Category Archives: Uncategorized

You’re Gonna Need a Bigger Boat: getting serious about self-publishing

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This is from Suzanne Lahna at Word Vagabond, who also provides stellar SF/F/H editing services ❤ larissa =

 

The Healing Monsters

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The first installment of my dying-earth cycle, “Imperator—Terror Lizard” is impending among many other metal-horror-speculative luminaries (pinch me!—this LINEUP!) coming May 19 (volume 1) and September 15 (volume 2) from Despumation Press. ATTEND THEE! For more details read on =

Despumation Press

HealingMonstersAd2-2

Yeah, this is actually still happening. A lot has occurred since the start of this charitable project, not the least of which has been the passing of one of the beneficiaries of Non-Hodgkin Lymphoma and the diagnosis of a Hodgkin Lymphoma for one of the editor’s husband (that would be me…my husband, Anthony Everitt of the death-doom band, Taphos Nomos, and designer of these books). Among a number of other setbacks, it’s been wrought with grief and irony. That said, we’re still moving forward. As you can see, the single volume was to be ridiculously huge, so we’ve decided to split it into two volumes, each coming out on the respective medical issue’s awareness day (though the profits of both volumes combined will be split evenly). We look forward to getting these out there and into the hands of readers and rockers, and we hope it will be of…

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NWOBHM: Year One

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MayoNoise

Punk Rock was the best thing that ever happened to Heavy Metal. Like the comet that struck the earth killed off the dinosaurs, Punk’s impact destroyed the status quo and wiped the slate clean for rock music to reinvent itself. Punk slayed the arena gods of the 70’s, and demanded that you didn’t have to be a musical genius to express yourself musically; anyone could form a band, and everyone should form a band.

Ultimately, Punk rock’s success doomed it to failure, as it eventually assimilated into the very thing it was programmed to destroy: the mainstream. Of course, during Punk’s brief reign, the Metalheads were still out there, both fans and bands, biding their time, awaiting their moment. Punk didn’t kill Heavy Metal; it just drove it underground. In one such underground haven, a hall called The Bandwagon, Metal had found a place to weather the Punk rock storm…

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The Foundations of “The King in Yellow” and the “Necronomicon”

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The Foundations of “The King in Yellow” and the “Necronomicon”

I must admit, I’m currently reading “The King in Yellow” by Robert W. Chambers for the first time. The stories are widely considered essential reading for anyone interested in the legacy and origins of SF/H literature. The title story reminded me of H.P. Lovecraft’s Necronomicon, and I wondered if TKiY had influenced HPL. According to this recent article in the Lovecraft eZine, that does not appear to be the case, and that the stories of Lord Dunsany, Ambrose Bierce, and of course Poe had a more direct effect on Lovecraft >

Lovecraft eZine

Article by Rick Lai.

From the zarono etsy store: http://etsy.me/1MRlqqy From the zarono etsy store: http://etsy.me/1MRlqqy

In “History of the Necronomicon,” H. P. Lovecraft remarked that his fictional tome of arcane lore inspired Robert W. Chambers to write The King in Yellow (1895). Of course, Lovecraft was joking. The short story collection by Chambers owed its inception to the supernatural tales of Ambrose Bierce. I suspect a secret meaning in Lovecraft’s jest. The same stories by Bierce that prompted Chambers to invent The King in Yellow spurred Lovecraft to create the Necronomicon. Although Bierce would be the primary influence on the imaginary tome, Lord Dunsany, Edgar Allan Poe, Thomas Moore, and the ninth edition of the Encyclopedia Britannica all played significant roles in molding the cornerstone of Lovecraft’s artificial mythology. Similarly, Bierce mixed together with Poe, Moore, Masonic rituals and Breton legends would shape the Carcosa mythology of Chambers.

In Lovecraft: A Look…

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Hammer of Darkness revisited

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I don’t always re-publish decade-old album reviews. But when I do it’s usually for a really good cause. For a few years I reviewed albums for Roberto Martinelli, the soul behind the dulcimer-centric Bay Area black metal project Botanist. I discovered some crazy-good, new music during a very dark and unhappy period of my life. Most of this music sticks with me today. I am still open to new soundscapes and new experiences. Enjoy while we can. NOTE: “Power Means Death Power” is still my ringtone – hey, it’s got to get my attention, somehow.

AMMIT – Hammer of Darkness – CD – Displeased Records – 2005

Chilean It-Man Ammit is HEREBY PROCLAIMED to be the new Bob Dylan of black thrash – a polarizing figure; abhorred by some, deified by others. This listener is a new convert to the latter faction (paradoxically, she cannot stand Bob Dylan). (whew! – ed)

See, early on in the 1980’s, Venom and Bathory marked the nether-region of just how far people were willing to go with their metal. Many preferred to stop at Thin Lizzy, Budgie, or U.F.O. Others explored only so far as Motorhead. The nether-regions were not to be trifled with, however, much less listened to, unless you were willing to go all the way. A few years along, Hellhammer and Sodom conquered that nether-region.

Now, with extremity languishing as a very subjective term, from Opeth to Sublime Cadaveric Decomposition and back, the preponderance of bands, styles, and subgenres makes it very difficult to separate the wheat from the chaff.

Hammer of Darkness, Ammit’s second full-length, may surprise those familiar with his previous output. Admittedly, the Mass Suicide / Steel Inferno CD lost this listener after only a few spins – it felt too larval; it needed more time in the oven. But Ammit’s new release treads the gargantuan step that catapulted Venom from Welcome to Hell to Black Metal, from relatively meh to TOTAL FUCKING CLASSIC.

This latest CD is a new black dawn for South American metal, a platter of pure, steaming, diarrhea-soaked nastiness – in terms of extremity, yet coupled with accessibility (the production is crystal clear), Ammit is unmatched so far in this year of 2005.

To start with, Ammit introduces this less-than-forty minute demon with “Pure Infernal Fire,” a minimalist, pounding, Melvins-y, layered chant that is pure fucking ten-ton-testicle ATMOSPHERE.

That said, please allow the following revelation, a epiphany that converted this reviewer to Ammit’s Crusade against Christ: the second song, “Power Means Death Power,” is possibly the most brazen, fierce, epileptic, fist-in-the-air punk-thrash anthem ever recorded. The barely off-cue, self-conscious, furiously barking vokills, the total snare drum rape, and hilarious Nigel Tufnel-ized guitar solo are the clincher. To summarize: even if Hammer of Darkness contained ONLY this particular track, it would still get a 10.

The next one, “Acid,” is no less lethal – a pure delight it is to hear its thrash pace and hearken back to the fresh blast of PURE BLACK AIR issued forth from Bathory’s essential 1986 abortion, Under the Sign of the Black Mark. Ammit’s latest is THAT good.

“Dogs of Hell” is almost Van Halen-esque in its simple, pleasing, mid-paced warmongering. “Sinner” is evocative of the political turbulence from which Ammit hails: a cacophonous, thrashing pandemonium, almost vortex-like with intensity, brings extreme metal’s disenchantment with ultra-conservative authority to a new apex (the brutal dictatorship of General Augusto Pinochet still ripples through the Chilean psyche). And “Terrormass” in the “Mayhem with Mercy” of Hammer of Darkness: a brief but harsh keyboard interlude that presages the ensuing blizzard.

“Wraith” is another topper. The chorus chant “Wraith—FULL OF WRATH!” is part Melvins, part Crebain, so killer and sloppy it’s like watching a frisky piranha fight.

“Black Plagues” is the signature Kreator “Pleasure to Kill” hail of the CD – it bludgeons a guttural whirl of treble, rapid-fire distortion, and complete siphoning away of common decency.

“Genocide” is even faster than some of the other tracks, until it descends into a Sabbath-y interlude that provides further evidence of Ammit’s vastly improved sense of range. “Las Garras Del Mal” bears a crazy resemblance to Venom’s finer vintage, right down to the pinch harmonics and linear (but furious) drumming. Finally, Hammer of Darkness closes the CD with a return to the repetitive minimalism of the first track, but by the time it reaches the pulsing crescendo of “DIE! DIE! DIE! DIE! DIE!”; it finally falls apart beneath its own weight.

Ammit is not a visionary. But Hammer of Darkness draws the most distinct line between the Ride the Lightning camp and the Black Album camp; it deserves commendation (and condemnation). Such is the struggle for metal – its past, present, and future. (10/10)

The Healing Monsters TOC!

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I’m still in the shock that my published fiction debut is part of this amazing roster of horror and metal writers, very inspiring!

Despumation Press

Here's a little sneak preview of the cover art, by our very own Sean Frasier. Here’s a little sneak preview of the cover art, by our very own Sean Frasier.

Every time we stop and take a look over this TOC, we’re like, “Really?”

So, we announced last month that we’d be putting out a benefit anthology, chock full o’ metal and horror–and metal horror. Today, we present you with the full, final table of contents. I think you’ll agree, this is a pretty impressive once-in-a-lifetime line-up here of writers, musicians, and editors. And we couldn’t be more excited to be facilitating this volume of awesomeness in honor of the horror and metal communities’ own, Dustin LaValley and Katherine Ludwig. Without further ado, in no particular order…

Mathias Jansson (Despumation 1 & 2)

Lewis Dimmick (This Music)

Stephanie Wytovich (HYSTERIA, Mourning Jewelry)

Karyn Crisis (Gospel of the Witches)

Jessica Pimentel (Alekhine’s Gun, Orange…

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