Showing posts with label heavy metal. Show all posts
Showing posts with label heavy metal. Show all posts

Tuesday, 20 May 2025

RANKED: The Greatest Metal Album Cövers of All Time!!!

In the world of album art, the line between great and hilarious is fine indeed, and nowhere moreso than the niche of heavy metal. Sure, a million srs bsns bands with names like Aphonic Threnody (real) or Somnolent Vasectomy (made-up, I think) might play it safe with chiaroscuro lighting and a rotting skull or pentagram or some such bullshit, but if you don't take the risks, you can't expect to qualify for the rewards. With that in mind, here are the album covers that dared to dream.

1. "Easy Prey" - Predator


Watch out, unwary beachgoer! This homeless bum with a condom on his head will grab you! What's most fascinating about this is the perfect placement of the swimmer out at sea, creating a triangular perspectival composition that suggests way more effort went into this shoot than the concept might incline you to believe. Is there a happy ending for our unsuspecting heroine?

No!!!

2. Mutiny - Dammaj


A pirate getting hit by lightning via his guitar sounds pretty metal to me. Too bad this off-the-rack Halloween costume was the best the record company would deign to splurge for. But just look at his enthusiasm for the role! In my book, this dude belongs up in the pantheon with Eddie and Vic Rattlehead.

3. Battle at Helm's Deep - AttackeR


AttackeR: "you've read Lord of the Rings, right?"

Gigachad: "yes." *Draws He-Man fighting a green lobster-bat*

4. Pink Bubbles Go Ape - Helloween


????

Just kidding. For me, it's Better than Raw:

>tfw no goth gf who gets wet af stirring my dinner

5. Lion and Tiger - Fire Strike


"I want a tiger, a lion, a sorceress with rocking cans, a crystal ball and her hair on fire" - Brazil's Fire Strike, correctly.

6. Ravening Iron - Eternal Champion


From the pyramidal composition to the characteristically "cat-like" features of the enthroned exhibitionist, this is a textbook case of doing it right vis-à-vis Frank Frazetta pastiche. Naturally, we give it to you censored to avoid offence. Honourable mention must go to Ültra Raptör's efforts in the same spirit, which simply rip off the master's poses wholesale, and throw in a dinosaur atop a Mesoamerican-style step pyramid:

A band after my own heart.

7. Tooth and Nail - Dokken


As the title implies, this was a do-or-die bid for superstardom from the hair scene's GOAT ensemble. How best to let the world know what manner of virtuosic axework and superlative songwriting were to be found within the album sleeve? If you ventured "the Creature from the Black Lagoon's claw bursting through the aluminium waves from a fiery pit below to grab the band logo rendered in shiny chrome", you share an eerie counterintuitive genius with some based cokehead whom I can't be bothered to look up.

8. Soldiers Under Command - Stryper


Looking like something out of Games Workshop's Necromunda, Soldiers' album cover will make you pray for a Christian Mad Max ripoff starring a hair metal band tooling around the post-nuke world dispensing justice from their yellow-and-black striped armoured vehicle. Now you want to see it too, don't lie.

9. Killing is My Business...and Business is Good! (eventually) - Megadeth


It's only fitting that the greatest GOAT metal band of all time (deal with it, tastelets) should have rung in his, uh, their career with this majestically edgy design featuring Vic in what can only be described as what the doodles in the back of my schoolbooks looked like in my head. Too bad the fuckups at the record company lost the original design and so for years it was released with this cover instead:

Presumably they got this plastic skull from the same Dollar Tree where Dammaj got their pirate costume.

No World Order! - Gamma Ray


This, on the other hand, looks precisely like the type of shit I used to doodle back in school (still do, too). The world is at war between an evil Grim Reaper leading the Illuminati and a good, Buddhist Grim Reaper (????) each armed with shamshir lightsabres (lightshamshirs; OC DO NOT STEAL). I have no idea what the fuck Kai Hansen meant by this, but I'll take it over a band photo anyday.

Do ÿöü have a favourite album cover??? Share in the comments!!!

Saturday, 16 September 2023

Mad Max Ripoffs: Six String Samurai!

Calling the greatest movie of all time, Six String Samurai, a Mad Max ripoff is a bit of a stretch as, like Albert Pyun's Radioactive Dreams, it seems to owe more to Streets of Fire than Wheels of Fire. In 1957 there was the usual nuclear war, but this time none other than Elvis Presley rose up from the ashes to become King of Lost Vegas, the last bastion of hope in the wilderness. Now the King is dead and our hero, referred to as Buddy, is marching to Lost Vegas to claim his throne.

Buddy's look could be described as "disheveled", but I'm not sure he was ever sheveled to begin with.

The movie opens with a young boy witnessing a massacre and following our bespectacled swordsman as a substitute for his late family. Buddy spends the first part of the movie trying to ditch the kid before (spoilers!) eventually warming to him (somewhat). For he knows that death is on his trail in the form of villain Top Hat.

In an inversion of ZZ Top logic, he is in fact the one in the top hat.

Few post-apocalyptic movies play as fast and loose with style, tone and logic as Six String Samurai, which slips deftly between MTV surrealism, 90s camp and neo-western cool, features a colourful array of characters ranging from cavemen who pursue our heroes in the slowest car chase ever filmed to gas mask wearing cultists who worship a wind farm, and by its final stages boldly commits to unapologetic supernatural shenanigans as Top Hat really turns out to be Death himself, or the spirit of heavy metal, or something.

You should not be permitted to attend rock concerts short of this level of drip.

My limited research (I read a couple YouTube comments) leads me to believe this gem was made on a small budget and still flopped, with no one involved in it going on to do much else, except the composer, who seems to have scored gigs in the Fast and the Furious and M*rvel C*nematic Un*verse series. But in a way this gives it a doomed cult classic cred that feels appropriate to the material. I can't see it playing the same if any of the actors had gone on to be recognisable stars.

The guy who plays Buddy is in fact great, and his anonymity in movie history makes him a real man-with-no-name archetype.

If you pay to go to a film festival you'll come away with the impression that indie productions have to be black-and-white dramas about gay cowboys eating beans. Six String Samurai shows the world what they could be instead. The fact this isn't in that 1001 Movies To See Before you Die book is a travesty typical of the state of publishing. Watch Six String Samurai.

Post-apocalypse checklist:


MOHAWKS: 0.

SHOULDER PADS: nah.

CUSTOM CARS: the cavemen drive one.

MUTANTS: there's a hip hop dwarf who leads a gang of fishing net clad guys who gargle their lines, so your guess is as good as mine.

GOGGLES: I guess the gas mask guys count.

TOTAL: 3/5 - mid post-apocalypse of the day.

Friday, 11 December 2020

Fs in chat for Richard Corben

Heavy Metal artist Richard Corben died yesterday. Corben is perhaps best known for his creation of Den, who appeared in the Heavy Metal movie. But did you know that Den appeared in prototypical form in animation as early as 1969?

NSFW vid.

In Neverwhere, Corben himself plays his earthly protagonist, a Dilbertesque office drone friendzoned by a 3 and oppressed by his neurotypical boss. The following Arthur Fleckian exchange takes place between them:

"You're without a doubt the most inept employee on the face of the earth."

"THAT, Mr Johnson, would be too much of a coincidence."

Killshot. Gamers: 1, society: 0. Based Corben then frees himself altogether from his imprisonment in corporate purgatory with the help of a machine that transports him into Neverwhere (1969), where he becomes the muscular Chad we all know and love:


Neverwhere (1969) is populated by all sorts of goofy monsters Den must fight in order to save a princess, and that is all the plot you need. The animation is pure soul, a labour of love Corben made in his spare time. Watch it in tribute to a great drawist!


Friday, 23 November 2018

Call It Heavy Metal Noise

If your favourite movie doesn't open with a spaceman driving a muscle car in space you are gay.

Heavy Metal is the best van art kino. If I had a van it would look like Heavy Metal, which would make me unemployable, but that's OK because van ownership lends itself to serial killing anyway, and I would rather be a serial killer than a wagecuck, and more productive.


Based Robby the Robot working the hot dog stand.

Heavy Metal isn't a movie like Captain America Infinity War is a movie. That is to say it isn't flavourless corporate crap promoted on the basis of, and meaningless without, a context situated in an interminable continuity that rewards its developmentally stunted audience with canned water cooler topics. It's a throwback to an era when a movie wasn't a soulless cartographic exercise in world building for r*dditlords. It's not a "universe", but an experience.


There aren't enough ziggurats in everyday life.

It's an anthology of vignettes animated by different units, giving it an ever changing but somehow consistent visual sensibility which is loosely tied together by an aptly ever changing glowing green sphere called the Loc Nar, which serves as narrator and primary antagonist. It's a coveted object that seems to influence people toward evil, reminiscent of Tolkien's Ring, which serves to remind you young faggots that decades before Lord of the Rings was franchise fodder to be raped and cannibalised by Hollywood studios (The Hobbit Cinematic Universe Trilogy Now In 48 Frames Per Second), it was a counterculture stoner classic and inspiration for metal bands whose members had sex (not black metal).

The sum of all evil bullies a young girl for the lulz.

Halloween goals.

The greatest and best segment is heavily inspired by Moebius's Arzach strips, and stars a mute albino waifu riding a big pterodactyl bird across a desert landscape. Arzach should have been the basis for the future of comics instead of Marvel and DC because it explicitly rejects "universe" and continuity tedium for dreamlike imagery and free association. The only decent comic book movies after Heavy Metal were Tim Burton's Batmankinos because they were largely surrealistic and free-associative, but with a German Expressionist aesthetic instead of the more ineffable imagery of Heavy Metal. Everything else has been terminal cancer.


Absolutely a   e   s   t   h   e   t   i   c


Taarna fights the warlord in single combat even though his entire army is just standing there, and thereby defeats the Loc Nar somehow I guess. While this would seem like inexcusable narrative incongruence to a typical subhuman 2018 Cinemasins viewer, in the context of a fever dream like Heavy Metal it makes perfect sense, because sense exists in a state of relativity to the exoticism and superreality of the art, something 2018 mouthbreathers will never understand.

Based Taarna has zero tolerance for the {{{green}}} menace.

Heavy Metal also features two of the great bastards of cinema: Harry Canyon, a cynical, amoral future noir cab driver and occasional carjacker-disintegrator, and STERNN, based criminal Chad mastermind who's got an annngle.


When you have a chin like that you can park anywhere you want.

The first time I watched this kino I thought it was just OK, but now I love it, because in a world of long hours, dumb politics and constant disappointment (Britain), we need psychedelic adolescent escapism with arthouse characteristics more than ever.

Wednesday, 31 October 2018

Alice Cooper's STEVEN: who is he and what is the meaning of life?

Many music performers have alter egos they inhabit at various times on record or onstage. Eminem routinely slips into his Slim Shady persona to wreak havoc on celebrities and society in general, while Nicki Minaj pretends to be more than 40% human parts. But none of these alter egos are as mysterious as Alice Cooper's Steven. This article includes spoilers for the concept albums Welcome to my Nightmare, Alice Cooper Goes to Hell, DaDa, The Last Temptation, Along Came a Spider and Welcome 2 My Nightmare. It will also be a lengthy, unfunny dissertation on an obscure aspect of rock music history which I consider it my autistic duty to elucidate.


I wish I had this subtly creepy wallpaper.

Welcome to my breakdown


Steven first appears in 1975's Welcome to my Nightmare. The nightmare is presented as being Steven's. We are introduced to Steven in the song "Years Ago", in which he sings "All my toys are broken/And so am I inside, mom". Many people take this as an indication that Steven is a young boy, but in the song he doesn't seem to be so sure. Different voices alternately sing "I'm a little boy/No, I'm a great big man/No, let's be a little boy, for a little while longer? Maybe an hour?"

At its end the song segues into "Steven" with the phrase "I think I hear my mom calling..." and "Steven" then kicks in, with the name being repeated in a refrain that becomes more insistent. Steven says "it's right outside my door". He seems to be very afraid of whoever - or whatever - is outside his door.

The next song is "The Awakening". In this song Alice sings of waking up and looking for his wife, only to find that he has stabbed her to death in his sleep. The final song on the album is "Escape", which features the lines "But where am I running to? There's no place left to go/Just put on my makeup/And get me to the show".

What does it all mean?


Welcome to my Nightmare is a concept album. I believe it tells one continuous story - the origin story of Alice Cooper himself. Steven is the fictionalised Vincent Furnier - Alice's birth name. Steven is a grown man who is married. He also drinks to excess, and it makes him violent, or at least he fears it will. The song "Only Women Bleed" reflects this fear. It is preceded on the album by "Some Folks", which goes "I'm just no good without it/I'm not a man at all". While it is not specified what this refers to, I think it's alcohol.

The nightmare starts off in general terms. "Devil's Food" and "The Black Widow" are about generic scary things, like giant spiders and being eaten. But gradually the songs shift to more specific fears. Jack Torrance in The Shining had similar demons - he drank, and he once hurt his son. Like Jack, Steven is haunted by these fears.

Why does Steven drink? He drinks because of something that happened in his past. As mentioned above, there is some confusion about whether he is a boy or a man, but he must be a grown man to be married. I believe that in his nightmare he regresses into a little boy as a way to try to hide from the horrific realities of his life. After pleading to be a little boy for a while longer, he is frightened by someone outside his room, which leads to his awakening - his efforts to avoid reality are in vain.

"I think I hear my mom calling" - but he doesn't hear his mom calling. The cries of "Steven" in the song of the same name are from a woman, but not his mother - his wife. She is crying out to him as he is stabbing her in his sleep.

When he wakes up, Steven realises that he has done what he feared the most - he has killed his wife. Now his only recourse is to do what he has tried to do in the dream - to escape into another persona. "Just put on my makeup and get me to the show". He escapes into madness; into the persona of Alice Cooper.

Alice Cooper Goes to Hell


Steven didn't appear by name on the next album, and it seemed to be about Alice, the entertainer, being sent to a comedy disco Hell for all the controversy that he caused with his antics during the early 70s. However, if you subscribe to the above interpretation of Nightmare, Alice and Steven are really the same person. This is, however, complicated by the inner sleeve of the LP, which featured this text:

Lay still, Steven, and I'll tell you a bedtime story. I'll tell you a bedtime story that's not for all children. It's a very special story, that only special children will understand. It's a half-awake story, and it will be better if you close your eyes. It's a story that takes place in a dream, like other nightmares you have known. It's a dream that Alice has dreamed. You can dream along with him. You can follow Alice down the staircase, deep, down the stairs to the pit where he doesn't want to go, but he has to.

If you go to sleep now, Steven, you can go down the long and endless staircase and sing sweet songs to Alice and free him. And if you can't get to sleep, Steven, and in the middle of the night you get out of bed, when everything is quiet and the trees are still and the birds are hiding from the dark, you can lay down on your bedroom floor and press your ear tightly to the boards. If you listen very carefully you can hear Alice searching for a way out, forever chasing rainbows.

Sleep tight, Steven. And have a good night.

You can read this in all sorts of ways. One way to look at it is that Steven really is a child, and Alice is a character in a story his mom or dad told him. Another is to think of this as a prequel to Nightmare - that Alice was a character in a story, and in "Escape" on Nightmare, Steven drew on this childhood memory to create a character to escape into.

But there's another possible meaning that fits into what we learn on the next Steven album, 1991's Hey Stoopid. That maybe this is something a doctor is telling the now institutionalised Steven. In this analogy, the doctor is trying to get Steven to give up his Alice persona. The pit where Alice doesn't want to go, but has to, isn't really Hell, it's the unconscious mind. The doctor may be trying to get Steven to get rid of Alice, to lock him away under the floorboards of his own psyche. He is treating Steven as a child because Steven has now fully regressed into one.

A Wind Up Toy


Hey Stoopid only mentions Steven at the very end, on track "Wind Up Toy". The song implies its subject is in a mental institution, with doctors who run tests but can't determine what is wrong with him. The song also mentions his parents: "Daddy won't discuss me/What a state I must be/Mommy couldn't stand/Having such a wound-up boy".

This could mean that his parents are alive, and have given up hope for his recovery. However, it could also mean he has regressed to his child-state and only imagines that they are around. This seems likely if we take into account the information that we later learn from "Hell Comes Home".

The Last Temptation


Steven appears again as the protagonist in The Last Temptation, Alice Cooper's 1994 album. This time he seems to be free. In the tie-in comic he's depicted as a young boy. This could mean it is a prequel or that Steven is imagining himself in a free world. I do not believe this is a prequel to Nightmare and all the other albums. For a start, it's called The Last Temptation. It could hardly come before Nightmare, in which Steven has succumbed to the temptations of alcohol. Moreover, Steven is shown to have sexual desires for the character Mercy, which means he must be of a mature age in reality.

So in The Last Temptation, Steven goes (in his mind) to the sideshow, where he meets the Showman (depicted as Alice in the comic), who offers him things. The Showman shows him how his life could be boring or miserable, and offers him a way out. In crisis, Steven prays for salvation, and ultimately confronts the Showman and rejects him. The Showman is strongly implied to be the Devil, which is basically confirmed on the next album, Brutal Planet, as the Devil on that album shares his catchphrase, "nothing's free".

The Last Temptation is a morality play, and Steven's rejection of the Devil seems to clear the way for his redemption: "I'm Heaven bound/Go back to where you belong". Thematically, it also represents a rejection of the sideshow, the "Escape" from reality Steven has relied on for so long. By overcoming his demons both literal and figurative, he may now be able to rejoin the world.

Along Came a Spider


The name Steven reoccurred on 2009's Along Came a Spider. This album revolves around a serial killer named Spider who's collecting legs from eight victims to create his own giant spider, like a cross between Dahmer's zombies and The Human Centipede. At the end of the record he reveals to Steven that he's been in this cell for 25 years, so couldn't possibly have committed the recent murders.

From the wording it could be interpreted that Steven shares the cell with him, or that he has some sort of multiple personality disorder, because he uses the word "we". I don't think it's common practice for the criminally insane to bunk up together, but if Steven isn't in the cell with him, why is he there? Well Steven on The Last Temptation and Spider both kind of find Jesus in their respective storylines, so maybe Steven is a priest now and he's visiting Spider in prison. I don't know if that was the idea though. It could not be. Another possibility is that Steven is another personality of Spider.


DaDa theory


Alice Cooper's best album is also one of his less widely known. 1982's DaDa told the story of Sonny, who may also have multiple personalities. Some fans believe that Sonny is also Steven. Potentially, Alice, Steven, Sonny and Spider could all be the same person (of course, they are IRL). I don't believe that Sonny was meant to be Steven, as there are no overt continuity references on DaDa, and Sonny commits suicide at the end of the album. However, Sonny and Steven both seem to share something in common in their backstories: an abusive father.


The Nightmare returns


Steven is mentioned one more time to date in the AC discography: in track "When Hell Comes Home" from Welcome 2 My Nightmare, the 2011 sequel to the original. The song describes a scenario in which a young boy shoots his alcoholic father who has returned home in a menacing rage. This boy appears to be Steven, which, in keeping with our conception of Steven as a grown man in Nightmare 1, makes this a prequel within a sequel, like the Vito scenes in Godfather 2. Killing his abusive father may be the traumatic event that caused Steven to lose his childhood, which he would spend his adult life trying to get back.

As Steven is only mentioned on the one track, it seems likely that the protagonist for the rest of the album is Alice himself, as on Alice Cooper Goes to Hell. Except, as we know, Alice is likely the creation of Steven. The album ends with his surprise death, which would seem to put an end to the character once known as Steven. Except, as we know, Alice Cooper is the grand villain of rock and roll, and like all good villains, he can never truly die.

Do YEW have an autismal theory about a series of albums going back to 1975??? Poast!