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2 items from 2015

Icons of Fright’s Fave Music of 2015 Derek’s Picks Part 2: Fresh Meat

10 November 2015 4:52 PM, PST | | See recent Icons of Fright news »

While 2015 saw the return of many legends, there is still a lot of great music out from younger bands (and legends in the making). And much like a horror fan benefits from branching out to other genres from time to time, I tackled a few albums that are on the lighter side!

If you missed Part 1: The Legends Return!, click here!

The Young(er) Guns:

Monster Magnet “Cobras and Fire (The Mastermind Redux)”

No spring chicks themselves, Monster Magnet has been rocking hard since 1989. Tapping into psychedelia with their space rock ways, and Dave Wyndorf’s knack for off the wall lyrics, Mm haven’t changed a thing with this effort. Having said that though, it isn’t a bad thing. Wyndorf and crew have become a consistent force to reckon with, “Cobras and Fire” being an excellent listen from start to finish.

Lamb of God “VII: Sturm und »

- Derek Smith

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Heroine Chic: Female Celebrity and Identity in the Films of Olivier Assayas

8 May 2015 1:10 AM, PDT | MUBI | See recent MUBI news »

Watching a film by Olivier Assayas is a little like wandering into the bedroom of a teenager, taking in the aesthetic décor that clings to his or her walls and bookshelves—posters, pop records, hastily cut-out collages of idols, and literature—and being left to draw a logical conclusion based on these ephemeral scraps. This idea of collage, assembling or reinventing an identity, has always been a concept inherent to punk and youth culture: British punk historian Jon Savage coined the term “living collage” to describe European teenagers in the 1970s who tore apart thrifted vintage clothing at the seams to fuse and repurpose them with safety pins. Assayas’ work is essentially the filmic equivalent of that same idea: he populates his frames with torrents of ideas and surfaces and lets loose cinematographers Yorick Le Saux and Eric Gautier to pan wildly, struggling to encapsulate everything into their widescreen, handheld compositions. »

- Mark Lukenbill

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2015 | 2013 | 2012 | 2011 | 2010

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