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.
She possesses one of the most unique and powerful voices in pop and New Wave music. Thankfully, The Motels’ irreplaceable Martha Davis also lent her talents to Dreams, a song featured in Night of the Creeps, Fred Dekker’s genuine horror cult favorite.
Thankfully, akin to Terri Nunn from Berlin, Davis’ popularity has recently surged due to an elastic stretch of ‘80s nostalgia. She and other members of The Motels are consistently touring and creating new music.
From the towel clad patrons of NYC Bathhouses to distinguished opening night Broadway crowds, the divine Bette Midler has entertained them all. Nicely, she has also noticeably charmed a generation of queer terror lovers with her hysterical take on witchery in the beloved horror comedy Hocus Pocus.
Thankfully, Midler also worked some of that dark magic with her take on My Eye On You. This mysteriously possessive tune is a highlight of No Frills, her enjoyable album of rock and New Wave numbers. A deadly journey in less than 4 minutes, this number proves why Midler always has us risking our lives by coming back for more.
Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan
Johnny Are You Queer? put her on her on the map, but the fabulous Josie Cotton actually released a couple of albums in the ’80s, chock full of gorgeous New Wave tunes, that were worthy of equal attention. Nicely, she also applied a distinctly creepy vibe as she and Adam Ant stalked Pierce Brosnan and Lesley-Anne Down throughout the LA underground in the dreamy horror flick Nomads.
Interestingly, in her own right, Cotton is a lover of B-Movies and odd cinema. Thus her 2007 recording Invasion of theB-Girls, containing the theme songs to various drive-in classics, was born.
Here, though, she supplies a spooky carnival vibe, years before Ryan Murphy went there with American Horror Story, with the video to Jimmy Loves Maryann. It’s a highlight from 1984’s From the Hip, her excellent second album.
Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!
Get out those bedazzled telescopes! You might need them to spot Carole Pope and Kevan Staples, AKA Rough Trade, who were so far ahead of their time, musically and culturally, that they almost belong in outer space.
Blending cinematic violence with humor and advanced queer politics, a mixture more effective than a combination of Anita Ekberg and Mamie Van Doren, this duo revolutionized sexuality through their sophisticated new wave and pop tunes (and tongue-in-cheek name) – and also, occasionally, entered the public consciousness at large with such tunes as High School Confidentialand No Contact.
Pope’s work has even found its way onto the soundtrack of horror parody Shriek If You Know What I Did Last Friday the 13th. But the bloody consequences inherent is such songs as Vertigo, Endless Night, Grade B Movie and others should have placed them on many a terror film soundtrack if this was truly a just world. In fact, the video for Crimes of Passion, one of their most noir-like creations, serves as prime evidence to back up that statement.
While Staples (www.kevanstaples.com) has successfully concentrated on composing for film, as of late, Pope is still battling it out in the singer-songwriter trenches and can be found at www.carolepope.com. Send them some much deserved loving!!
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!