Originally posted by BKR
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According to GWAR lore, this album was originally supposed to be released on September 11th, 2001, but was released a month later because it wasn't completed. -
Since GWAR is such a hit around here...
In 1992, North Carolina police violated the rights of Oderus Urungus (Dave Brockie) by confiscating his demonic codpiece, the "Cuttlefish of Cthulu", for being far too phallic to be shown publicly on stage.
The end result of that artistic tragedy was GWAR's third album "America Must Be Destroyed". The album not only immortalized the events (of city cops stealing a fake demon penis from a heavy metal singer's stage act), but also provided the golden-hued poop nugget of GWAR's only ever power ballad, "The Road Behind" (which parodies everything from Gun's N Roses 'Patience' to the standard power chords and chorus of the 80's/90's hair metal).
Now, being a power ballad "The Road Behind" is naturally the weakest GWAR song ever. But being a GWAR power ballad, it's still superior to every song ever written or performed by humans and will melt human hair upon listening, and the more hair the better. GWAR had, once again, accomplished a great feat and produced the quintessential power ballad parody, and it all started with a humble prosthetic demon cock.
In fact, several hair metal bands (and their road crews) were sacrificed to make the song and video. Oderus laments "Slaughtered half the crew..Caused they ate the deli-tray"
Also unique to this song are the soft, unfiltered vocals of Beefcake the Mighty, GWAR's most excellent bassist, as he cries the chorus like a sad, mournful humpback:
In an extremely rare moment, Oderus also shows his more sensitive side, pondering his post-galactic genocide future."And while the wheels keep rolling
And another signpost gone
All along the road behind
Oh can't you hear me calling
Like the sad whale song I'm on the road behind
Well there you have it baby I'm just a sensitive guy
why'know I snuffed a million planets
But I still find time to cry
Because there's more to life
Then making other people die
Like a little bloody tear
Running out my dirty little eye
Last edited by Pship Destroyer; 2/20/2017 9:29pm, .Comment
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From quite possibly the best score and soundtrack to a horror movie ever made, Christopher Young's 1988 "Second Sight Seance"... a chilling warning before the descent into Hell's Labyrinth.
You may know his work from a more recent picture, Drag Me To Hell.
http://www.mfiles.co.uk/reviews/chri...llraiser-2.htm
Beginning with a quite simply magnificent waltz-like theme for eight French horns, massed choir and large orchestra, Young immediately lays his cards on the table and grabs the listener's attention: hell is about to be sketched in the finest musical fashion possible. Slowing midway through to allow for a reprise of the lovely Hellbound Heart theme from the first film, another one of the score's major assets then becomes apparent: there is a carefully maintained balance between light and dark, beauty and terror, so that the listener is never too overwhelmed by the more horrific aspects of the music.
Whatever beauty that does exist though does well when placed alongside the genuinely unnerving atonal textures present in the rest of the score, which says something about Young's carefully gauged melodic writing. Dissonant clangs and bangs in tracks such as "Looking Through a Woman" and "Chemical Entertainment" are genuinely skin crawling, sitting alongside snarling brass and conjuring up all sorts of, yes, hellish, images. What is most impressive is how Young marshals all these disparate elements into a coherent whole, ensuring that the music always follows a clearly defined rhythm rather than drift off into tedious noise. The twisted "Hall of Mirrors" cue is a perfect example: a simple calliope rhythm is gradually joined by dissonance and off kilter percussion, gradually building into a genuinely eerie, if darkly comic, track.
A new theme on massive, doom laden brass is introduced in "Skin Her Alive", paying homage to the classic Golden Age horror scores; other elements worth mentioning are the chanting monks in "Leviathan" (pitted against a horn resounding "God" in Morse Code) and the icy piano work in "Obscene Kiss". The Hellbound Heart theme is reprised with a beautiful choir and thunderous orchestrals midway into "Headless Wizard" before mutating into the "Skin Her Alive" theme and then the main theme. The score ends on a disconcerting note with "What's Your Pleasure", beginning with an ominously calm rendition of the main theme before the unsettling calliope from the "Hall of Mirrors" cue returns, hinting at the horror to come in the next instalment of the series.
It can't be denied: Young is the finest horror composer currently in Hollywood, his melodic sense of the operatic making him far more accessible to the mainstream. Although he has received huge acclaim recently for branching out into both action (Ghost Rider) and adult drama (Creation), horror efforts such as Hellraiser II offer the composer at his most undiluted and enjoyable. Hellbound is one of the most important horror efforts to emerge from the decade, along with Jerry Goldsmith's "Poltergeist" and Howard Shore's "The Fly", honing a whole new sound for the genre.Last edited by Pship Destroyer; 2/28/2017 12:44am, .Comment
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I can't exactly remember when my experience with Gwar was, but it was before 2001...Originally posted by Pship Destroyer View Post
Living in New Orleans for 15 years tends to make things a bit hazy after a while.Comment
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Pantera wrote the song "Pre-Hibernation" as a theme for the special SpongeBob Squarepants Season 2 theme week.
The song is actually a variation of "Death Rattle", off Pantera's millennial album Reinventing the Steel.
The end result of this phenomenon was the exposure of millions of children to thrash metal.
Last edited by Pship Destroyer; 2/28/2017 7:26pm, .Comment
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This should be Bullshido.net's theme song. From their 6th studio album, Straight Between the Eyes, which had this memorable vinyl cover (from visionary Jeff Cummins).
Last edited by Pship Destroyer; 3/02/2017 10:42pm, .Comment
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This is Vocalise, sung by Sumi Jo, written by Wojciech Kilar.
It's the swan song of lamentations, and also the epilogue outro sequence for the movie version of El Club DumasDe Umbrarum Regni Novem Portis, or "Of the Nine Doors of the Kingdom of Shadows"; a pseudofictional work based on the Delomelanicon, another pseudofictional text, both of which are based on real works such as the Hypnerotomachia Poliphili (Venice 1545) and the Compendium Maleficarum (Milan, 1608)Comment
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Vietcong...one of the finest video games, and musical exhibitions, of all time.
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Listened to Enlightenment (the album) last night (Van Morrison).Comment
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