#nine saying american psycho is his favorite movie

[killersnarl]

// BIG ANNOUNCEMENT !! :o

i am pleased to announce the nine bot made by @c0dykun !!!! (everyone go thank them cause this is super cool for you guys)

you can go play with it here !

(keep in mind it’s a bot so it’s not always going to be accurate and sometimes you’ll have to swipe through responses until you get a good one, but the more you talk and give it feedback it should get better ! it’s just to have fun and be silly ! the website can be pretty slow sometimes so be prepared lol.)

feel free to send me any funny interactions you get and i’ll tag it under bot shenanigans for everyone’s viewing pleasure

(by the way: i’m still working on something else big 😁)

[josielyndphotography]

I Heard They KILL Live!

Ice Nine Kills in Indianapolis, IN

11-7-2023

Ice Nine Kills (INK) puts on, once again, a killer performance while on the Kiss of Death Tour. The Massachusetts “horror-core” band have just ended their month long tour with In This Moment, supported by Avatar and New Year’s Day on December 2nd.

The audience was electric when the first few notes of “Hip To Be Scared” started playing and the band hit the stage. Stage actor Michael Meaney contributed to this beginning energy with his role as Paul Allen from hit film “American Psycho”. The unity felt within the crowd when everyone shouted “HEY PAUL!” right before the breakdown was unmatched.

The setlist consisted of a healthy mix of new and old songs that catered to both the new and older fans. They started with songs off of “Welcome To Horrorwood” (2021) and “The Silver Scream” (2018), but added in a song from the 2014 album “The Predator Becomes The Prey”, as per fan request through the Psycho’s Only app.

The set consisted of many visuals that referenced horror movies, most notably the performance of the song “The Shower Scene”. This act visualizes the 1960 film “Psycho”, in which Amanda Sahr plays the role of Marion Crane, and INK’s frontman Spencer Charnas plays his own version of Norman Bates. The song is another tune in which crowd participation is incredible. Hearing everyone shout the chorus together during one of the music breaks is such a powering experience to hear as a fan.

Throughout my years of supporting INK, I have been faced with nothing but community in regards to interacting with other fans. Everyone seems to come together and share their common interests in heavy metal, horror, and performance art.

At this show, I was with a good friend of mine, Miko Puno. He is a fellow photographer based in Indianapolis, and was happy to come along with me to the show, despite not listening to metal.

“From a person who does not listen to metal, I enjoyed it significantly, and quite frankly, I’d go on to say I would do it again.” He says to me when asked about his thoughts on the show, “I was told Ice Nine Kills would be the highlight of the night, and they were correct. If I were to only talk about the ‘sights’ of Ice Nine, it was a sight to behold. Numerous horror movie references, as well as evident passion for their music and their role; it was clear to me that they loved their music, and their fans sure did too.”

My personal favorite song to see performed that night was the newest released song “Meat & Greet”. This song was released on October 13th of this year, and was the conclusion of the Horrorwood Saga as of now. The song consisted of many references to the film “Silence of the Lambs”, and the live performance of the song didn’t disappoint.

Lane Nobriga and FRANCO, two stage actors for INK, did an incredible job in bringing the song to life and creating intriguing and exciting visualities playing opposing roles as Hannibal Lecter and an officer.

I feel the conclusion to the show was one to remember. The band ended the set with “Welcome To Horrorwood”, containing an exhilarating guitar solo from Miles Dimitri Baker and fast paced drums from Patrick Galante. Normally, in other performances during this song, Charnas would climb into the crowd and be held up by fans during the last chorus, but given the set up of the venue, that didn’t happen this show. Though that didn’t take away from the head-banging, voice-losing, thrilling encore. With Ricky Armellino on guitar and Joe Occhiuti on bass, along with the rest of the band, the whole performance was one to remember. This makes the second time I’ve seen Ice Nine Kills, and I’ve been blown away by their production every time. If you’re a horror/metal fanatic that loves theatrics and passion for music, Ice Nine Kills is the band for you.

[autotheophagic]

Hi!! We're mutuals for Courtney LaPlante/Spiritbox and I wanted to ask if you could tell me more about Ice Nine Kills! They're gonna be one of the opening acts for Metallica when I see them in Toronto so I wanted to know a little more about them!

HI HELLO id firstly like to apologize for how horribly long it took for me to answer this omg, every time ive gotten on ive been like "oh i need to answer that ask!" and then i get distracted </3

ANYWAY. eee congrats on getting to see Metallica AND ink haha, i haven't seen metallica live but i hear they're pretty good :) and i can say from personal experience that ink puts on a literally KILLER live show. which is to say that not only do they fucking rock, they also do "live kills" on stage w/ actors who get seemingly murdered in front of the crowd LMAO. aside from how entertaining that alone is, they're just rlly good live haha

the lead vocalist + the one who's been doing this longest is Spencer Charnas! my bestie and i always say that INK is his baby; he founded it in 2000 and was the only member to persist with it for a Long Time. which is really impressive cuz it took abt 20 years for them to get any sort of recognition rlly. he's very passionate abt it fr

their 2 latest albums (AKA the stuff that's rlly gotten them recognized) are The Silver Scream and Welcome To Horrorwood, both of which are full of songs based on (mostly) horror movies! one album before their horror era was Every Trick In The Book, which has songs based on what I understand are some of Spencer's favorite books!

their albums before those (The Predator Becomes the Prey, Safe Is Just a Shadow, The Burning, Last Chance to Make Amends) aren't based on anything to my knowledge, but all pretty good. The Predator Becomes the Prey and Safe Is Just a Shadow are my faves of those ones!

ngl, the only reason I started watching horror movies/a lot of movies in general was cuz of INK <3

some (maybe too many) song recs, if you'd like to give em a listen before you see them!:

A Work of Art (their latest single and an official song for Terrifier)

Welcome To Horrorwood (Welcome To Horrorwood's title track, not based on any movie)

The Shower Scene (WTH, movie is Psycho)

Hip To Be Scared (WTH, movie is American Psycho; im not necessarily super big on this one but im sure most ppl would say its an essential)

F.L.Y. (WTH, movie is The Fly)

Farewell II Flesh (WTH, movie is Candyman)

Meat & Greet (WTH, movie is The Silence of the Lambs)

Thank God It's Friday (The Silver Scream, movie is Friday the 13th)

A Grave Mistake (TSS, movie is The Crow)

Rocking the Boat (TSS, movie is Jaws; also name drops each of their previous albums, which is rlly fun)

Your Number's Up (TSS, movie is Scream)

Communion of the Cursed (ETITB, book is The Exorcist)

Bloodbath & Beyond (ETITB, book is Dracula)

Tess-Timony (ETITB, book is Tess of the d'Urbervilles; gonna give a TW here, it's a beautiful song but a very heavy topic)

Jonathan (TPBTP; the acoustic version is also beautiful)

What I Never Learned In Study Hall (TPBTP)

Red Sky Warning (SIJAS)

What I Should Have Learned In Study Hall (The Burning)

gonna stop there bc im getting carried away fcdbdbfj, i just love them a lot. I hope this was enough info but not too much!! lmk if you have any more specific questions haha <3

[gore-galore7]

This is just a list of music I think Patrick might listen to and some that l listen and think fit him. This is my first head cannon post but I want to start writing oneshots and fanfiction so we’ll see if I do this again. If there's anyone you'd like me to do let me know (: Warnings: Explicit music mentioned. Also INK has gory references and stories FYI.

Modernish music I think Patrick Bateman would listen to:

Lady Gaga- especially her Monster album. I think the possesive, sexual, devouring, themes he'd really like. I think songs that'd appeal the most to him would be Goverment Hooker, Bad Romance, Teeth, and Judas.

Ice Nine Kills- I.e. Patrick's horror movie obsession. If you don't know this band they base their songs off of horror movies and books, ( Hip to be Scared is based on American Psycho and is definitely one of my favorites(: ). I think this would be good workout music for him if his TV ever broke.

Imagine Dragons- Demon and Believer seem to fit with the (identity crisis?), he goes through the film and I think he'd like their music too.

Hozier- I think he ever got into a relationship with someone seriously, and they knew everything about him and still stayed, Take Me to Church would be their theme song. Also the overall band’s vibes seem to fit him.

I don't think he'd listen to these next two but I cannot listen to them without thinking of him so they're included.

City of Angels by Em Beihold - I think this song would be so perfect for a childhood friend who knew more of who he really was and how he felt about the people he worked with and they see him again years later and he's that shallow persona he hated.

Little Lion Man by Mumford and Sons- This song reaks of his vibes. If you've never heard it, you got to. I think of him saying this to his inner child or something, it's just perfect. It's just the sort of Indie folk music I don't think he'd like.

Thanks for reading this! If you liked it let me know who I should do next(:

[losergendered]

Was listening to some "Hip To Be Scared" and this kept popping up in my head and I HAD to make it and show it to you /silly

Id: an edited image of Patrick Bateman from "American Psycho" holding up an album of "Huey Lewis and the News" that is edited to show @/losergendered's icon, asking "Do you like Mikey Loveless and the Headcanons?"

Id: A image of Paul Allen (also from "American Psycho") sitting and holding a drink replying "Um, they're OK."

Id: Another image of Patrick Bateman wearing a plastic suit over his clothes, pointing to his DVD player with text saying "His early work was a little too new wave for my tastes, but when the 'losergendered' remake came out, I think xe really came into their own, commercially and autistically."

(For wondering why I put autistically, I think you know why /joke /silly. Also, whenever I play "Hip to be Scared" my brain keeps gaslighting me into thinking Spencer Charnas is saying "autistically" instead of "artistically" lmao)

Id: Image of Patrick Bateman now holding an axe while texted is edited to say "The whole headcanons has a refined sensibility that really makes it a cut above the rest." /ice nine kills ref

Id: A close up of Patrick Bateman with his face covered in blood, with text edited to say "Try getting a request at the account now, you fuckin' stupid bastard!"

Another reason I made this is bc Ik "American Psycho" is your favorite movie and had to do it :>

salem this is my favorite set of images ever. holy shit thank you

[tilbageidanmark]

Movies I watched this week - 27

“All right, I'll count to 8, and if you haven't smiled, I'll strangle you.”

Godard’s seminal À bout de souffle (Breathless) with young Jean-Paul Belmondo and Jean Seberg (Photo Above) + cameos of NINE New Wave directors: Himself, Melville, Jacques Rivette, and 6 more friends from the movement.

One of la Nouvelle Vague’s first & most revolutionary moments. Is it a love story, a nihilist crime story or a comedy?

9/10 - Bravo!

✴️       

“It rained the day daddy died”

Something Beautiful Left Behind is a sad documentary about kids whose parents died. In New Jersey, a group called The Good Grief helps young orphans deal with their loss and process their emotions.

The story telling is very simple, and there’s nothing here but children quietly mourning and struggling to carry on with the fact that their mom, or dad, or both, will never be with them again. Only at the very end, the focus expands for one poignant moment, and at a gathering of 1,200 members, they all send fire lanterns into the night sky.

(Danish produced!) - 9/10

✴️  2 with tragically quiet Juliette Binoche:

✳️✳️✳️ In the first of Krzysztof Kieślowski’s Three Color Trilogy, Blue, gorgeous Juliette Binoche survives a car accident that kills her composer husband and her 5 year old daughter. In sorrow, she cuts herself from everything in her past, but can’t be completely free.

Falling away from one’s life - ambiguous, poetic and intelligent

- The best film of the week!

✳️✳️✳️ Louis Malle’s disappointing next-to-last film, Damage, where Binoche plays a femme fatale that starts a “passionate” sexual affair with British minister Jeremy irons, the father of her fiancé.

It’s so “steamy” that they do it everywhere, on the floor, in the kitchen, in the alley. But why? What does she see in him? What’s both their motivations? It’s completely unclear.

✴️        

So I had to compensate with another UK ministry drama, my most favorite Armando Iannucci‘s black comedy satire In The Loop, about the lead-in to the invasion of Iraq, and of which I wrote about here.  

Here’s the Best of Malcolm Tucker.

10/10 - Fuckity bye!

✴️        

Between ‘Kimono My House’, ‘Propaganda’ and ‘Indiscreet’, I used to like the early 70′s Sparks, with their provocative Hitler mustache and Bowie-lite aesthetics. So I was looking forward to Edgar Wright‘s brand new Sparks Brothers fan-bio. But apart from learning that they collaborated with Jacques Tati on a movie before he died, this endless parade of irritating celebrity interviews was tiring and redundant: Imagine hearing somebody like Fred Armisen saying things like “I remember where I was when I first heard their song ‘so and so’ - it was so unique for its time and nobody was doing anything like that then... It was - just incredible - Wow ..”

3/10

✴️       

Chris Marker’s 1962 “experimental” La Jetée: In the aftermath of World War III, a prisoner in post-apocalyptic Paris is subject to an experiment in time travel, because of a strong recollection he has from his childhood of a pier at Orly Airport.

Made entirely of black & white still photos, with minimal sounds & voice over. Haunting.

I must re-visit the “Left Bank” side of the French New Wave, Resnais, Varda, Melville, Duras...

✴️       

And La Jetée inspired Terry Gilliam’s 12 monkeys who used the same basic science fiction premise. It’s a typically Gilliam-baroque, noisy and thick, with lots of retro steampunky pipes and fog and analog gizmos, but why did it have to star human ape Bruce Willis?

All over the map - 2/10

✴️        

A brand new ticking clock medical drama, The God Committee, about an organ transplant committee that must make a decision within one hour who of 3 possible recipients "deserves" a life-saving heart the most.

6/10

✴️        

John was trying to contact aliens is a short (16 min.) documentary about a lonely DJ in rural Michigan who had spent his whole life searching for celestial signals in order to prove that there’s someone out there, beyond our immediate circles. Surprising!

✴️         

Offbeat season 2 of Tim Robinson’s crazy sketch show I Think You Should Leave. Still irreverent, wacky, absurdly funny.

With Conner O'Malley (’Randy’ from ‘Palm Springs’!)

✴️          

The Shooter, a 2013 Danish thriller with Trine Dyrholm and Kim Bodina (Does he always play heavies and psychos?), which is apparently a remake of a 1977 film.

It seems that many of the Danish films I’ve watched have minor sub-plots abroad, in India, Africa, Mediterranean... It expands the plots, and enables the crew to take a little trip

At 55 min. they drive pass our neighborhood! Fun!

5+

✴️        

Having started and never finished reading Umberto Eco’s book, I imagine that the film adaptation of The Name of the Rose is striped out of its intellectual semiotic depth, and left only with visuals of a detective monk in a foggy 14th century Italian monastery. No matter: It was still a lovely murder-mystery in unusual settings.

With the most unlikely choice, 17 year old Christian Slater, to join venerable Sean Connery as Adso von Melk, his novice apprentice.

✴️        

Sam Mendes’ American Beauty about escape from suburbia, still brilliant after 22 years.

Creepy and unhappy Lester Burnham fantasizes about his daughter’s teenage friend bathing in red rose petals.

✴️          

Chaplin’s last masterly silent film Modern Times, made toward the end of the Depression, still on point. 80 years later, his visionary insights about work, industry and progress ring anti-capitalistic with unabashed socialist leanings. Not a didactic piece of propaganda, this is pathos pure and simple, full of tears and laughter, about a man who wants a job.

Also, a love story of two nameless people who have nothing to their name.

Smile though your heart is breaking - 9/10

✴️           

First watch: David Cronenberg’s Body Horror classic, Scanners, mostly telling and not showing, except of a couple of exploding heads and engorged veins.

Do I need to watch all the famous Science Fiction movies I never bothered to before?

No! 2/10

- - - - -

Throw-back to the art project:

À bout de souffle Adora.

- - - - -

(My complete movie list is here)

[aion-rsa]

Why Jack Bauer Is America’s James Bond

https://ift.tt/3oV5dtt

Despite what Marvel might have you believe, not all film franchises are perfectly serialized.

Take, for example, another kind of cinematic superhero: James Bond a.k.a. 007. The MI6 spy created by Ian Fleming and brought to screen by Harry Saltzman and Albert R. Broccoli is timeless in the most literal sense of the world. Since Sean Connery passed the role of James Bond to Roger Moore for good in 1973’s Live and Let Die (Connery previously gave way to George Lazenby in On Her Majesty’s Secret Service before returning in Diamonds Are Forever), James Bond has become unstuck in time. 

As played in subsequent films over several decades by actors like Timothy Dalton, Pierce Brosnan, and Daniel Craig, Bond remains the same while the world around him changes. Some fans like to theorize that “Agent 007” and “James Bond” are aliases used by different MI6 spies throughout the years. But within the context of the series, there is only one Bond…James Bond. Bond is always middle-aged, looks good in a tux, enjoys stiff drinks and beautiful women. 

Read more

Movies

James Bond Movies Streaming Guide: Where to Watch 007 Online

By Don Kaye

The Cold War ended in the ‘90s and yet Bond, perhap the ultimate cinematic representative of its aesthetic, just kept calm and carried on as usual. Save for a handful of Craig’s latter year depictions, James Bond rarely learns any new tricks. He doesn’t develop. He is what he is – a hero of espionage and action. In that regard, the James Bond series is a surprisingly honest exploration of the occasional propagandistic aims of major blockbuster filmmaking. Bond isn’t a character in a story. He’s the United Kingdom’s idealized version of itself writ large on a canvas widescreen: a suave spy who is welcomed into every country to get laid and save the world. 

But what about the United States’ idealized version of itself? How has the Cold War’s lone surviving superpower let itself go without a similarly iconic (and occasionally nakedly jingoistic) cinematic creation? The answer is that America already does have an outsized action icon…he was just on television. 

Jack Bauer of early 2000s Fox thriller series 24 is American James Bond whether we want him to be or not. Just as Bond is the idealized Englishman, with his martini lunches and quick wit, Bauer is the America’s warped ideal of itself: angry, merciless, focused, and unfailingly effective. 

As portrayed by Kiefer Sutherland (who won an Emmy for the role), Jack Bauer started off as a fairly three-dimensional character in 24’s first season. That season picked up with Jack as a family man and a glorified pencil pusher at the fictional Counter Terrorist Unit’s Los Angeles office. Over the span of the first season’s 24 hours (24’s hook, of course, is that each season takes place over the span of a 24-hour day in real time), Jack slowly lost grip of his humanity, culminating with his friend Nina Myers turning out to be a mole and murdering his wife Teri. 

The death of Teri fundamentally changed Jack. For eight subsequent seasons and a movie, Jack became an Uncle Sam-style cartoon character obsessed with protecting his country from terrorists all over the globe, because his family was already taken away from him. Elisha Cuthbert as Jack’s daughter Kim was a prominent character for a few seasons, but as she was phased out so too was Jack’s grip on reality.

Unlike the James Bond series, 24 was particularly devoted to its chronology, with the very premise of the show meaning it had to have a close relationship with time. Jack Bauer would in theory grow as a character from season to season. But rather than developing, he mostly devolved into the most base version of himself. 

It’s in this way that Bauer actually became more like James Bond than one might initially expect. Regardless of who is playing him or what time period a particular film is set in, Bond’s characteristics remain static. By the end of 24’s run in 2014, Jack was similarly a Bond-ian relic of the past. Though the country was still feeling the effects of it, “The War on Terror” seemed as dramatically quaint for 24 as the Cold War did for James Bond. And yet here was this rugged American in the miniseries 24: Live Another Day, gripping the life out of a pistol and barking at perceived London terrorists in a gravely timber like a psycho.

24: Live Another Day was the last appearance for Jack Bauer and rightfully so at the time. The character had become a bit too anachronistic and his show, quite frankly, was frequently xenophobic. Still, as the continued success of Craig’s Bond films indicate (with No Time to Die finally set to arrive this October) perhaps there is still room for walking anachronisms in the entertainment world, as long as they’re approached correctly.

Fox has repeatedly attempted to rejuvenate the 24 brand. In 2017, the network greenlit a spinoff starring Corey Hawkins called 24: Legacy. Like its forefather, 24: Legacy, utilized a real-time format, only condensing 24 hours into 12 episodes like Live Another Day did. The spinoff was not successful and was quickly canceled following the conclusion of its first season.

Ultimately, Fox (now owned by Disney) hasn’t made any subsequent reboot attempts work yet because it has misidentified the appeal of 24 as a franchise. While the ticking clock aspect of telling a story in real time is novel and interesting, it wasn’t the reason the original series lasted for nine seasons. The real reason for 24’s success was Jack Bauer. Viewers are typically attracted to characters, not concepts. In Jack Bauer, many an American viewer likely found the embodiment of a paranoid nation they recognized.

There’s an undercurrent of anger and indignance in the American psyche. Exactly why is a question best left for sociologists. Perhaps it’s misplaced guilt over displacing a society to create a new one, or maybe it’s just the disappointment of being promised a Manifest Destiny and getting Wyoming. But whatever the reason, Jack Bauer is as apt a cartoonish American avatar as James Bond is a British one.

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So why then doesn’t 20th Television (again, now owned by Disney) just formalize the comparison and make Jack Bauer literally American James Bond? Just as Connery once handed off the baton to Lazenby and Moore, have Sutherland hand the role off to someone else. That actor would preferably represent the American physicality that Sutherland brought to the role (despite Sutherland being a Canadian, which is somewhat fitting given that the Scottish Connery was the first to play Her Majesty’s favorite spy). The new Jack Bauer would be played by someone who is short, stubbly, and angry rather than Bond’s tall, dark, and handsome. Throw the new Jack back into the field in a modern day ticking time bomb plot without bothering to explain why he is still middle-aged after 20 years. 

The answer to why Disney wouldn’t want to do such a thing is almost certainly all that aforementioned racism and torture. That is admittedly a, uh…roadblock. It really can’t be overstated just how xenophoci 24 was at times and how cruel it could be to characters and actors of Middle Eastern descent. Jack Bauer’s reliance on torture wasn’t just a dramatic crutch, 24 co-creator Joel Surnow genuinely believed in the value of torture as a foreign policy tactic. 

Suffice it to say, the series has not aged well. Then again, however, neither have many of the earlier Bond films. To a certain extent that’s the point of the Bond franchise. It understands that making movies is making myths. James Bond is every bit the mythical figure that Captain America or Iron Man are. The fact that Bond is so obviously an exaggerated character now has helped soften some of his more problematic edges. 

Bauer, on the other hand, comes from an era where Americans were both terrified of the looming threat of terrorism and were starting to invest in television as a more “serious” art form. As such, not everyone of the time was prepared to accept Jack Bauer as American James Bond, that is to say a cheesy cultural figure, not a vital supersoldier of freedom. 

In The Atlantic’s 2007 article “Whatever It Takes” about the politics of 24,  U.S. Army Brigadier General Patrick Finnegan, the dean of the United States Military Academy at West Point, recounts Jack Bauer’s effect on enlistees.

“The kids see it, and say, ‘If torture is wrong, what about 24?’ The disturbing thing is that although torture may cause Jack Bauer some angst, it is always the patriotic thing to do.”

The world has changed since then, obviously. But even now, it feels like it hasn’t fully set in that Jack Bauer is the American James Bond and should be treated with the same amount of reverence, which is none at all. Perhaps the only responsible move left is, in fact, to continue the increasingly ridiculous stories of the character with new actors.

In the right hands, Jack Bauer could be put to use as a blockbuster magnet and an appropriate critique of American foreign policy. In the end, icons don’t matter so much as what you do with them. 

The post Why Jack Bauer Is America’s James Bond appeared first on Den of Geek.

from Den of Geek https://ift.tt/3uwxPed

[lethal-liability]

Info Dump Time!

So it has come to my attention that the slasher fandom has recently been introduced to Ice Nine Kills, my favorite band (aside from Rammstein, of course). So if you are really wanting to get into them but have no clue where to start, look no further! As I am about to impart my knowledge onto all of you lovely people!

So Ice Nine Kills is an American Rock band from Boston, Massachusetts (but they like to say they’re from Salem). The band was formed in 2002 by high school friends Spencer Charnas and Jeremy Schwartz, though today the only surviving member of the original band is Spencer.

(more under the cut)

The current members are:

Spencer Charnas - lead vocals (main stage character: Freddy Kruger, Jason Vorhees)

Ricky Armellino - rhythm guitar, co-vocals (the extra screaming voice in most songs lol) (main stage character: Georgie)

Patrick Galante - drums (main stage character: Jigsaw)

Joe Occhiuti - bass, keyboard (Main stage character: Eric Draven)

Dan Sugarman - lead guitar, backing vocals (Main stage character: Leatherface)

Justin “JD” DeBlieck is also technically a current member but he's been on hiatus from the band since Warped Tour 2018. His role in the band has been filled in by Ricky since then.

Their original sound was more ska-punk but have, since their first official album, have changed their sound to metalcore, or as Spencer calls it, theatricore.

Their discography is as follows:

Last Chance To Make Amends - 2006 (not currently on spotify and the only one I haven’t heard)

The Burning - 2007

2 Song Acoustic - 2009

Safe Is Just A Shadow - 2010

The Predator - 2013

The Predator Becomes The Prey - 2014

Every Trick In The Book - 2015

The Silver Scream - 2018

Other notable releases:

They’ve been featured on Punk Goes Pop three times and Punk Goes 90s once. They covered Adele’s Someone Like You on Vol. 5, Maroon 5’s Animals on Vol. 6, Taylor Swift’s I Don’t Want To Live Forever on Vol. 7, and Green Day’s Good Riddance (Time Of Your Life) on Punk Goes 90’s Vol. 2 (also, side note, Motionless In White covered Rammstein’s Du Hast on that record and it is *chef kiss* horrible. Awful. Listen to it if you wanna ruin your ears. Chris Motionless does not know a lick of German and it shows)

In 2017 they released a re-recorded version of Safe Is Just A Shadow which I personally prefer over the original because it is a much cleaner record. I also like that it only features Spencer’s vocals which I find sounds much better than the mix of his and former bassist Shane Bisnett’s vocals.

Last year, they released a deluxe version of The Silver Scream which includes the new track Your Number’s Up, a cover of Michael Jackson’s Thriller, and acoustic versions of A Grave Mistake, Stabbing In The Dark, SAVAGES, and Thank God It’s Friday (personally I only really like the acoustic of A Grave Mistake)

Their two most recent albums, Every Trick In The Book and The Silver Scream follow a similar format where every song on them follows a similar theme, ETITB being all based on classic novels and TSS being all based on slasher movies (with the exception of Thriller).

The songs and what they’re based on are as follows:

The Nature Of The Beast - Animal Farm by George Orwell

Communion Of The Cursed - The Exorcist by William Peter Blatty

Bloodbath & Beyond - Dracula by Bram Stoker

The Plot Sickens - Alive: The Story of The Andes Survivors by Piers Paul Read

Star-Crossed Enemies - Romeo And Juliet by William Shakespeare (the analyst in me really loves this song because it implies that Romeo and Juliet knew that they were only characters in a play but died together anyway because they knew they couldn’t escape their fate)

Me, Myself, & Hyde - The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson

Alice - Go Ask Alice by Beatrice Sparks

The People In The Attic - The Diary Of A Young Girl by Anne Frank (this song features Spencer doing a very unconvincing German accent which, outside of the context of the song, is very funny)

Tess-Timony - Tess of the D’Urbervilles by Thomas Hardy

Hell In The Hallways - Carrie by Stephen King

The American Nightmare - A Nightmare On Elm Street

Thank God It’s Friday - Friday The 13th

Stabbing In The Dark - Halloween

SAVAGES - The Texas Chainsaw Massacre

The Jig Is Up - Saw

A Grave Mistake - The Crow

Rocking The Boat - Jaws (fun fact! This song features Jeremy Schwartz, the other founding member of the band and the lyrics contain the names of 5 of their 6 albums, excluding The Silver Scream)

Enjoy Your Slay - The Shining (another fun fact! In 2016 they put a vote to their fans to pick what piece of media the song they were working on would be based on, either The Shining or Psycho, I voted for Psycho because they already had a song based on a Stephen King story)

Freak Flag - The Devil’s Rejects

The World In My Hands - Edward Scissor-Hands

Merry Axe-Mas - Silent Night, Deadly Night

Love Bites - An American Werewolf In London

IT Is The End - It (including this one they have 3 songs based on Stephen King stories! His influence, ugh)

Your Number’s Up - Scream

More fun facts!

Aside from INK, Spencer also has a clothing company, Kleaver Klothing, which if they haven’t moved sites again, is at salem666.com

Last Year on their Summer tour they were supposed to play a show at a venue in Orlando, Florida that is on the grounds of Disney World. At the last minute Disney canceled their show because they’re performance was deemed “too violent” for a family park, despite the show already being 18+. In retaliation, the band released a series of limited edition merchandise featuring classic Disney characters as slasher villains, most notably Mickey Mouse as Freddy Kruger. They literally all sold out. I really should have got one when I had the chance

I own more pieces of Ice Nine Kills merch than literally any other piece of media I have ever consumed, including:

3 t shirts

2 tank tops

1 Letterman jacket

1 CD

2 vinyls

1 Kleaver t shirt (that I’m wearing right now)

1 poster

And a red balloon and paper boat from the IT Is The End music video promotion, (the boat is currently serving as a jewelry dish on my vanity)

I’ve seen them twice, Warped Tour 2016 and Warped Tour 2018, both times I met Spencer after the set and despite the whole scary act the band puts on during the shows, he’s very genuine and always really sweet to his fans. Enjoy these fetus pictures of me meeting him at 14 and 16 y/o

The lyric sheet for The Silver Scream is formatted like a spec script with action lines, scene headings, and inter-scene cuts, which screenwriting student me really, really enjoys

I got distracted while writing this because Patrick went live on Instagram, oops. He was setting up his new kit for the show tonight, it looks really cool, they’re painted to look like popcorn buckets

So that’s about it! Thank you for reading and enjoy the music!

[theworstbob]

the thing journal, 4.9.2017

scattered thoughts on the things i took in over the last seven days. this week: hannibal s3, bad cop/bad cop, the lobster, netflix teen mystery drama (yeah i’m not gonna type the name out, i ain’t finna deal with a fandom), joey bada$$, the big nowhere, win it all

1) Hannibal, season three: Boy, we sure did spend half the season stumbling aimlessly around Italy, didn't we? No no no, give me another abstract montage with fun camera tricks and eight layers of symbolism, Mr. Neftali, I was gonna say, it's been a few scenes since we've had a montage, when are you gonna deliver another one? FUCK IT! THERE AIN'T GONNA BE A SEASON FOUR! INDULGE ALL YOUR WORST IMPULSES! The show picked up once it got to the Red Dragon plot, and one would have to imagine that is due to the fact of, um, the plot existing at that point?, but I think this show took these characters about as far as they could go. This was a good place for it to end. I'm not sure how far they could have gone having everyone speak to Hannibal through a wall for 13 episodes (it was starting to get tired even after a few episodes here). I did enjoy the Red Dragon episodes, that was the Hannibal I loved in the first two seasons, and it built well toward the ultimate ending (or penultimate ending, yay post-credits sequence, do set up that fourth season, no no no definitely gonna happen). Not Hannibal at its best, but close enough and still good enough when it was On that it I'm still OK calling Hannibal one of my favorite series of all time.

2) Not Sorry, by Bad Cop/Bad Cop: I DERIVED VALUE FROM A DIVE INTO YOUTUBE COMMENTS I went into the comments under a Bombpops song just to see what they were like, and they weren't... as bad as I expected? Not good, but at least not explicitly hateful. But someone in the comments mentioned this band, and I was intrigued enough by the name to check 'em out. (I check out new-to-me bands if they're recommended by a trusted source or if they have a dope name.) And that YouTube comment was right, this album fucking rules. "Cheers" is another item in the long list of things I love named Cheers, the closer is superb, and just, there's so much punk/rock goodness, and I can't believe I heard about them via a fucking YouTube comment.

3) The Lobster, by Yorgos Lanthimos: yoooooooooooooooo My chief disagreement with this film is that it's sort of a waste of a fantastical premise. Maybe I'm just spoiled by BoJack Horseman, but I think the premise that single people are turned into animals was mostly wasted, didn't provide for any interesting background jokes, didn't create moral dilemmas when the woman asked the dude to catch rabbits, was barely even a concern through the second half of the film. It only sticks out because so much of the rest of the film was executed superbly. I loved where the film took the main part of the premise (you have to find a mate, you have to share one defining characteristic with that mate; on the outskirts of civilization are Loners). The dialogue is so stilted and unnatural and performed in a highly mannered way, and once you get to the Loners and there's this woman speaking freely and naturally, it really adds to The Leader's power (and that's such a fucking cool performance, too, on its own), and it makes it more pronounced that the dude and the woman never quite break from their practiced way of talking, never quite breaking from the society that instructs, "This is what love is. Loneliness is dangerous." It's also some of the bleakest comedy you'll ever see. It's an odd fit for John C. Reilly's big ol' heart, but he makes it work as he always does, and MY GOSH THE HEARTLESS WOMAN. I WANT A WHOLE MOVIE ABOUT WHAT THE HEARTLESS WOMAN GOT UP TO BEFORE COLIN FARRELL CAME ALONG.

4) Netflix Teen Mystery Drama, s1, cr. Brian Yorkey: So, one good thing, I loved how the show delineated Today from Yesterday, making Today cold and Yesterday warm. It's a simple thing they did, but it gave the show a distinct look and let them do some neat visual stuff with the flashback structure, like I'm not sure I stick with this show if it weren't such a cool thing to look at. Because fucking yeesh. This is a show about stupid people who keep secrets. Literally the entire show doesn't exist if any character told the truth to anyone else in this show at any point. Half of this show is one character saying to another, "I can't tell you that yet" or "I'm not at liberty to discuss that" or "You'll have to find out for yourself" or "This stays between us." I'm hesitant to say it's bad writing, these are TV professionals and I’m a yutz with a blog, but I found it highly disagreeable. And that sucks that the show was written like this, because there's something great about this idea of how kids hurt each other without realizing what they're doing because they’re idiots who don’t know how to be people. I thought it was fascinating that, as these horrible things were happening to the main girl, they kept cutting to the main dude being on the margins, observing the events but not doing anything helpful, and if the show had a tighter focus and could have followed that arrow more closely, it would have been so much better for it. I know this was based on a novel, and while I will likely not read the novel, I have to imagine the novel is better, because the novel doesn't have to fill 13 hours of television with All The Things ALL THE THINGS and pad itself out by having people lie to each other until it is time to make the revelation ("Why can't you tell me now?" "Because you have to wait." "For what?" "Episode nine." Like if you won't be real with each other at least be real with me), and it can be about just The One Thing. That sounds so much better than this show, which feels overstuffed and, I just, I have to ask, season one? Season one. Are you kidding me. How are you going to find 13 more hours in this universe, about these people. Like, I'm good. It's like Broadchurch, I will respect that there's other seasons, but I think y'all did what you came to do in the one. Honestly, between this and the American Psycho musical, I have no idea how Next to Normal is so good. (Compliment sandwich! The main girl was a really cool character, and it was so easy to imagine this being a show about Natalie from N2N in an alternate timeline. Also, I kept count, the exchange "Hey." "Hey." appears in this show four times.) Wow that was hella paragraph for something I wasn't keen on.

5) ALL-AMERIKKKAN BADA$$, by JOEY BADA$$: Hey. White man, here, trying to offer critical assessment of an album called ALL-AMERIKKKAN BADA$$. ...Maybe it's not my place. I mean, it's not really my place to offer criticism on, um, anything, but ESPECIALLY an album about what it's like to be black in America, and not just the Trump America (though he's not happy about that, either), but in an America that has always hated black people, Trump only making that subtext text. I kept thinking "break-up album with America," but that sounds reductive, as did "To Pimp a Butterfly with mainstream ambitions," and while I don't wanna reduce this, I DO still want to say those things. It's good stuff. That's all I can say, really. (Also, there’s a spate of pop artists trying to get by with all-caps names or song titles. This absolutely earns the ability to slam that Caps Lock key. You hear this shit, PARTYNEXTDOOR? This is all-caps music.)

6) The Big Nowhere, by James Ellroy: One good thing about The Thing Journal is that I have an excuse to read physical books on the bus AND read all the books my dad has been giving me for Christmas the past few years! I'll cop (ha!) to not being overly invested in the plot. Oh, boy, a story about a serial killer who's into some weird sex stuff, that's new to me, no tell me about the perverted twist that made the killer what he is, oh wow so fucked up. What I really loved this book was the realistic version of Los Angeles in the 1950s, what with the cops walking around spouting racial slurs as people do heaven and hide their homosexuality. We always get caught up in the notion that the '50s were a more innocent time, our nation is currently being run by people who want us to take us back in time, but like people were doing fuckin' heroin in the '50s. The '50s were shitty, too. I found spending time in this version of Los Angeles valuable. It's a gritty cop drama, sure, but it more than earns its grit. This has been Bob! Attempts To Review a 30-Year-Old Novel Set 60 Years in the Past!

7) Win It All, dir. Joe Swanberg: So one of my favorite lyrics of all time, I can't remember if I've brought this up here or elsewhere but I'm prolly gonna bring it up again, is from Frank Turner's "Recovery:" "Broken people can get better if they really want to/At least, that's what I have to tell myself if I am hoping to/Survive." While only having seen two of his works, this and Drinking Buddies, I feel comfortable saying Joe Swanberg has a deft handle on depicting the person from that lyric in film. My initial impression was that the film didn't do enough to prove the main character deserved redemption (minor spoiler, insofar as this film has a plot, but he does sort of spend the entire film lying to the woman he's falling in love with), but the more I've thought about it, the more I'm thinking, who am I to decide who deserves redemption? He's trying. At no point in his life has he not been trying. He is aware he has made bad choices, and he is keenly aware of his flaws. (His reaction to the contents of the bag is priceless. Jake Johnson is a treasure.) If he makes an honest effort, why shouldn't he get better? No one deserves to be broken, either.