In the late ‘80s there wasn’t a more significant way to spend a weekend night in Chicago than dancing at Medusa’s nightclub. Spiraling into the witching hour as techno and new wave tunes throbbed seemed as close to an alternative heaven as any wayward, creative youth could get. Interestingly enough, Japanese CARCRASH, a band based in Southeast Texas, makes music that radiates with the black lashed urban mythology of those times.
Rise of the MACRO-VIXEN, inspired by the beautiful and strong heroines of the Russ Meyer films, seems particularly fit for gothic thrashing in some long lost, three storied warehouse building.
Begun as a project to promote his excellent New Wave-Synth Pop project Japanese Carcrash, Casey LeBeau’s debut film Terror in the Scream, clocks in at around 42 minutes. Despite some production difficulties (which curtailed the original plotline), this project ultimately provides a moody, musically embossed narrative about a masked killer haunting a small town.
Indeed, LeBeau captures that mysterious quality of unease that occurs in a secluded area when violence unexpectedly erupts. Quiet conversations between lovers, here a lesbian couple trying to navigate disapproving family members, and film loving friends are tinged with hopelessness as peace seems forever shattered without any sensible explanation. British scream queen Eileen Daly (Razor Blade Smile, Witchcraft X: Mistress of the Craft, Kannibal) adds a magnificently haunting narration that adds to the mystery here and the appearance of Lilith (Jessica Koons) is another beautifully random occurrence that adds to this effort’s unknowing milieu.
Known as one of the most dynamic musicians to emerge from the punk scene, long term Go-Go’s rhythm guitarist Jane Wiedlin has also had a much appreciated cult film career. Her appearances as actress include fun bits in Clue, Bill and Ted’s Excellent Adventureand Star Trek IV: The Voyage Home.
Horror geeks, meanwhile, definitely got a vibrant case of ear worm after hearing her song Blue Kiss, from her debut solo album, used in the party scene of Fred Dekker’s cult horror classic Night of the Creeps.
Octavia Spencer commands the outrageous horror fest Ma…and she gives upmost respect to an under sung diva of dance music in one fantastic sequence. With enthusiasm, Spencer accentuates a scene where the classic dance track Funky Town, performed by Lipps Inc, is playing.
While that song is practically legendary, the magnetic Cynthia Johnson, who sang the lead on all of the band’s songs on their first three recordings, is not nearly as visually present in people’s minds. Hopefully, Johnson, who has continued to perform as a vocalist and instrumentalist over the years, will be given renewed interest as Ma continues to dominate viewers with its sassy thrills.
Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!
Even mainstream horror has begun to acknowledge the LGBTQIA experience with gay characters populating the universes of Happy Death Day, Truth or Dare and Unfriended: Dark Web. It seems that now would be the perfect time to have a queer band dominate the soundtrack of one such offering.
With their emotional atmospherics and dramatic focus, Australian based Cub Sport, led by the dynamic Tim Nelson and his husband Sam Netterfield, would be the perfect choice to decorate some eerie landscape. Their work has even appeared in an episode of the television version of Scream and their second album was entitled Bats. Perfect, no?!?
Providing the ‘40s singing voice for everyone from MGM’s Vera Ellen to the stunning Rita Haworth, the versatile Anita Ellis earned her terror pedigree by having her vocals included in the 1964 horror cheese fest The Flesh Eaters. The sister of Larry Kert, the gay actor-singer who found acclaim in the original stage production of West Side Story, Ellis eventually courted success as a jazz singer in her latter day career – even though a particularly vicious form of stage fright often robbed her of her voice.
Still, her talent and skill will forever reverberate in numbers such as this.