Archive for December, 2014

This is Part 2 in a continuing series of interviews documenting the Rockford Illinois music scene for an upcoming book currently in production…

By Theron Moore

My first exposure to Cheap Trick was my cousin holding up the “Dream Police” record he unwrapped on Christmas eve 1979 if I remember right.  It wasn’t long after I saw the video for the title track “Dream Police” on maybe “Don Kirshner’s Rock Concert” or something akin to it and becoming a fan for life.

ct dream police

Cheap Trick is blue collar rock N roll at finest that embraced the Midwestern work ethic of “hard work pays off” and it did and it connected with the good folk of Northern Illinois who could relate to that.  It wasn’t just the music of Trick they loved but the connection they had with the band and vice versa.  They weren’t afraid to be seen in public and mingle with their fans.

I remember my first time meeting the band at a local McDonalds I worked at when they stopped in for dinner before heading to Poplar Creek Music Theatre outside of Chicago to open for Motley Crue on their infamous “Theatre of Pain” tour and before they left they passed out free tickets to those of us who could go. And all these years later, at age 64, Bun E. Carlos is still that hard working Midwestern rocker who embodies all of this and more.

Although he isn’t touring with Trick he’s still the hardest working man in rock today.  His side bands include The Bun E. Carlos Experience, The Monday Night Band, Tinted Windows, Candy Golde not to mention a brief reunion with pre-CT band “The Pagans” (1966 to 1968).  He’s the chief archivist of Trick history and a walking rock N roll encyclopedia and if I haven’t mentioned it yet, he’s one of the coolest, nicest guys you’ll ever talk to.  This is Bun E. Carlos.

Church of the Necronomicon:  In terms of playing gigs and attending rock shows in Rockford and Northern IL in general, when was it most fun for you?  When you were established with Cheap Trick, when you were a kid or chasing the dream of a record deal?

Bun E. Carlos:  Concerts were always fun to attend. Chasing the dream was fun and work.

Church of the Necronomicon:  As a kid / young man in the 60’s and 70’s, what were the standout concerts that you attended in Rockford or Northern IL and where were they?

Bun E. Carlos: Byrds at Rockford College, Yardbirds at the Rock river Roller Palace, Cream in Beloit, Beatles, Stones, DC5, Who Hendrix in Chicago.

Church of the Necronomicon:  What about Forest Hills Lodge, I bet you saw quite a few shows there.  Did you catch the MC5 show by chance?  Which bands do you remember seeing ?

Bun E. Carlos:  I didn’t see MC5, had a college class that night. I did see Lovin’ Spoonful, The Vogues, lots of local bands at Sherwood Lodge.

Church of the Necronomicon:  What were some of your favorite venues to see shows at in the 60’s and 70’s in Rockford?

Bun E. Carlos:  Harlem High School, Rockford College, Ice Chalet.

buneca4

Church of the Necronomicon:  There were big time rock acts getting booked at Rock Valley College and local high schools back in the 70’s.  Did you attend a lot any of those shows back then or did Cheap Trick keep you pretty busy?

Bun E. Carlos:   I saw Delaney and Bonnie at RVC with Mitch Ryder and Billie Preston, otherwise didn’t see many school gigs.

Church of the Necronomicon:  If you did show up to a concert were you in the crowd hanging out or watching the gig from side of the stage?

Bun E. Carlos:  Always looking for the best line of sight.

Church of the Necronomicon:  What local gigs did Cheap Trick do in Rockford or Northern IL in general that standout in your mind as memorable and why?

Bun E. Carlos:  CT did gigs at over 50 local venues, when I counted them 10 years ago. Northwest Community Center was fun.

Church of the Necronomicon:  Did you see the Ramones when they came to Rockford for the first time, in what, 1979?  Had you heard of them at that time?

Bun E. Carlos:  I saw The Ramones in 1977 with The Nerves opening at The Purchase on Main Street. Both bands were good, I was familiar with both bands.

Church of the Necronomicon:  Is the local Rockford rock scene still vibrant now or how would you characterize it?

Bun E. Carlos: Slowly fading…….

Church of the Necronomicon:  What’s the future of rock N roll in Rockford?  Do you think the city’s economy is a factor?

Bun E. Carlos: Like all forms of topical pop music, I think rock is slowly getting older……..

Church of the Necronomicon:  Any closing thoughts on local Rockford music you’d like to add?

Bun E. Carlos: Rockford’s always been a good place to play and has always had a good talent pool of players. As long as the schools teach music that shouldn’t change.

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This interview is part of a long form history project on the local hard rock / metal / punk scene of Rockford Illinois 1984 to 1996.

de

I was trying to remember where and when it was that I first met Dave Ensminger and it was probably at a few poetry readings he and my father were part of back in the 80’s, give or take, in or around Rockford, maybe somewhere in the Northern Illinois area.

I recall going to Appletree Records with my father shortly before I left Illinois in the spring of ’92 to browse their amazing record inventory in what would be my final time doing so.

They had a staggering collection of underground / import punk and metal that kept me coming back for six years and several hundred bucks worth of tapes, records, zines and concert t-shirts later.

Appletree was a mecca for music fans and bands alike.  In fact, Black Flag and Gone did an autograph signing there before their infamous Rockford gig June 16th, 1986 at The Channel.  This time though, it felt different.  This visit had a feeling of finality to it.  I was leaving the area and knew I wasn’t coming back.

Dave was working there at the time so he and my dad struck up a conversation while I got lost in the stacks of wax.  I walked out with a Killdozer tape, a Venom CD (“Black Metal”) and a Celtic Frost t-shirt.  I think I spoke to Dave briefly, via my father, and then we left.  Dave would leave about a year later.

I knew of him as a poet back in the day but not as the punk historian he’s become now.  Musician, author, folklorist, the man has seen and done it which made him the perfect person to contact when I decided to undertake this project.  His grasp of punk history then and now is astounding to say the least.

You were certainly an integral part of the Rockford punk scene back in the 80’s.  Can you give us a quick run down of how you were involved?

            To be fair, I always thought I was the kid who was close to the kids that were more integral – that is, in terms of my age group: the teenagers of the mid-1980s. My sister knew the older subset, like Dan from Pinewood Box, since both attended Harlem High School together.

            I had a pick-up band with her friends that would play shows at house parties, so I learned to play tunes like “Nervous Breakdown” by Black Flag when I was around thirteen. I was linked to the folks at Rotation Station because I went to school with Rory, whose mother owned the place, and I both played and attended shows all the time there (from Capitol Punishment and the Adolescents to Swiz and Verbal Assault and Life Sentence). 

            Then I linked up with teens like Tad Keyes, Chris Furney, and Jeremy Kunz, partially because my fanzine No Deposit No Return was in full force, plus I was one of the few drummers that could play a blend of vintage punk, frenetic hardcore, and fluid emo, so I could play with metal heads, straight-edge kids, and older guys who were into what later became the sound of Touch and Go Records, Amphetamine Reptile, and the like. Later, I ended up working at Appletree Records with people from Beloit College, so I quickly latched on to that scene as well.

Do you remember what year you got into punk rock, just listening to it?  Who were the bands you were into?

            I always give credit to my brother and sister. Starting in winter 1980/81, Michael would bring home a variety of LPs, 7”s, and fanzines that completely re-shaped my world.

            The first three I recall vividly were Siouxsie and the Banshees, PIL, and Cockney Rejects, but quickly he would give me everything from Joy Division to Butthole Surfers; in the meantime, my sister was a devotee of Iggy Pop, David Bowie, Lene Lovich, Psychedelic Furs, Gun Club, but also blues like Howlin’ Wolf.

            So, I was warped from the beginning, it seems. One day my world was Cheap Trick, the Kings, and Buggles, but by fifth grade I was writing reports about Johnny Rotten/Lydon!

 

What was your first punk show and where was it?  Were you hooked after that?

            My sister’s boyfriend took me to see local power pop unit The Flex in Dekalb at some joint near the university, where one could smoke opium and not even blink or worry. We listened to X’s second record, on tape, there and back. My next gig was Black Flag, and my hearing loss suffered next to that P.A. still affects me!

How would you characterize Rockford’s punk scene back in the 80’s looking back on it now?  Was it as good or bad as you remember it?  What stands out in your mind?

            For a while, I rarely went to gigs in Madison or Chicago because so many shows occurred within the Rockford area. In fact, I became rather choosy, opting not to see Scream (too long haired, too rock) or Uniform Choice (too long haired, too rock) by the late 1980s, and in some ways I regret those decisions, but I was a fairly doctrinaire punk and felt they betrayed their earlier roots.

            Punk rock has always been very personal to me, an extension of one’s ethos, value systems, worldviews, etc., so I lived a code. The other thing I regret: not taking nearly enough photos, which leaves great gaps in my memories. Now, I shoot most of the pics for my own articles and books, to retain the DIY sense, but also because I don’t want moments to blur, gray out, overlap, or diffuse.

If we’re documenting punk history in Rockford, what bands do we need to mention / talk about?

            Record stores, from Appletree Records to Toad Hall to Denzil’s Record Emporium in Beloit and more. They were epicenters – for local DIY product, conversations galore, a variety of promotional music items that are now lost to history, some gigs (like Gone!), to rubbing elbows with people like Cheap Trick.

What about local zines and record labels?

            I have PDFs of all my zines, if you want them too. Other Rockford zines were few are far between. I know kids made them: I just don’t have any copies, minus some lit journals.

Do you remember Rockford’s scene being cohesive or was it kind of scattered?

            Well, the scene was cohesive to a degree due to the paucity of clubs; for a awhile, most shows happened at Rotation Station and Dartbee’s, or bars like Endless Nights, Tinkers Lounge, and the basement of Cherry Lounge, or places like Polish Falcons Club and VFW halls. So, yes, some of those places are a half hour apart.

            There was no central district or strip like I experienced in Albuquerque. Plus, the all-ages kids like me had to fend for ourselves: build ramps and stages, rent equipment, and run Xerox flyers, maybe host a radio show in Beloit, like I did, starting in the summer of 1989. But we all felt more or less in the same ship.

            The older guys eventually accepted us as well, as we aged and joined more “mature” bands, like Becky’s Birthday, who opened for Fugazi. They sounded like a cross between late-period Die Kreuzen and The Cult. Then, of course, were bands like War on the Saints, who were like prog punk, really adept musicians. They sounded in the late-1990s Dischord vein (Scream, Kingface), where Bludgeoned Nun could really play too but were almost precursors to grindcore and screamo.

We had Fugazi, Verbal Abuse, Operation Ivy, etc. perform at shows in Rockford but it’s the Black Flag show that everyone remembers and talks about.  Why is that and do you think that show in particular helped move the scene forward, bring more attention to it?

            Not really. All kinds of gigs pre-dated that, like Eugene Chadbourne, the Replacements, Naked Raygun, and more, but that show did earn press coverage. I think I still have the clipping from the Rockford Register Star, and it also witnessed an outsized police presence.

            I remember the cops lining the streets afterwards, telling me, “Get your ass home boy,” or something just like that. Ironically, the riot days of Black Flag were well behind them: in fact, they were like a mock-rock band that barely played any of their old material, minus a half-winking, sartorial version of “Gimme Gimme Gimme.” 

            For me, the next important shows were the Adolescents, because I made my first flyer for it, and Capitol Punishment because I played their drum kit, received sincere, generous feedback, and knew that I was never gonna shed my punk skin. But that’s just a few – incredible SNFU shows, Youth of Today shows, Swiz shows, all happened. And more.

What bands were you involved in back in the 80’s in Rockford’s punk scene?

            I cut a three-song demo with my straight-edge band Vital Signs, maybe in the 9th grade, and we even lacked a bass player, but it didn’t stop us, though the Christian studio made us censor the word shit.

            Then I drummed with Honeycomb Hideout, who opened for Kingface (Dischord Records), which later morphed into Insight, who opened for 7 Seconds in Madison and cut a demo reviewed in Maximum RocknRoll. Later, I joined Geraldo, then Toe, in Beloit. Flyers and photos for all those bands can be seen on my Midwest punk blog.

You wound up writing for a lot of heavy duty mags, Maximum Rock N Roll being one of them.  What article did you do for them and how did you get it published, was it an open submission to them?  What year was that?

            I did not actually publish for MRR until the mid-2000s, when I submitted an article about Biscuit of the Big Boys. Before he died, I drummed for him and edited his work in my magazine for about five years.

            From there, I started publishing interviews with band like Articles of Faith, the Fix, Beefeater, and more, and to this day I still contribute. This Fall, my interviews with Frightwig and Raw Power were published.

Did you ever do any scene reports or articles about Rockford’s punk scene in any zines / mags you wrote for?

            Of course, you can see portions discussed in my book Visual Vitriol, and my blog on midwestern punk documents literally everything I own that relates back to the scene.

Are you still doing Left of the Dial?  What’s it about and where can we find it?

Nope, that is the past. It ran from 2000-2005 and is a collector’s item. Portions were re-published in my books Left of the Dial and Mavericks as well as my App, found on iTunes — Punk and Indie Rock Compendium: Left of the Dial. So, I have tried to make the material as accessible as possible.

You’ve got several great books about punk rock published, can you talk about them and where do we find them?

Everywhere! Left of the Dial and Mavericks contains interviews with the “icons” of the roots rock, punk rock, and indie rock movements and collect portions of my massive interview archive (well over 1,000 pages), whereas Visual Vitriol is a scholarly, folklore examination of the street art and cultures of the punk and hardcore generations, with a special look at graffiti and stenciling, skate culture, gays and lesbians, Hispanics and African Americans, and women too.

What year did you leave Rockford and why?

            I left with my first wife in 1993 to live in New Mexico to be close to my poetry mentor at the time, your father, and attend the creative writing program at the College of Sante Fe. I have not lived in the Midwest since…

What’s your current situation today, where are you and what are you up to?

            I am a punk scholar and folklorist, an educator, a writer, a drummer, a book publisher and editor, an archivist, a husband, and photographer. Well, at least that’s part of what I do!

About:

David Ensminger is a Humanities, Folklore, and English Instructor at Lee College in Baytown, Texas. He has written about music, art, and contemporary issues.

Bibliography:

Mavericks of Sound: Conversations with the Artists Who Shaped Indie and Roots Music.

 

Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generations.

 

Left of the Dial: Conversations with Punk Icons.

 

Co-author Mojo Hand:  A biography of bluesman Lightnin’ Hopkins.

Contributor to Popmatters, Maximum Rocknroll, Houston Press, Trust, Postmodern Culture, Art in Print, M/C Journal, Journal of Popular Music Studies, Liminalities, Artcore, and various other journals.

Research bloghttp://visualvitriol.wordpress.com/

Midwest history bloghttp://midwestpunk.wordpress.com/

Movie Review:  “Dead on Appraisal”

doa

“Dead on Appraisal” is a psychedelic moshpit of unbridled insanity involving real estate dealer John Dante trying to sell a house that carries with it a serious history of demonic baggage.

“The Morning After” is the story of a bunch of kids that just wanna party, hearty but find themselves faced with both a home invasion and some kind of big, bad bug that wants to take a bite out of them all as well.  Cue the craziness folks…

Sure the acting is stiff and in some cases bad but hey it’s indie, it’s low budget and it’s massively entertaining to boot! Kudos to the filmmakers for starting the movie out on a fun, positive note that sets the pace for the rest of the movie.  I also enjoyed the monster and gore effects in this story which complemented the vibe and direction of the flick well.

“Fatherland” is the next story up about an Iraqi War soldier returning home to stay with his father suffering from what might be PTSD.  His father contacts a psychiatrist who happens to be a vet himself to help his son which doesn’t work. The young man, despondent, commits suicide.  The father finds his son dead and notices something odd — a bomb had been surgically placed inside him that explodes killing him.  The house however survives the blast.

“Fatherland” finally gives us a glimpse of that which dwells inside the house as we see it’s silhouette on the wall in the final moments of this story.  I think the filmmakers were trying to convey to us that this demon has been here all along manipulating both past and present inhabitants of the house.

“Freddie and the Goblins,” the third and final installment in this trilogy, involves the nutty lead singer of a death metal band who moves into this house of horrors with the intent to make the most extreme music planet Earth has ever known. And it all starts with an “innoncent” poker game between he and his bandmates.  It’s with this story that the filmmakers truly shine taking on a no holds barred approach regarding how horror movies should be, low budget or not.

Each time someone gets up and exits the table a kooky, a Sid and Marty Krofft like creature sits down in his place.  Freddie, the lead singer, can’t process what’s happening — is it real or is it his imagination?

In a fit of madness he kills all the monsters at the table and makes a frantic 911 call to report the incident  but hangs up when the monsters are gone and in their place are his friends, dead, murdered.  And here’s where we cross the rainbow bridge into true madness.

His bandmates reanimate on their own and suggest they perform one final gig together…which he agrees to!  When the cops arrive Freddie’s already kukoo for cocoa puffs but musters up enough brain energy to go for his gun but gets shot and killed by the police when he does so.

The final few minutes of “Dead on Appraisal” are some of the greatest in low budget cinema history.  As if the entire movie hasn’t been a gory masterpiece already, the final scenes escalate the shock and awe / blood and gore factor to cosmic heights I’ve witnessed before.

Remember John the realtor?  He’s the guy that shows up sporadically throughout the movie to bind the stories together.  Lo and behold his girlfriend Sarah is hosting an open house to get it sold.  The final few moments of the movie redefine the term “insanity” and give me hope that there are still adventurous filmmakers out there who are willing to take a film as far it can go creatively and then nudge it even further across that line.

The demon decides to make an appearance at the open house and kills everyone to a slammin’, heavy as hell death metal soundtrack.  The methods of murder and mayhem employed here are brilliant beyond what words can describe.

“Dead on Appraisal” needs to be a permanent part of your horror movie collec tion.  Keep an eye on the guys who made this movie, I have a feeling they’re going to be the ones to watch when it comes to horror filmmaking in the future.

Winds of Genocide

“Usurping the Throne of Disease”

Pulverized Records

winds of genocide

            The first thing that hits me is the Napalm Death influence, especially on track six, “Millions Lie Slaughtered.”  Hear me complaining?  Better not, fuck no.  Winds of Genocide nail a perfect melding of grindy crust and death metal with “Usurping the Throne of Disease,” a nine track beat down due Jan 26th / 2015.

I can’t say enough good things about this record because it’s not a one trick pony which unfortunately some bands of this genre are.  “Deathstrike of the Scythe” has an old school, circle pit, punk rock vibe to it while “Venomous Warfare” and “Into the Darkness of Eternal Nuclear Winter” is straight up death metal.

Winds of Genocide have really come into their own with “Usurping the Throne of Disease” which is more than a solid record to satiate even the staunchest of grind/crust/death fans.  I look for this band to really make their mark in 2015.

 

Crucifyre

“Black Magic Fire”

Pulverised Records

This record is available now

crucifyre

Here’s how this record starts out:  A chanting female chorus saying something I can only imagine is Latin over a Slayer inspired guitar and drum riff that explodes into the black metal, mosh pit frenzy of “Apocalyptic Whore.”  This is how every record should begin.  They hooked me right from the start.  This record will cave your skull in.

Ten tracks of black metal mayhem that does it right.  The music and vocals are aptly matched which often times isn’t the case with this style of music.  Nothing ultra fast but sledge hammer heavy throughout.  The guitar riffs on “Black Magic Fire” really get me because they set the tone not only song-wise but what to expect from the record as a whole.  And the song writing and vocals nail it head on as well.

The production quality of “Black Magic Fire” as well as the band itself have really shown tons of growth compared to their previous record “Infernal Earthly Divine.”  “BMF” finds the band firing on all cylinders and just crushing it with this record.  I definitely recommend going out and buying it.

Trouble

“Unplugged”

2009 Escapi Records

trouble-unplugged

I know this record has been out for a few years now but Trouble is a band that never receives it’s just due and this particular unplugged record is nothing short of mind blowing.  It’s an instant no brainer, must have for every Trouble fan as well as every rock fan.

The ten songs run the gamut from unreleased to acoustic versions of their more well known tunes to a cover (“Heartful of Soul”).  “7:00 A.M” destroys me with the vibe and atmosphere Wagner and Co. create acoustically, something I didn’t believe could be done, but has.

The melody is haunting, tragic and hypnotic all at once with hints of Peter Steele in Wagner’s vocals as well as a slight nod to a “Wish You Were Here” era Pink Floyd type sound which reappears again with the song “Flowers.”

“Waiting for the Sun” has a full on psychedelic groove that takes the listener on a heavy mystical trip characteristic of Trouble ala the Trouble – Manic Frustration – Plastic Green Head era.

It kills me how underrated this band is, why more people aren’t talking about them I(past or present) and one listen to this record will redefine the phrase “heaviness” in a way you haven’t even thought about before.  How Trouble is able to craft melody to lyric to song is a truly a gift I’m glad they share with us.  “Unplugged” is just an unbelievably great record start to finish.  RUN.  BUY.  NOW.

The Skull

“For Those Which Are Asleep”

Available now, Tee Pee Records

the skull album cover

Super heavy, doomified molten metal from the band featuring three former members of the godly Trouble playing a style of music representative of Trouble’s first two records “Psalm 9” and “The Skull” and holy shit does this music deliver the goods!  “For Those Which Are Asleep” is ten tracks of pure, organic heavy rock played with feeling and a sense of genuine respect for the genre of music.

It’s hard to listen to this record and not associate it as “Trouble” because you have three former players creating this music but the longer you listen to this record the more you understand and pick up this retro, hard rock, riffy style that makes The Skull stand out on it’s own, especially with a songs like “Sick of it All,” “The Door” and the title track, “For Those Which Are Asleep.”

the skull group photo

What I like about this record is that it doesn’t pander to the doom / stoner audience or try to cash in on it’s obvious connection with Trouble, which it could have. The Skull, without doubt, stands firmly on it’s own two legs through a complex, layered, textured sound.   It doesn’t try to be Sabbath nor does it try to be Trouble.  Instead it finds it’s own unique groove through the talents and influences each member brings to the group and that comes through loud and clear on each song.

I’ll say the same thing for this record I said above with Trouble’s “Unplugged” and I firmly believe this — RUN.  BUY.  NOW.

By Theron Moore

wmfo

In my never ending quest to find and expose the most extreme of the extreme music out there I discovered St. Louis’ very own Without MF Order after watching several of their live vids on youtube.  It prompted to me to look up the definition of “ass kicking” in the urban dictionary online and here’s what it said:

“To be beaten senseless because you God damn definitely deserve it.”

I don’t know these guys personally so I’m not sure if that holds true or not but takin’ a good old fashioned ass whoopin’ does play a role in their live shows.

I’ve always had a fascination with the likes of Anal Cunt, G.G. Allin and The Mentors so Without MF Order was right in my wheelhouse.  I like bands that play live and dominate from both a stage show perspective as well as musically and Without MF Order fits this bill perfectly.

A typical live gig goes something like this:  Play an intense brand of hardcore and invite audience members to beat holy hell out of the singer, which they do with much vigor.  And to the credit of lead vocalist Captain Perverto, he takes a beating and never misses a note.

Church of the Necronomicon (COTN):  Tell me the origin of this band because as I understand it, you’re either a former or current indy pro wrestler.

Captain Perverto:  I wrestled for a small independent fed called “Gateway Championship Wrestling” from 1999 until 2005. I quit not too long after joining the band. Wrestling had rules and the band didn’t, so it was a no brainer to me which one I wanted to stick with.

I quit mainly because they stopped letting me do hardcore matches for being too careless (not with other workers, but with myself.) One time I ended up with a gash on the side of my head that was about as wide as Miley Cyrus’ vagina, so I guess I can’t argue with their concerns.

COTN:  How did you all come together?

Captain Perverto:  Legend has it that Chuck Berry, Tony Iommi and Johnny Ramone all touched dicks simultaneously creating a thunderous electromagnetic splooge storm, Scumby emerged from the gunk and that’s how he was born.was born.

Captain Perverto was the survivor of a coat hanger abortion. He was thrown in a Taco Bell dumpster where he lived off of taco beef and refried beans for about a week until a homeless lady scavenging for food found him and raised her as her own. Eating that kind of food as an infant likely explains why he takes such massive shits.

How Crash was born is unknown, we don’t know how old he is, but historians guess that it was some time in the early 1800’s. In 1922, Crash ran over a Gypsy woman’s foot in his Ford Model T. She then put a curse on him that any bass player that he plays with will die a horrible death. So that’s why we never have a bass player, they all died because Crash is a shitty driver. We all met at Denny’s.

COTN: Your shows are violent, fans are encouraged to attack and beat up the band, especially the lead singer. Have things ever gotten so out of hand that people got seriously injured or the show had to be stopped?

Captain Perverto:  Aside from Filthy Jill constantly breaking her hand on my head, no one in the crowd has ever gotten hurt, which is good. I don’t like seeing other people get hurt. Might seem a little ironic, but I like to compare it with blowjobs.

I like getting blowjobs, but I highly doubt I would like giving one. Taking a beating is like getting a blowjob, minus the part where I have to beg for it for weeks or try to sneak it in while she’s sleeping.

We’ve never stopped a show ourselves. One time I missed the last song because blood was squirting out of my ear and decided to go to a hospital, but I had no idea we were going to do an encore, otherwise I would have stuck around. The hospital visit was kind of pointless.

I found out I wasn’t actually bleeding out of my ear hole, it was just a laceration. Any time I go to a hospital I just make sure I don’t have a chance of dying later, then leave. The only time a show has ever been stopped was because I whipped my ballsack out.

COTN:  Who’s idea was it to introduce the level of violence and gore into your live act?

Captain Perverto:  Mine

COTN: Are local promoters and venues leery of booking a Without MF Order show because of your reputation?

Captain Perverto:  Some of them are hesitant or flat out refuse to book us. It’s usually more of a liability issue. We assure them that we don’t break equipment and always clean up our own messes. Some are still afraid that I might get hurt and try to sue them or some other dumb shit. I understand the paranoia, but I would never sue anyone for any reason.

COTN:  Any problems with the cops due to your live show?

Captain Perverto: Unfortunately no, a perfect ending to a show would be us being dragged out in cuffs.

COTN: You remind me a lot of G.G. Allin.  Tell me about that and who else musically kind of helped to form what we know as WMFO.

Captain Perverto: I don’t mind being compared to GG musically, because there’s no denying that he’s an inspiration, though I’m not too thrilled about people comparing him to our stage performance. A lot of the stuff I do on stage is heavily inspired by my wrestling days and the fact that I’ve been a masochist all my life. If GG inspired anything performance wise, it was showing me that I can implement my antics into our music, I assume it’s a hell of a lot more fun to watch than looking at some guy stand there with his foot on the monitor.

Lyrics to “He’s Got Aids” by Without MF Order:

without mf order

By Theron Moore

I got turned onto “Lights Out” about six months ago when a friend and fellow horror buff sent me a link for this movie.  “Dude, you gotta check this out!”  It was my first experience with the genre of short film, not short as in under an hour but short as in just a few minutes in length.

What blew my mind about “Lights Out” is that Sandberg was able to tell a complete story in under three minutes, the old fashioned way — proper pacing, building textured layers of suspense and utilizing sound as a storytelling tool.

The end result was Sandberg winning Best Director in the 2013 “Who’s There Film Challenge.”  His new short, “Pictured,” is available on youtube.  Ladies and gentleman, David F. Sandberg…

lights out

Church of the Necronomicon (COTN):  Has the horror film genre always been your passion when it comes to filmmaking?

David F. Sandberg (DFS):  Horror has always been a part of it but I like all kinds of films. Sci-fi and horror (and especially a combination of the two) are my favorites though.

COTN: I’ve heard you’re not an avid reader so where do the ideas and inspiration come from for your short horror flicks?

DFS:  I do still read from time to time but usually I’ll spend my reading time on screenplays. So far ideas have mostly come from my surroundings. I was turning off lights in the apartment and saw shadows which became Lights Out and Lotta {editor:  Lotta Losten, his wife) has a creepy old photo of her relatives that inspired Pictured.

COTN:  What sparks your creative process when it comes to a film idea?

DFS:  I guess “what if” questions. What if this was possible? What if you had this power? What if the camera on your phone showed the future? I don’t believe in the supernatural but I love the idea of those kinds of things. It’s great for stories.

COTN:  What is your work environment like when you sit down to write out movie ideas?  Are watching TV, listening to music?

DFS:  For shorts it’s usually just ideas that sort of come to me while doing other stuff. For a 3 minute short there’s really no need to write a script, I can keep that in my head. I’ve written some longer stuff, both by myself and with Lotta, and in those cases I usually write without distractions like music or TV.

COTN:  Does pop culture inspire you to write?  For example, what kind of music are you into?

DFS:  Of course I can get inspired if I see a great film, or even a bad one, but I don’t think I’ve been inspired by music though. I love Japanese horror comics and Junji Ito in particular. I haven’t played video games in a long time (feels like I’m taking too much time away from other stuff) but I love the Half-life games and Resident Evil (4 in particular).

COTN:  What is your creative process like?  Do you write out your film ideas in story format or outline?  If so, have you considered taking those stories further into a book?

DFS: For feature stuff I outline and I’ve written some parts in a story format, like backstory for characters. I’ll probably stick to screenplays though since that’s kind of how my brain works now. I read a book the other day and it felt wrong to have everything in past tense as opposed to the present tense of screenplays.

COTN:  How did the concept for “Pictured” and “Lights Out” come about?

DFS: I was turning off lights in the apartment and saw shadows which became Lights Out and Lotta has a creepy old photo of her relatives that inspired Pictured.

COTN:  After watching both of your horror short films I said to myself “He gets it!” because you’re getting scares the old fashioned way by telling a story, building levels of suspense and shooting scenes in such a way that it evokes a fear response inside us.  In your opinion why do most modern, horror filmmakers not “get it” and fall back on the CGI thing to tell a story and “try” to get scares?

DFS:  Well thank you! I have CGI in my films as well, although it’s more out of necessity since I don’t know to do special effects make up. The problem I guess is overdoing it. I loved “Mama” until we start seeing her CGI face all the time. The less you see of something the scarier I find it to be and when it’s CGI monsters your brain can kind of tell you that thing isn’t really there and you lose all the scariness of it.

COTN:  Do you think modern filmmakers rely too heavily on CGI and maybe have become lazy or complacent because of all the great technology that’s out there to make a movie?

DFS:  I think they’re too reliant in many cases but it’s also understandable in a way. CGI blood looks terrible but you can get more takes when you don’t have to reset a bloody scene every time so I guess that’s one of the reasons. I’d try to avoid it though. The worst is when they use CGI to create what are basically people like in “I am Legend.” That movie could have been so much better (well at least not as terrible) with people in make up instead.

COTN:  Here’s a flip side:  Do you think movie going audiences have settled when it comes to movies that are heavily CGI or video game like with their visuals / approach?  Have we lowered our standards?

DFS:  Maybe. I think there’s some fantastic CGI being done though like in the new Planet of the Apes films but it usually doesn’t work that well in horror films. I guess it’s a combination of nobody spending $200 million on horror films and no matter how good it is you still know it’s CGI so it takes away some of the scariness.

COTN:  I understand you have an agent and you’re working in Hollywood now.  Can you talk about any upcoming film projects you’ll be doing or involved with?

DFS:  Unfortunately I still can’t reveal a lot of details at the moment. Hopefully soon though because there’s some really exciting things going on with some really exciting people involved and I feel like I’m about to burst. I just want to tell everyone!

COTN:  Will you be making “Pictured” or “Lights Out” into a feature length movie?

DFS:  Yes! Lights Out is in the works right now and everyone I’ve pitched the full length story for Pictured to have been very excited so I have high hopes of getting that made as well.

COTN:  What does 2015 hold for you in terms of movie making?

DFS:  If things continue going as planned we’re shooting the Lights Out feature in 2015.

fin

By Theron Moore

I was listening to a band called Vulvectomy over Thanksgiving weekend whose music can only be described as disturbing to the core fiber of one’s being.  Naturally this led me to iTunes to chase my sickness further with more gore infested death metal ala the Mortician releases.  I needed “Hacked up for BarbecueNOW.

Blessed be iTunes to sell me even more music I can’t afford by showing me related bands and songs about death and mortuaries and morticians and that’s how I discovered Barry The Mortician, a true find that I’m sharing with all of you.

His self titled EP is a four track gem.  How do you NOT go wrong with these song titles:

             “Spraying Liquid Death”

            “Tits Possessed by a demon”

            “Nilbog”

            “Instructions to Kill”

I checked out the song samples, they sounded good, did the download and was very happy I did.  The music is solid death metal from a guy named Barry doing the whole gig himself.

 

Church of the Necronomicon (COTN):  I’m dying to know, excuse the pun, all about

Barry the Mortician. Are you Barry andare you a mortician?

Barry the Mortician (BTM):  I am Barry I am not however an actual mortician.

 

COTN:  Is this a one man project and what city are based out of?

BTM:  It is a one man project as of now with guest appearances based out of Champaign, Illinois.

 

COTN:  Give us your background and what Barry the Mortician is all about, ’cause the music is

great and this is the first I’ve heard about you.

BTM:  I started writing in 2011 after being inspired buy bands like Cannibal Corpse, Six Feet Under and Chimaira.

 

COTN:  I just got your EP from iTunes, it’s great, listening to it right now. It’s four songs, wish it was longer. Any plans for a full length?

BTM:  Thank you! I have enough for a full length right now, I’m just finishing up tracking and mixing. Release date is TBD.

 

COTN:I have to say, I enjoyed your song “Tits Possessed by a Demon.” where did that one come from?

BTM:  It was inspired by the movie Paranormal Activity.

 

COTN:  Speaking of inspiration, what sparks you to write a song? Is it watching movies, music, etc?

BTM:  Mostly horror movies. On the new album I have a few songs based on a concept

rather than a movie.

 

COTN:  Do you approach this genre with a sense of humor? If so, give me some insight into that.

BTM:  I definitely do. I take the music serious but vocally try to tell stories that have some

humor in them.

 

COTN:  Has Barry the Mortician played out live much?

BTM:  Nope, never.

 

COTN:  What’s the band status right now?

BTM:  Active, still planning for first full length.

 

COTN:  What bands are you listening to right now that you’re recommending?

BTM:  Right nowWithin the Ruins, Revocation, Six Feet Under and Gaped.

fin