Wednesday, May 31, 2023
NegaIone - Lo Spirito Continua (1986, 🇮🇹)
Tuesday, May 30, 2023
Soundgarden - Screaming Life EP / Ultramega OK
Monday, May 29, 2023
Sunday, May 28, 2023
Saturday, May 27, 2023
Friday, May 26, 2023
Thursday, May 25, 2023
Butthole Surfers - Brown And Out (Early Demos etc)
Z-Rock (Ween & Boredoms ) - Hawaii (1996)
Wednesday, May 24, 2023
Chinese Cookie Poets - Viva La Raza!! (compilation by Slanderbob)
Some incredible math rock from Brazil. I compiled my favorite tracks of theirs from their Bandcamp Discography.
Kamasutra (Vollendung Der Liebe) - Irmin Schmidt, Innerspace Production OST (1969)
The Vampires Of Dartmoore - Dracula's Music Cabinet
Tuesday, May 23, 2023
Monday, May 22, 2023
Sunday, May 21, 2023
This Is GWAR (2021)
This Is Gwar (2021)
This Is GWAR review: a thorough portrait of cult metal heroes - Outtake
What started as a kitsch attempt at a movie in Richmond, Virginia in the 1980s eventually evolved to be GWAR. What is GWAR, exactly? At least half of Scott Barber’s documentary toys with that very question. On the one hand, GWAR is much more than a collective of artists and musicians performing obscene stage shows and singing heavy metal. On the other, that’s really all there is to it. This is GWAR confidently asserts itself as the definitive chronicle of one of the most fascinating heavy metal bands ever assembled, and as a stunning story in its own right.
Following key members of the band over a 35-year period, This is GWAR tracks the infamous costumed band as they discover their musical and artistic identity. Described as “the most iconic heavy metal/art collective/monster band in the universe,” GWAR are notorious for spraying audience members with imitations of various bodily fluids, performing lewd actions on stage, and for their biting social commentary hiding beneath the apparent madness. The extravagance of their costumes, sets and music videos are matched only by the power of their music, which has evolved from a punk-inspired medley to a fully fleshed heavy metal super act.
Asides from providing a detailed insight into the band itself, Barber’s film sets out to achieve a number of things. Rather than picking a specific thematic focus – which arguably might have made the film more nuanced – This is GWAR spotlights everything from artistic elitism to the inherent difficulties of collaboration and far-right political censorship. At times it can feel like Barber is clinging to too many branches, but he always brings the focus back to those at the centre of GWAR who make it what it is. Each member is self-reflective about their own artistic journeys and turmoil, confiding to the camera with remarkable honesty. By always returning to those behind the masks and the onstage antics, This is GWAR stops short of descending into a mismatched collage and remains a compelling, singular portrait.
The film illustrates the band’s colourful nature by interspersing animation throughout, at times deliberately mimicking comic strips. Barber makes sure that you have more than just the band’s word to go off, and that GWAR’s personality shines through in the visuals. These often accompany the most memorable moments, such as a very funny gatecrashing of the Grammys (where they were explicitly told not to arrive in costume) and slightly absurd appearances on television alongside Jerry Springer and Joan Rivers. GWAR’s performance is not limited to the stage, as a vast collection of archive footage and interviews attests to.
This is GWAR manages to counter the silly with the deeply profound, with a balance that strikes a similar chord to Jeff Tremaine’s The Dirt and arguably improves upon it. GWAR have had more than their share of heartache and trouble, and while the film stops short of offering any resolution, it doesn’t shy away from these difficulties. It is in these moments that perhaps GWAR’s ultimate purpose becomes clear: family. Those who have been with the band for the longest have devoted three decades of their lives to it. The way that Barber manages to elicit the strength of the bonds within the group, despite the members rarely sharing the screen together during the film itself, is remarkable to watch.
“The world needs GWAR” as one band member puts it. But equally true is that GWAR needs the world. The world is what gives GWAR and its members’ stories such weight and importance, even behind all the devilish tomfoolery. Without the world, GWAR’s actions suddenly lose all meaning. It is by placing GWAR so deliberately in a changing, messy context that Barber captures their full appeal – complete with projectile menstrual blood, demons hell-bent on the destruction of Earth, and a singing toilet with teeth. For fans of GWAR, this is a diamond in the rough. For everyone else, it needs to be seen to be believed.
Friday, May 19, 2023
Thursday, May 18, 2023
Wednesday, May 17, 2023
Melvins - Five Legged Dog (2021)
Wire - Not About To Die (Studio Demos 1977-1978)
Frank Zappa - Filthy Habits (2023) Compilation by Slanderbob
Oranssi Pazuzu - Mestarin kynsi (2020)
Dead Skeletons - Dead Magick (2011)
Monday, May 15, 2023
Sunday, May 14, 2023
Saturday, May 13, 2023
Shoes - Eccentric Breaks And Beats
Friday, May 12, 2023
SLANDERBOB LIVE SET 5-10-23
Thursday, May 11, 2023
Tuesday, May 9, 2023
The Grim - Getting Revenge In 'Merica (Mystic Records / 1987)
TRIPLE TROUBE (2023) A Feature Film by The Residents
Olympic Nightingale - Une Harmonie Invisible (2023)
Black Manna - Radio Manna (2013)
Monday, May 8, 2023
DIGITAL DRIVE IN -- SHORT FILM : YOUR HOUSEPLANTS ARE SCREAMING (2023)
Your Houseplants Are Screaming from Dominar Films on Vimeo.
A plant monster grows a human houseplant in a torturous room of gore and existential dread.
Written, Directed, Edited, Starring: Benjamin Roberds
Produced, Animated, Art, SFX: Katie Gregg
Director’s Website: https://www.benjaminroberds.com/
Production Co Website: https://www.dominarfilms.com/
Sunday, May 7, 2023
The Goddamn Slanderbob Program - FAILED LIVE SET GONE WRONG lol
Saturday, May 6, 2023
FILM : Love God (2007) + Love God Soundtrack - Lubricated Goat/Stu Spasm (2007)
Writer-director Frank Grow's LOVE GOD is like no other film you've ever seen. It's either one of the most outrageous studio releases of all time or the biggest underground comedy ever to escape into the mainstream. More than just a simple monster movie, this tackles several parallel stories and hinges on a fragmented complexity that's unheard of in most Tinseltown flicks. It'll also have a lot of moviegoers running for the exits in record time... Will Keenan (TROMEO AND JULIET) takes center stage as Larue, a schizophrenic released from an overcrowded NYC hospital and now warehoused at the ramshackle Love Hotel. There he meets his neighbors, including a mute girl who seems attracted to him, her obsessively-clean mom and a Tourettes Syndrome neighbor-turned-roommate. Add a wacko prostitute named Kali, who's been slaughtering folks in an effort to please the Indian god Shiva, plus a crazed doctor is driving around the city with his pig-tailed nurse, looking for an escaped monster -- a parasite that travels through the sewers, ingests its victims and spits them out as walking lumps of latex. As confusing as all of this might sound, Grow does a fine job of juggling the multiple storylines, with wild animated segues provide a shorthand explanation of the various characters, diseases and religions that come into play. The script also boldly embraces several different angles -- not only is it a monster movie steeped in pitch-black comedy, but also a love story. And as each character's circle is completed, they intersect in some way. Director Grow also laces the film with smaller, subversive moments, such as a visit to the grim hospital full of lobotomy patients. Or, even better, two punk whores who pick up Larue and end up at a skanky hotel room with the bed sheets still covered in blood from a recent murder. But while all of this sounds strange enough, none of it would be more than just an exercise in weirdness if not for the cast, which goes out on a limb to bring the appropriate psychosis and humanity to their roles. At the forefront,
Will Keenan is remarkable in a title role that comes off like a combination of Buster Keaton and Travis Bickle. Whether he's obsessively sculpting a bust out of chewed bubble gum or climbing city lampposts, he plays it totally straight, locates the character's emotional core and sucks us into Larue's terror in dealing with the real world. Larue's tightly-wound love interest Helen (Shannon Burkett) is so repressed for most of the movie that you can't help but feel for her, and although Kymberli Ghee has the proper look and energy as the blue-and-blood painted killer Kali, we never truly understand her obsession... The film's monsters (created by Paul Etheridge-Outzs, Brian Durham and Grow) have a surreal look akin to Salvador Dali meets Larry Buchanan. Unfortunately, Grow's ambitious, avant-garde approach -- rapid-fire cross-cutting, avoidance of standard establishing shots in favor of close-ups and POV perspectives -- often makes it difficult to tell what the hell is happening on-screen or get a good look at these creatures. Grainy and consistently in-your-face, its ever-swooping digital camerawork not only makes you feel like you're in the middle of this urban chaos, but that you're as screwed up as the characters. Best of all, the production design expertly captures the grit of the city, particularly when detailing Larue's hovel lifestyle. As most longtime New Yorkers will tell you, films that promise the reality of urban life rarely hit the bull's-eye. Grow not only understands the grubbiness of city life, but makes it as much a function of the plot as the characters. Dazzling, frustrating and altogether original, LOVE GOD isn't afraid to jump-start a fresh new way of approaching cinema. Although I doubt you'll be seeing this colorful blast of imagination and derangement at your local multiplex anytime soon, if ever there was a movie aimed at the upcoming millennium, this is it.
© 1997 by Steven Puchalski.
Brown Whörnet - Radio Album (Extended Edit by $landerbob)
Corpus Deliciti - The Joy Of Living (1984) Mystic Records
The Amboy Dukes - Put Up Your Dukes - Vol One 67-69 (Compiled and Remixed by Slanderbob )
- Loaded For Bear
- J.B. Special
- Migration
- Surrender to Your Kings
- Baby Please Don't Go
- Sobbin' In My Mug Of Beer
- Gimme Love
- Dr. Slingshot
- Journey To The Center Of Your Mind
- Ivory Castles
- Why Is A Carrot More Orange Than An Orange
- Missionary Mary
- Flight of the Bird
- Night Time
- Down on Phillips Escalator
- Prodigal Man







