was the only way to hear those songs until they were released as part of The Life and Crimes of Alice Cooper CD set in 1999. As Monster Dog currently doesn’t seem to have a legitimate DVD release, I thought I’d share the two performances from the film below:

Although I absolutely love the first song, I can emphasize with Cooper’s legendarily low opinion about the quality of the rest of the film. Supposedly he’ll just laugh and immediately change the subject whenever anyone tries asking him about the film. That said, you can read some more details about the making of the film at this unofficial fansite.

Out of September and into October

September has been a quiet month. Both W.Jon and I have been busy outside of the website, as well as preparing for 2012’s Halloween season. 6ftplus is busy. We’re going to have some decent content for you once October 1st rolls around.

The site’s due for an update. We use WordPress here at GdL16 and probably will stick with it. Tumblr is more for sharing artwork. If I can find a decent theme to mess around with and incorporate the best of both, that should work fine. I need to resync this site with gravediggerslocal.tumblr.com. There have been problems for the last month or so.

The layout isn’t so bad but the background’s going away. It’s time. This will all happen after the Holiday season, when we’re all so sick of it.

Until then, get excited.

Free (Legal) Download: Uncle Josh in a Spooky Hotel

Back, and to the left...

It seems only natural that the Free (Legal) Download series would eventually have to dip into the world of public domain films. Although there have been many instances where copyrighted films were generously made available for free online by the creators, the pool had to diminish at some point.

Thankfully, the Library of Congress has a nice collection of from the dawn of cinema available online for free. The subject of today’s article is Uncle Josh in a Spooky Hotel, a 1900 comedy short based on Cal Stewart’s (then) wildly popular “UncleJosh” character.

As it’s a silent film, the file sadly has no score. Thankfully, Incompetech has a huge selection of (copyrighted) silent film music available for free download. As the film only runs a little over a minute in length, I recommend “Amazing Plan – Distressed” or “Hand Trolley.” The film’s short length is also the reason I’m including links to several other short subjects with horror-related subject matter.

Uncle Josh’s Nightmare
Hooligan Assists The Magician
Dud Leaves Home
Dreamy Dud-He Resolves Not to Smoke
The Dinosaur and The Missing Link
Gertie on Tour
The First Circus

It should be noted that, starting with Dud Leaves Home, all files include a newly-created (and therefore copyrighted) piano score written and performed by Philip Carli. It should also be noted that The Dinosaur and The Missing Link features stop-motion animation by Willis O’Brien (best known for his work on the original King Kong movie from 1933), while Gertie on Tour offers the only known surviving footage from the sequel to the famous Gertie the Dinosaur cartoon.

UPDATE: It turns out Hooligan Assists The Magician is based on the comic strip Happy Hooligan.

As always, Gravedigger’s Local 16 is not to be held responsible for anything that may occur (be it good or bad) as a result of downloading from any links given here. Attempt at your own discretion. Blah blah blah…

6’+ Episode 39 is up!

To quote the description given at the new listing:

“If you were promised a future with cities in space, cars that flew through the sky and everything covered in chrome, then today’s modern age seems lackluster. We remember a time when the future was much more bizarre and weird. We’ve got music from Fortyone, Groovie Ghoulies, Dead United, The Tokyo Ska Paradise Orchestra and the Amino Acids. Plus, Monstermatt Patterson travels far beyond Venus in his Monstermatt Minute. We also have a very special edition of 3FeetDeep with the mad mademoiselle of music, Ms. Veronique Chevalier.

Note: I forgot to say this in the episode – Veronique Chevalier will be at Octopodicon in Oklahoma City October 5th- 7th, Seattle SteamCon Oct. 26th- 28th & TeslaCon in Madison, Wisconsic Nov. 30th- Dec. 2nd.”

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 and Stitcher . We’re also on Facebookand Twitter.

6′+ Episode 38 is up!

To quote the description given at the new listing:

“9/8 marks the 4th birthday of Gdl16. If numbers aren’t your thing, we’ve got music for you. Monstermatt Patterson helps blow out the candles and Dr. Gangrene enlists BILL MOSLEY, SID HAIG, and KEN FOREE as party entertainment on the Metal Morgue. We’ve got music by The Evil Streaks, King Ghidora, Godless Wicked Creeps, Coffin Fly and more! Happy Birthday, GdL16!”

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 and Stitcher . We’re also on Facebook and Twitter.

A Haunted Buster Keaton

It’s a very busy time for us here at Gravedigger’s Local 16. In addition to gearing up for the annual Halloween countdown, we’ve also been devoting a lot of time behind-the-scenes to finding the perfect public domain film clips to use in an upcoming commercial for the site that’s scheduled to appear in an online web series! While doing my part, I came across the following fan-created music video by theENID, which is made up entirely of clips from PD Buster Keaton films:

According to the video’s description, the clips come from the following Keaton films: The Haunted House, The Goat and The High Sign. I should note how that last one features one of the most amazing sequences I’ve ever seen in a comedy film. I don’t want to spoil it, but let’s just say that it involves a lot of clever physical comedy gags centering around a house riddled with secret passages. Once you see it, you’ll easily understand why Jackie Chan was influenced by him. Seriously, don’t let the fact that it’s a black and white silent film deter you from seeing any of Keaton’s films. If you do, you’ll miss out on some great laughs and amazing stunts.

“But what about the awesome song?” you might ask. It’s a little ditty called “In The Room Where You Sleep” from the band Dead Man’s Bones. And get this: One of the group’s founders is none other than Ryan Gosling! Here’s hoping that we see more releases from them in the future. As a final bonus, you can watch the official music video for the song here.

Freaky Tiki Surf-ari: Phase 2

Daikaiju
Official Site
Phase 2, DingDong Records 2010

Fed up with all the tentacle attacks, Neo Tokyo finally wised up and got themselves a force field.

Daikaiju has been up to a lot since I reviewed their debut album in the first Freaky Tiki Surf-ari. After issuing their “Flight of Garuda” single, the band released their second major album, appropriately named Phase 2.

In “Escape From Nebula M Spacehunter” (named for the location of the aliens who controlled Gigan in his first appearance), Daikaiju shows they’re back with a vengeance. The creepy, sneaky opening quickly leads into a rollicking surf ride with plenty of great variations. While I can’t say for sure whether or not this album’s “Flight Of Garuda” is the same as their single release, I can definitely say it’s fantastic. It has a great bouncy feel and a classic speedy surf intro, while the machine gun-esque drums are used to great effect. “Laser Runner” is reverbtastic and has a ton of spacey, laserlike chords. It’s also one of my favorite tracks. Don’t let the name fool you, “Za Feijingu Supaidaa Kyoui” is actually their classic track “The Phasing Spider Menace” (from the EP of the same name). Although it seems slower and more methodical than the other tracks, it soon kicks into high gear and offers an eerie “phasing” feel. Listeners of our podcast should recognize “Choujikuu Mitsukai” (translation: “Super-Dimensional Angels”) offers a feel of grandeur that gradually enters its surf goodness and the almost 10 minute long “Jellyfish Sunrise” somewhat echoes their first album’s “Farewell To Monster Island” without copying it. It’s soft, soothing and the rhythms are like a gently undulating jellyfish. The catchy beat doesn’t hurt, either. In “Mr. Smoothstar,” drumbeats signal in fast guitars, but they soon combine for amazing results while “Shooting The Wormhole” nicely follows preceding track with its reverby classic surf feel. “Forcefield Lifts Over Neon City” is another fairly lengthy track which uses a slow, soft drum build to kick in an interesting beat and great guitar work. It’s hard to describe this, but there’s a “force field” feel at points, in addition to some great musical variations (as is case with all their long songs). “Zombie Harem” touches on a lot of things used in other tracks on album while having more than enough original material to make for an interesting (and sometimes eerie) listening experience, making it the perfect closer for the album.

Phase 2 has the classic Daikaiju feel to appease fans of the first album while at the same time allowing their style to change and grow so they can further develop as artists and bring in new fans. In short, it’s the perfect sequel. I’m already looking forward to Phase 3!

Special thanks to Daikaiju for use of the image!

Freaky Tiki Surf-ari: Clouseaux

Clouseaux
Official Site
Clouseaux, Air Y Hola 2001
Destination Oasis, Air Y Hola Records 2003
Lagoon, Dionysus Records 2004
Beyond Good and Evil, Self-released 2006

A sneak peek at the newest internet meme

When one thinks of exotica, visions of Polynesia and Hawaii immediately spring to mind. However, exotica groups can be found all over America (and the world). Houston, Texas might seem like the furthest thing from a locale that inspires music to make you think of a tropical South Seas paradise, but it actually makes perfect sense once you realize it’s the home base of Clouseaux. Although widely known as a neo-exotica band, that’s only one facet of their musical identity. Founded by Jay Brooks and David Cummings in 1999, Clouseaux’s sound has been described as everything from “jazzed-up jazz punctuated with mystery” and “the sound track from a James Bond-swanky-spy film that takes ghost train like turns down classic horror movie and 1950’s science-fiction film tunnels and back out again onto beautiful tropical beachs at sunset.” On top of that, the performers in the group are just as varied as the types of instruments used over the course of several albums . According to Facebook, the group’s current lineup consists of:

Jay Brooks: Bass
Kelly Doyle: Guitar
Tomas Escalante: Vocals
Andy Salmon: Drums & percussion
Steve Ruth: Trumpet
Aaron Koerner: Flugelhorn
Alfred Tam: Trombone
Lou Bo: Percussion
John Best: Vibes

The first track of their first album, “Krakatoa,” effectively creates a sense of mystery, which is aided by the use of female vocals. The use of a guitar, drums and horn in “Where Are We Now?” gives it both a semi-surf and spy-fi lite feel, which later takes on a Spanish tone. “Le Nuit” features a lot of jaunty piano work and singing (along with a nifty sample touting a “stereophonic sound spectacular”) while “Payaso” shows how this is the furthest thing from a standard exotica album through its tango-esque and various instrumental touches. The slow-paced “Reum With A View” offers a mysterious feel that makes it perfect old school spy music. “Ennui” starts with the same talking effect that closed out the prior track, which more talking leads to traditional exotica-style performance. Piano work and trumpet work abounds, and there’s even a mild sense of menace at one point. “A Most Excellent Flying Death” is a fast paced surf-style track with great organ work and reverb, while “Fist On The Green” is easily the catchiest financial argument you’ll ever hear. Fans of the podcast should be familiar with “Jack The Ripper,” which makes great use of drums and reverb for a creepy stalking effect. “Marauder” is a a bit moody and sounds like it came straight from the nightclub of my dreams. There’s plenty of trumpets and bass, along with amazing guitar work. There are also points where it gets Brian Setzer or ska-like at times, so this track is a great way to introduce fans of that kind of music to the world of Clouseaux.

No joke here, just an awesome Tiki.

Next is the 2003 EP Destination: Oasis, which was first released at the third Tiki Oasis. Said EP has “Krakatoa” and “Reum With A View” from their first album, in addition to “Shrunken Heads,” “Copper Locked Nymph” and “Destination: Oasis” from the (then) upcoming album Lagoon! There’s also an exclusive track called “Chic Alors!” Said track features peppy maracas, bongos and light music. Although it has a Spanish feel, it has French dialogue. It’s odd, but I like it!

100% Gill-Man free!

Lagoon! came out the following year and if Clouseaux demonstrated all of their preferred styles, then this album focuses more on their exotica influences (specifically neo-exotica). “Lost Lagoon (Intro)” sets the stage perfectly with animal calls and a laid back beat. But thanks to the sneaky vibes, there’s also a hint of darkness. Thanks to its speedy bongos and chanting, “Shrunken Heads,” has a definite tribal feel. I also love the spooky, surfish guitar work. Speaking of surf, the opening of “Destination: Oasis” has a classic surf feel that leads into a great percussive beat and chanting. There’s also a classic exotica feel follows the Spanish-esque guitars and trumpets. “Walking From Juarez” offers a sneaky spy groove with occasional spooky touches and Spanish(?) singing, while the energetic “The Dance Of The Crustraceans” offers bouncy and speedy percussion that sounds like scuttling crabs. “The Kiss Of Ku” has a low, spooky build that gradually rises with backing percussion that later gives way to a catchy Spanish guitar beat and other light touches. This album’s version of “Krakatoa” is definitely different take on the track heard in their debut album. “Copper Locked Nymph” desperately needs to be in an old school, larger than life James Bond epic, especially due to the big second half. This time around, “A Most Excellent Flying Death” has a fast paced, surf-style opening with mild percussion and horns. While the original used the sounds of a car chase (and crash), this take focuses purely on the music. If you want to introduce a ska fan to Clouseaux, make sure to play this track for them. This version of “Reum With A View” is longer than the original and although it retains the soft, nightclub-style opening, there’s also fantastic solo and sax work along with a sneaky/dark undercurrent. In “Noctopia,” exotica takes center stage in this surf/Tiki mix, with plenty of cymbals and other examples of exotic instrumentation. Finally, “Lost Lagoon (Reprise)” is a shorter, more subdued take on the first track.

I knew him well fellatio...I MEAN HORATIO!  Sorry, I got distracted...

In addition to its many guest performers (Jerry Sanchez, Daniela Freidl, Will Crux and Paul Peacock), Beyond Good and Evil also features a ton of samples from vintage ads, Diamonds Are Forever and the Vincent Price classic The Pit and the Pendulum. Thanks to its “climbing” piano work and futuristic conga/surf fusion “The Kitchen of Tomorrow” has a very 50’s cartoon-style feel. “Hunt of the Savage” effectively uses fast bongos and surf guitar work with vocals and a Spanish trumpet while the surf stylings of “Genie vs. Genie” are somewhat slower and the Spanish feel is gradually introduced here. “The Awful Green Things From Outer Space,” inspired by the board game of the same name, features plenty of reverb-heavy guitars and electro-spacey sounds that provide a sense of menace and something approaching. “Paraiso” offers a slow neo-exotica feel with its slow drums, animal calls, vibes and
steel guitar work while”The Monkey With The Golden Fez” is a more frenzied track full of bongos and surf guitar work (along with plenty of screeching monkeys). “Exhuming Elizabeth” features a creepy surf guitar and drums and “Tango de los Muertos” lives up to its name with its sinister tango feel. “Magic” utilizes soft, dreamy vocals and great guitar work for a Hawaiian feel, which can also be felt in the Spongebob Squarepants-esque reverb work in “The Girl From Atlantis.” The vibraphone is easily the star of “Beyond Good and Evil” and is nicely complimented by the bongos and guitars. Soft, sad piano work starts off “Catalonia,” but the mood improves as string work enters the picture. Everything about “Jungle Witch” is amazing, from its creepy, guitar-based introduction to the amazing saxophone work (along with the use of mystical-sounding chimes). For the grand finale, “The Toy Store of Tomorrow” offers a Spanish flavored sense of running around, along with trumpets, laughs and a slide whistle!

If their first two major albums focused on a general introduction to their varied styles and exotica respectively, Beyond Good and Evil focuses on their unique guitar stylings. No matter which one you pick up, you’re sure to have a great listening experience. Although their last CD release was in 2006, Clouseaux is anything but inactive. In fact, they have three limited edition vinyl 45s coming out this year. They also have a more overtly horror-related side project, but that’s another story for another time…

Special thanks to Clouseaux for the review copies!

Freaky Tiki Surf-ari: Space Party

Space Party
Official Myspace
Invasion of the Surfer-Men!, Self-release 2010
Hellfire Halloween, Self-release 2010

Space Nazis Must Die!

With the scene flooded with so many American horror surf bands, it might be easy to miss the Australian group Space Party at first. Consisting of Alex Plegt on guitar, Kevin Lauro on bass and Darren Atkinson on drums, the band officially formed in 2006. I say “officially” since the two guitarists have been playing surf music together since 2003!

Although they’ve appeared on our podcast several times, my first exposure to Space Party came from their Hellfire Halloween CD. Said disc is a 2010 promotional giveaway for their Hellfire Halloween show at Canberra and features two takes on the Link Wray surf classic “Jack The Ripper.” The first version is by the band King Hits, which is somewhat low key but awesome. It’s sneaky, just like ol’ Jack. In contrast, Space Party’s is a speedier, louder and rougher take with more of an edge.

Focusing more on original compositions, Invasion of the Surfer-Men! starts off strong with “Space Party,” which offers heavy (but classic) surf feel while “Get Surfed” has a lighter feel (but revs up a bit as the song goes along). A creepy film sample about blood-drinking beasts opens “The Creature,” whose heavy, pounding intro (along with the constant screams and evil laughter) makes me think of the Ghastly Ones. That said, Space Party’s own unique sound is still on full display here. “Spanish Song” definitely lives up to its name thanks to its hybrid of Spanish music and Space Party’s heavy reverb. The authoritative opening of “Crime Wave” features lots of drums and guitars which sets up a feel of being on the march. However, this eventually gives way to fast-paced surf guitar goodness. I absolutely love the guitar work in “Gumshoe,” which makes you feel like you’re on the beat tailing a suspect. The reverbtastic “Flight to Mars” conveys the feel of a journey through its super speedy opening and excellent use of percussion. Special guest Glenn Tinsley plays the combo organ on “The Unknown Surfer,” which is put to great use to enhance the sense of mystery. Both the interesting variations in guitar work its mysterious echoes of The Twilight Zone easily make it one of my favorite tracks. Mere words can’t do this justice. “Journey Through the Black Hole” starts off soft ‘n slow, then kicks into high gear and features a lot of great effects work. “Beyond the Surf” ends things perfectly thanks to its mellow and light reverb, which make it feel like the end of a long day at the beach.

Whether you’re looking for something new in surf music or just want to expand your horror surf horizons, Space Party has you covered on both fronts. Do yourself a favor and snap up Invasion of the Surfer-Men! as soon as you can; you won’t regret it. Here’s hoping we’ll be seeing more releases from these guys in the future!

Special thanks to Space Party for use of the image!

R.I.P. X-Entertainment.com (2000-2012)

 

 

 

 

In the first time in close to a year, I visited X-Entertainment today to read the sad news that the site has been dead for months now. This is a sad (albeit late) moment.

Both Weird Jon and I have been long-time fans of the site X-Entertainment.com (referred to as X-E from here on).  It might be said that its Halloween Countdown was the inspiration for our own, and that it’s poignant commentary and humor that celebrated all things that we value here at GdL16 might have been a big influence on us years before we even bothered to sign up for a blogger account.

It was the recent sign-up for the 2012 Halloween Countdown that brought me back to see the recent posts by Matt about how X-E has been retired. He started last year’s countdown in September and I wanted to see if he was doing the same. Alas, the poor boy decided to put the site into the garage for good. After being associated with Ugo.com, going out on its own and providing over a decade’s worth of humor, Matt (founder and writer of X-E) has decided to rebrand himself with the new website, DinosaurDracula.com. He seems to be updating more frequently.

X-E isn’t going down. It’ll still be up so the articles and archives will remain available. Plus, why have someone squat on the domain and take a lucrative brand that Matt has spent so much time building up? But for new content, head over to DinosaurDracula.com.

 

I (don’t) Hate Tim Burton

It’s unfortunate but I think I don’t hate Tim Burton.

I used to. Sorta. Hate is a strong word. But from 2005 up to last year, I could loathe Burton like everyone else, pointing out the obvious cracks in his career, bemoaning the “unoriginal thoughts” and “repetitive casting” of the same troupe of actors. I could and I did, with gleeful aplomb that I was in the right. Now, a year after ‘Dark Shadows’ came and went without doing much of anything, I find myself not hating Tim Burton. That’s probably a shame. I find myself feeling ambivalent and that might be even worse than if I were to hate him.

This thought all stems from standing in line at a chain sandwich shop that had decided, in its health-conscious way, to offer up reusable bags featuring the characters of the upcoming ‘Frankenweenie’ movie as a concept of a ‘kid’s toy.’ Whereas your burger giants will saddle some piece of Chinese plastic that does a trick or seems a miniature version of a real toy, this business had decided that kids really want manageable luggage options. While looking at the characters of Victor, Sparkie and Sparkie’s love interest, a black poodle with a beehive similar to that of Elsa Lanchester in ‘The Bride of Frankenstein,’ I realized that I didn’t hate Tim Burton anymore.

I tried to. Since then, I’ve tried to find fault with him making a stop-motion animated feature film based on a half-an-hour short he originally produced nearly thirty years ago. Phrases like “painfully recursive” and “mining your past  seemed to pop up and lure me thinking that after the five consecutive critically panned though financially lucrative films (all of which involved Johnny Depp, Helena Bonham Carter and in some cases, screenwriter John August, composer Danny Elfman and vampire Christopher Lee), Burton might be going a bit ‘desperate.’

The hate isn’t taking. Perhaps, I think, ‘desperate’ isn’t the adjective needed, but ‘safe.’ It appears that Burton is trying to get out of a rut, I’ll grant him that. Five consecutive movies that haven’t captured the magic of ‘Beetlejuice’ or the excitement of ‘Edward Scissorhands’ or the sheer fun of ‘Pee-Wee’s Big Adventure’ could be jarring to anyone. Maybe he figured it was time he did something different? It’s unfortunate but even as he achieves a success by not casting Depp or his wife in the movie, he falls back on the same bit of security.

The image of Sparky, the dog of ‘Frankenweenie,’  is of that of the dog from ‘Family Dog,’ the bizarre animated show spun off of an ‘Amazing Stories’ episode Burton worked on. It’s a stop-motion feature, much like ‘A Nightmare Before Christmas’ and though there is no Depp or Bonham-Carter in sight, the cast is made up of people who have worked with Burton before.  Catherine O’Hara, Winona Ryder, Martin Landau, and Martin Short all are involved in ‘Frankenweenie,’ all elements of Burton’s past prior to Depp/Bonham-Carter. Only Martin Landau has connection to the Depp/Burton era, acting as Bela Lugosi in Burton’s historic fictional film ‘Ed Wood.’ Is Danny Elfman doing the score? Do you have to even ask?

It looks like a Tim Burton movie, it’ll sound like a Tim Burton movie, it has actors who have already been in a Tim Burton movie. Despite this great fodder for me to get my bile up, it’s not moving. I have no feeling of animosity towards what is still, despite ALL THE TREMENDOUS EFFORT INVOLVED, seems, at its core, lazy.

And yet, despite this evidence that Burton is not growing as an artist and has once again found a way to stay safely inside his boundaries, I don’t feel anything. I actually would like to see the movie, if only curious at the stop motion effects. It will be interested to compare it with the recently released ‘ParaNorman,’ another horror-themed stop-motion picture from Laika studios, whose prior release, ‘Coraline,’ was helmed by  Henry Selick, the director of ‘A Nightmare Before Christmas.’ Whereas Burton seems content to staying within himself, those who he has worked with don’t seem so complacent.

All these dour remarks about the movie are done not out of malice but out of habit. I’m apathetic towards anything Burton has done because it seems he’s perfectly fine recycling himself until he’s dead. He doesn’t seem ready to do another ‘Big Fish’ or even something outlandish like ‘Mars Attacks!’ ever again. Though confounded and slightly derivative as it was, even his ‘Planet of the Apes’ movie was something different.

But different hasn’t really sold a lot of merchandise at Hot Topic. How many ‘Mars Attacks!’ t-shirts are sold next to the Jack Skellington items? This is a sincere question – I haven’t been in a Hot Topic in years.

I think I’ve become comfortable with Tim Burton staying in his niche since he’s perfectly happy staying in it himself. You can’t be upset at a pig in shit if that’s what makes the animal happy.  Perhaps this means I won’t get agitated when Zack Synder uses slow motion, when Michael Bay blows something up or when Wes Anderson casts Bill Murray in his soon-to-be announced movie, alongside Jason Schwartzman and two of the three Wilson brothers.

Freaky Tiki Surf-ari: 6’+ Episode 37 is up!

Listen or face the curse of the Tiki!

To quote the description given at the new listing:

Grab your best floral print shirts and get ready to hit the huts, it’s Freaky Tiki Surf-Ari 2012! Monstermatt Patterson gets mistaken for a coconut during his Monstermatt Minute.

Dr. Gangrene learns how to speak Hawaiian with scream queen, Debbie Rochon. Plus, music by The Creepy Creeps, Hans Karl, Waitiki, The Tikiyaki Orchestra and more!”

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 and Stitcher . We’re also on Facebook and Twitter.

Freaky Tiki Surf-ari: Haunted Tiki Island

Boo!

Those of you who read my first article about freaky Tiki-related arts and crafts might remember some links relating to a “Haunted Tiki Island.” However, the subject of those links was so interesting that I thought it deserved its own article. Haunted Tiki Island refers to the theme used by the Haunt at Hellizondo in Simi Valley, California. Thanks to the miracle of the internet, we can watch some slideshow videos from its 2007-2009 setups:

Although the Haunted Tiki Island theme has been since dropped in favor of exploring other ideas, you can still learn more about it on its official blog and its category at the Haunt at Hellizondo website.

Speaking of cool Halloween setups, check out this amazing Halloween party based on the works of Shag! It’s a shame that the official Shag! skull Tiki mugs were Japan-only items, as they would have been PERFECT for this bash.

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