Wednesday 16 December 2015

THE PEOPLE THAT TIME FORGOT


  OTHER EPITHET OFT GOT AMPLE when trying to highlight the brilliance of THE PEOPLE THAT TIME FORGOT, if not The Place That Time Forgot. Time proves to be an illusion, once the present shifts periodically. Superseding this is when the present time shares two periods with consecutive physicalities. Unofficially, this is a time travel escapade with zero concern to the concept itself—which aids at keeping some perils at bay; while preventing a stray from the set premise.

  The time machine in question is an biplane aircraft with a crew of four, set out to search for a lost naval hero. Embarking for an island located amid a polar enclosure, the mothership keeps their track from semi-frozen waters. Unaware of what to expect, they glide into a tropical isle, well sheltered from view by snow-capped ridges and peaks. Stumbling into a giant pterodactylus, they crash-land and realization sets in—expect anything, except it will be prehistoric.

  They encounter a number of thecodonts, with the props made to be as convincing as possible, given this is an old film—one of the precursors to time travel and dinosaur films recurrent today, such as  Walking with Dinosaurs. Concurrent with other film overarchings, there is a created language for the tribe of Nargas, who are fantastically costumed. Learnt broken English  for the set's Sheena, Ajor, eliminates a lot of misunderstandings between her and the protagonists.



GOT A TITLE PROP. TO HEFT METH...


  Even though adventure prevailed and the mission went awry, it still incorporates to make it a task to pin down satisfactorily. Ah, time travel.

Tuesday 15 December 2015

ACID DEATH (HALL OF MIRRORS)

  Heavy Metal and anagrams are quite the mother's milk to The Mad Mane Machine. Per se, either is based on a self-reflection in order to arise with the end-product; making this review awash with the same logic—without being too overt.

  Coming across Hall of Mirrors, I hadn't figured what to expect from an Incurso-esque human on the cover, being handed a (skeleton) key via a portal—how mirrors make operations covert.


  In accordance to the tastiest breakdowns to grace The Mad Mane Machine's ears, the same had to be done to the tracks, anagramatically.

HELL'S MAW—features shrieks from the depths. Steering LAW'S HELM.

MENTAL SLIME—unmercifully drumming and pounding MILE LAMENTS and hedonistic grime.

TRUTH REVEALEDTHE RED VALE RUT LED THAT VEER. Diverting becomes cyclical. It's the work of mirrors to repeat.

THE UNFAIR FIGHTUGH! FAINT HER FIT.

HALL OF MIRRORSI'M FALL'S HORROR. The reflection of throaty vocals.

TASTE OF THE ERRATICFATE TO HERETIC ARTS, well deserved.

GHOSTSHIPHIGH STOPS. If hall of mirrors could anagram to horror film.... They always fog out.

PLANES OF THE ETERNAL DEADEA, HE PORTENDS A FALLEN DATE. Lord of depths!

SUPREME ACT OF HEROISMPRIME MOSH FACT, USE ORE. And smelt!







  Being a Thrashy progressive Death Metal album, parallels can be drawn to Witheria, the throaty vocals too, with Witheria managing growls and much technical music. A commendable release from Greece.

DOPPELGANGERS XI

  From what I saw off Pentagrvm's work, the Metal element is not a mere coincidence. The music is instrumental, lo-fi, modern rap . And with an album titled Doomed . . . .

Rap
Funeral Doom




SLAWTER BY DARREN SHAN


  There is no high-jinks without the jinks; no slaughter without the laughter; no slawter without the law! And Grubbs Grady is just about the law, when it comes to the grisly, gothic, gore-fest—demonic desecration. But does all the fun end there?

  Slawter is the third installment under the Demonata universe from the two-tiered Darren Shan book-verse. On reading this as a second Darren Shan offering, what arised was an inherently YA targetship, more-sore the youngest of its readership. Why so? Comparing to the impact of Cirque Du Freak to The Mad Mane Machine's freshman self, and whatever effect Slawter tried to elicit, not much avails.

  Consistent with the author's work, the book does stand on it's own, regardless of the reader's familiarity with the adjacent installments. It unfolds with poetic discourse that gives it an awkward edge, almost rife with wordplay, puns and references—things that would not be a far cry from Brian W. Aldiss—as the Gradys are enchanted by a cult director to aid her realize a new horror film.


The Lambs follow the path of science. Demons are creatures of magic.


The gore factor is kept at maximum, but the magic feels lacking, and less portrayed (poof—magic!); appearing as rushed as the "Battle" saga. With the stupendous "Film Folk", up to the climax, "The Chase" couldn't fall short of filler. Sometimes a bargain takes more than a life. I'll term with that. Praise for Lord Loss!

DOPPELGANGERS X

  Aaaaaah—nthrax! It's Scott Ian's (my favourite human) disbanded band. S.O.D. cannot deny their taking from S.O.B. And when around here, speak English or die!

Grindcore / Hardcore
Crossover