Bubba Ho-tep

I have been looking for Bubba Ho-tep (2002) for some years now but I, somehow, always kept on procrastinating which may be due to the fact that I do not enjoy horror comedies and that I am not a big Bruce Campbell fan.

As already mentioned, Bubba Ho-tep is an American horror-comedy. It was co-written and directed by Don Coscarelli and is based on a homonymous short story by Joe R.Lansdale. The film stars Bruce Campbell as the impotent Elvis Presley or some kind of ageing, mentally retarded impersonator, who resides at The Shady Rest Retirement Home. One of Elvis’ fellow lodgers is Jack (Ossie Davis), an elderly black man who insists he is President John F. Kennedy. Jack/John claims that “they” dyed him black after the “missed” assassination in Dallas and that Lyndon B. Johnson abandoned him in this retirement home. Due to some mystical events and killings, Mister President decides to team up with the King in order to destroy the evil, which would release the trapped souls of their dead friends.

As you see, the film has exceptionally great potential but take a wild guess: yes, they ruined it, or let’s rather say that they partly ruined it because of the decision to turn this brilliant and funny concept into a superfluous horror movie. I have never read Lansdale’s short story but the film hits the skids pretty soon and the whole terrorizing soul-eating mummy stuff goes astray.

In the end there are only the two main characters and the actors who play them who are able to turn Bubba Ho-tep around. When it comes to B-Movies it is an absolute rarity that I finish the film only because of the actors. Campbell/Elvis and Ossi/Jack/JFK are absolutely amazing and their acting is close to perfection. They are funny when they are supposed to be funny, they are sad when they are supposed to be sad and they are congenially weird throughout the whole film and every single emotion is put across with concentrated passion and devotion.

The characters not only work on their own, the actors are also able to create a fair and beautiful interplay. They are more than simple synthetic constructs, they come alive by endearing authenticity and I immediately fell under the spell of Elvis’ and John’s charisma.The writers and actors did a great job and it is nice to see that although the rest of the movie is rather weak, there were at least a few people who gave it some thought.

In the end, the movie doesn’t work as a horror comedy and we don’t need a sequel (as Ossie is dead and Bruce refused the role) but when it comes to Bubba Ho-tep, you can certainly give it a try.

Anna’s Top 5 Albums for Autumn

Reviewing music is not my job around here, nor my forte in general, but today I want to write about records regardless. With all due respect to the aficionados, I’m getting a little fed up with all the post-hardcore/metalcore, and since I feel that my taste differs pretty substantially from the others, I figured I’d add a breath of fresh air by compiling a list of music you wouldn’t typically find on El Gore.

Autumn is my favourite season. I love the orange-gold-red colour palette and crisp air, I love the big scarves and boots, I love watching nature degenerate and drift into hibernation mode, I love how even though everything is dying, it still feels like the best things are just on the verge of happening. I aimed to reflect all these things in my list and tried to offer some variety while keeping it relevant to the theme. Hope you enjoy!

#5 Hakobune – Shadow on the Lawn

Takahiro Yorifuji creates the kind of tranquil sounds that even the most musically open-minded of my friends find impossible to listen to (“each song is just 10 minutes of static noise with a barely discernible tonal quality to it!”) To me, it’s music that runs entirely on intuitive emotion. A dreamscape, if you will. Ambient drone is my preferred genre for reading/writing sessions and long solitary walks, and I maintain that there’s nothing more emotionally gratifying than walking through a golden autumn wonderland while Shadow on the Lawn is playing. I encourage you to try it.

Highlights: Shadow on the Lawn, It Begins to Sway

#4 The Horrors – Primary Colours

Now for something more universally accessible. Primary Colours has an attractive sombre feel to it that runs like a guideline through the entire record and suits the darker early days of autumn. The British rock band’s second release was produced by Geoff Barrow of Portishead, which is indicative of its high quality: it is dirty, passionate, even sensual at times, but somehow also stoic. Stoically passionate and sensual. I don’t know how they made it work, but they did.

Highlights: Mirror’s Image, I Only Think of You

#3 Dungen – Skit I Allt

While Swedish quartet Dungen’s best album from a technical standpoint is arguably Ta Det Lugnt, Skit I Allt is my ultimate fall jam. It sounds just the way the crisp-air-and-sunshine combination feels. It’s sweet, almost sugary (I have an inkling that the flute is to blame), but ultimately way too pensive to topple over into kitsch. Its instrumental passages make it shine.

Highlights: Vara Snabb, Högdalstoppen

#2 Lackthereof – My Haunted

Danny Seim, multi-instrumentalist, member of the band Menomena and lone mastermind behind Lackthereof, has one of the most charismatic voices and some of the most creative ideas in terms of texture I’ve ever heard. He’s known for his maximalist approach to music, but unlike his work with Menomena and most of his other Lackthereof material, My Haunted sounds very simple and understated. On most tracks, it’s Seim and his acoustic guitar with some reverb, vocal layers and percussion thrown in here and there. Still, it has this unmistakable hypnotic signature sound to it that made me fall in love with Lackthereof in the first place, and it’s become my go-to album for misty, melancholic days.

Highlights: Both of Us, Shortest Path to the Ground

#1 Tame Impala – Lonerism

I’ve tried to fight it before because I’m aware of how pretentious it sounds coming from a person my age, but I can no longer deny that most of my favourite bands peaked sometime pre-1990. I guess I just have a thing for that crackling, messy, raw-sounding kind of music that’s been largely replaced by baby smooth production. Tame Impala is an exception to the rule, and that’s why I adore them.

While their debut, Innerspeaker, is more of a summer record (and was appropriately released in May), Lonerism was made for the darker days (and appropriately released in October.) On the surface, it is perfectly hopeful and features some seriously danceable tracks, but at its very core lies sadness and nostalgia. If you get into that perfect moderately gloomy- reflective fall mood, you’ll notice.

Highlights: Endors-Toi, Keep On Lying

Tonight Alive – The Other Side


It’s time that I come clean about something I do not deny when asked about, but that I don’t usually say out loud: I’m a sucker for pop punk with female lead singers. It all started in 2002 when Avril Lavigne released her debut album and since then I, almost religiously, check out everything that is vaguely similar. Earlier this year Paramore came back with a brilliant album but I wasn’t able to review it, so I’ve felt like I had to do so for Tonight Alive‘s second album The Other Side! Enjoy!

As earlier mentioned, the Australian quintet plays pop punk and that hasn’t changed on this record. However, one can definitely notice an improvement in song writing and execution in comparison to their debut: everything comes across as more mature. Which does not mean that What Are You So Scared Of? was poorly written, but it had that “typical” feel to it. This time it all sounds smoother and it’s simply more appealing to re-listen to the twelve songs over and over again.

As is tradition for the genre, the songs are generally upbeat and happy sounding with some heavier parts thrown in here and there. The technical amelioration of the band brings more intricate riffs and drumming with it, which, again, adds to the overall quality of the forty minutes. On a positive, however personal, side-note: the bass is perfectly mixed into the ensemble and even I, the bass-deaf guy, can clearly distinguish it at all times.

The icing on the auditive cake is the amazing voice of the vocalist, who doesn’t have to hide behind any of the famous (or lesser famous) front-women. The lyrics are still at the same, enjoyable, level as before but, I guess, also more grown-up and influenced by experiences from touring and so on.

To sum things up, I would say that if you are like me and like this kind of music…do not miss out on The Other Side for any reason whatsoever. If you are not at all familiar with the genre, this is probably a good record to give it a shot! For more information, be sure to check out the band’s Facebook page and get your musical dose below.

[youtube http://www.youtube.com/watch?v=yrkfkwzChoM]

Mambo – Bertier


It’s finally time to review some mathrock extravaganza, this time introducing the 4 piece band Mambo from Belgium with their first LP Bertier. They recently played a show in town with Mutiny on the bounty and Dirty Crows and we were lucky enough to get an early insight into their debut.

The style is something between Honey for Petzi and Don Caballero, not too technical but still challenging head mathematics, which is just the perfect balance for an enjoyable experience. Don’t get me wrong here, I’m totally into math rockish stuff but when it’s just too technical you feel bad for your brain not being able to cope with auditory overstimulation.

The 10 songs on Bertier offer enough diversification, whilst keeping the high rhythm up for most of the time. Krokodile Junkie reminds me of the band Piglet, which is pretty cool and songs like Tokyo Tripot or Renfort Caisse have this unmistakeable, typical groove and edgyness of the genre; credits given to the drums and bass section here.

Don’t think of Mambo as a generic math band, there’s too much talent in this combo to be classified as such. Make up your own opinion and go see them live, as they are on tour right now!

Calvaire

Calvaire (also known as The Ordeal) doesn’t sound like a noteworthy cinematic experience if you whittle it down to a simple description. A few days before Christmas, a man finds himself stuck in a remote woods area with his broken down van and gets a room for the night at an isolated inn. Sounds familiar, right? It’s the world’s safest horror formula, it’s been done a bazillion times with minor variations, and even those variations have a tendency to be utterly predictable.

But before you scream “next”, allow me to inform you that this film turned out to be a gem among a sea of pebbles. There were two reasons why I decided to watch Fabrice du Welz’ picture despite the less than convincing plot summary: the fact that it was partly shot in Luxembourg (which is always enticing) and that it was featured on a New French Extremity movie list (a collection I am currently trying to wade through.) My expectations were low, but it is safe to say that Calvaire surpassed them.

First, I love the methods used to create the sense of impending doom throughout the first half of the movie and the generally eery atmosphere. The film doesn’t have a soundtrack, except for a violin tune during the final shots and credits and a piano tune during an earlier scene which I cannot describe for fear of spoiling one of the creepiest and most iconic moments Calvaire has to offer. The cinematography is just incredible in a toned-down way. The scenery is enveloped in grey, hazy tones, there are no flashy colours or outrageous effects, and coupled with the raw beauty of Belgian/Luxembourgish nature, this makes for a gripping and aesthetically pleasing viewing experience.

Then there are the characters and the brilliant acting. The protagonist, a singer and entertainer who goes by the name of Marc Stevens, has a talent for attracting people — including weirdos. And we buy it. He exudes charm and possesses the stereotypical timid, sensitive nature of an artist that appeals to both women and men of all ages. The owner of the inn, Bartel, is introduced to us as a suspicious but at the same time likeable teddy bear who would never harm a fly, and we spend a quarter of the movie wondering when or if he will snap. The clever scenes leading up to the break of bizarre madness fill us with tense anticipation, and that psychological thriller aspect of the film is its definite forte.

The first ~50 minutes deserve nothing short of a 9/10, it’s the remaining minutes that make me put a lower rating. While Calvaire is innovative and well made from start to finish, it did disappoint me a little for its sudden, drastic change of course about midway through. The way I see it, it dragged the movie down to a “senseless violence for the sake of it” level, which could have easily been avoided with a promising start like that. I still think it’s a must-see for fans of the genre and recommend it to anyone who is into European art house cinema. Prepare for a surprisingly disturbing ride if you do check it out.

Kitshickers – Horror Vacui

There’s probably no better way to celebrate a 15th band anniversary than with the release of a new album, in this case: Kitshickers‘ new longplayer Horror Vacui featuring 20 new tracks with lots of guest appearances and cryptic song titles. I remember the first time I heard this band was more than 10 years ago, when we still had this weird TV channel called Tango TV and when the Food For Your Senses festival took place in a humid, tiny basement somewhere in Luxembourg. At that time, this 4 piece collective playing chaotic alternative rock had nothing to do with the band we know nowadays.

Horror Vacui, 6th long player of the band, is something in between post rock and sludge, floating among melancholic depressive moods reminding of Mono up to hymnical highlights as if Isis would perform Pink Floyd‘s A Saucerful Of Secrets. Maybe a risky comparison, but you’ll get the idea after listening to the first five instrumental tracks, with Scarred‘s Yogi slamming on the guitar on nfr.

The first vocal appearance happens on the 6th track Lokavibhâga.1, featuring Cosmogon‘s Fabrice Mennuni, who’s got a short but striking commitment. I’d wished for a more aggressive vocal performance, as I know what this bloke is able to do with his growls, but that would not have fit into the concept, I guess.

Speaking of aggressiveness, the songs happen to build up into a multi-layered experience without outbursting into an explosion ergo a big wall of sound, which makes the listening experience even more challenging. The songwriting is diversified and too complex to be considered as boring or generic; plenty of work has been put into these tracks; the only thing that makes me sceptical is the suppressed aggressiveness. Don’t get me wrong but it isn’t until sunya where something really “big” happens in collaboration with Raph from The Majestic Unicorns From Hell, a song that’s got every ingredient of what Kitshickers‘ songwriting is all about; which is this blend between psychedelic world-weariness and simple outrage in one. Or maybe I’m just too stuck on their old album So That’s The Miracle Of Life, one of my personal highlights back in 2006.

Luckily enough, 273K could be described as a highlight for me. It’s sludgy and heavy, straight to the point; and I believe this song could be quite monumental when performed live on stage in combination with the following track buz&jég. I sense something epic on both tracks.

All in all, I have to say that Horror Vacui is NOT a bad album, it just takes its time to unfold its message / beauty. It’s nothing that impresses a distracted listener like me on first pass, but I’m pretty sure that this album can have a different effect once you see Kitshickers perform it live; which will actually happen this Saturday for their release party at the KuFa in Esch. So be there and make up your own opinion about the new album!

Pink Frost – Sundowning


The sun goes down and Mr. Shoegaze meets Mr. Grunge who both decide to do a jolly pub tour until the early morning.

Ruins sounds like a collaboration between The Smashing Pumpkins and Torche with its grungy guitar and amiable but in the same time sneaky rhythm that knocks you out of your socks when you don’t expect it.

Destructive grunge vocals and bass lines take you right back to the 90s from time to time, but it’s hard to define Pink Frost’s sound in just a few words, due to a certain love of experimentation which unhappily gives an impression of unnecessarily erring on a straight line.

The Difference then makes a difference (*bu-dum-ksh*) by turning down the volume and the noise. This unfortunately sounds like a boring version of some melancholic Foo Fighters summer hit. Just let the fury out guys, you don’t need this stuff! The listeners will be glad that the next song resumes with screeching guitars and dirty, non-pop sound. This doesn’t mean that more sensible tunes don’t work on this album, which is proven by Maybe It’s You, the secret star of Sunddowning.

Occupy within then suggests the intro of a punk song before changing into a rambling oriental psych-song. Blue Light, the last song, again strikes a calmer note, giving a warm and chilling feeling to your ears and letting the album slowly float towards the dawn of a new day.

Personally spoken, Sundowning should have more courage and let unfold itself and the power of shoegaze, but this certainly is something for fans of good-mood-grunge or alternative rock, shoegaze à la Torche (but more moderate), and maybe for lovers of California X.

Dværgen (The Sinful Dwarf)


I discovered The Sinful Dwarf (1973) in one of these “top 10 most shocking, weird, disturbing, nasty movies of all-time” YouTube videos. As I had never heard of this movie title, let alone of the film genre “dwarfsploitation” itself, I decided to give it a try.

To be honest, I am not even sure if there has ever been a sub-genre called “dwarfsploitation” or if some clever people just invented the term in order to build a cult around some crappy movies. Just in case there are other ones, please tell me in the comment section below.

The premise of The Sinful Dwarf is crystal clear from the beginning and there is not much to reveal. To sum it up, it’s all about a mentally retarded, physically disabled and vertically challenged “Jack Black” (thank God he isn’t an African-American Jew too) who, together with his alcoholic and ex-showgirl mother, runs a slavery junkie brothel concealed as a cheap pension.

The movie is a perverse, sleazy, dark and grim exploitation flick, composed of the same repetitious, monotonic patterns which always eventuate in graphic ’70s softporn scenes. This doesn’t necessarily have to be a bad thing, but I have to admit that the main character, Olaf the dwarf (Torben Bille) doesn’t work for me and consequently renders the primitive movie structure ineffective. Director Vidal Raski’s aim was to portray a sadistic and depraved, giggling little man who treats women like mere objects and who should prompt loathing and hatred but in the end he only manages to grate on my nerves extremely fast. Nonetheless, there is something about the movie which made me feel a bit mal à l’aise. Not that I was “shocked” by the movie’s outstanding level of perversity, but the grungy setting and filthy ambiance combined with the sex-slaves’ (Anne Sparrow, Jeanette Marsden, Lisbeth Olsen, and Jane Cutter) rape scenes achieve their effect, and the latter ones almost couldn’t have been more humiliating towards women.

All in all, I don’t recommend this movie because of the failure of the main character. I am pretty sure though that a lot of viewers won’t agree with me and will get the full exploitation dose by watching Torben Bille as the sinful dwarf. Personally, I think that if you are interested in what these drug addicted sex-slave exploitation movies are all about,  you should watch the Swedish rape and revenge movie Thriller-En grim film as it is the better evil. Decide for yourself!