Prepare For The Most Radical Changes Of Your Life
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Conjured by o~ SeMeN SPeRmS ~o on September 13, 2014
Sacrilege were a female-fronted thrash metal band from the Midlands region of England. Despite having played relatively few gigs during their existence, Sacrilege are today recognised as an important band; both as an influence on later heavy metal and doom metal bands, and as an example of the blending of hardcore punk, radical politics, and heavy metal that occurred during the 1980s, making Sacrilege one of the prototypical crust punk bands of the time.
Prior to the formation of Sacrilege, guitarist Damian Thompson,drummer Andy Baker released a pair of thrash metal demos under the moniker Warwound. In 1983, the duo joined the Varukers, Damian left the Varukers in 1984 to form Sacrilege. In 1984 and ’85, the band recorded demos and contributed tracks to the compilations We Won’t Be Your Fucking Poor (Mortarhate, 1985) and Anglican Scrape Attic (a pre-Earache release from Digby Pearson)
After replacing drummer Pickering with Andrew Baker, Sacrilege recorded their first album, Behind the Realms of Madness, in 1985, which was released through the Bristol-based label Children of the Revolution (COR) Records. The album was moderately successful, selling a respectable 7000 copies. Shortly after this, the band brought in former Warhammer member Mitch Dickinson on second guitar, although he never played live with the band and he soon left to join hardcore group Heresy and later Unseen Terror. Around this time, the band were approached by FM Revolver Records, but this ultimately went nowhere.
Their second release, Within the Prophecy, was recorded in January 1987 at Birmingham’s Rich Bitch Studios with Rob Bruce and producer Mike Ivory. It was released later that year through Under One Flag Records, a subsidiary of Music for Nations. Sacrilege underwent a significant line-up change at this juncture, replacing drummer Baker with Paul Brookes, bassist May with Paul Morrisey and adding rhythm guitarist Frank Healey. After a further change, this time replacing Brookes with new drummer Spikey T. Smith, the new line-up recorded the band’s third album, Turn Back Trilobite, issued in April 1989. This record saw the band moving away from their thrash metal roots into a more doom metal musical direction, with touches of folk. Sacrilege split up quietly in the early 1990s.
After Sacrilege, Healey and Baker would go on to join Cerebral Fix, with Healey later joining Benediction and Baker also playing in an early incarnation of Cathedral. Brookes would also Benediction, and then metal act Marshall Law in 1999.
Conjured by o~ SeMeN SPeRmS ~o on July 6, 2014
Tetsuo: The Iron Man (鉄男: Tetsuo) is a 1989 Japanese cyberpunk Film by cult-film director Shinya Tsukamoto produced by Japan Home Video. This, his third film, is an extremely graphic but also strikingly-filmed fantasy shot in the same low-budget, underground-production style as his first two films. Tetsuo established Tsukamoto internationally and created his worldwide cult following. It was followed by Tetsuo II: Body Hammer (1992) and Tetsuo: The Bullet Man (2009)
The film opens with a man (called only “the man”, or the “Metal Fetishist“), cutting open a massive gash in his leg and then shoving a large threaded steel rod into the wound. Later, upon seeing maggots festering in the wound, he screams, runs out into the street, and is hit by a car. The driver of the car, a Japanese businessman (Tomorowo Taguchi), and his girlfriend (Kei Fujiwara) try to cover up the mess by dumping the body into a ravine, but the dumped man gets revenge by forcing the businessman’s body to gradually metamorphose into a walking pile of scrap metal. This process starts when the driver finds a piece of metal stuck in his cheek while shaving. He tries to remove it, but realizes it is growing from the inside.
The scene shifts to the businessman at his home having breakfast, with a bandage over his cheek. The businessman receives a phone call, consisting of nothing but him and the other speaker (possibly his girlfriend) continuously saying “Hello?” to each other and thinking back to having sex after dumping the Metal Fetishist.
The first of several highly stylized chase scenes starts with the driver pursued through an underground train station by a woman whose body has been taken over by the Metal Fetishist. The businessman seems to win this encounter by breaking the back of the radically transformed woman (she begins the sequence as a demure office worker and ends it as a wild metal-infected woman) after even more metal has erupted on his ankles and arm.
The next segment is a terrifying dream sequence where the businessman’s girlfriend, transformed into an exotic dancer with a snake-like metal probe, terrorizes and rapes the businessman. After waking from this dream, the businessman and his girlfriend have sex at his apartment and eat erotically. As she eats each bite given to her, he hears the sounds of metal scraping. The businessman suddenly discovers his penis has mutated into a gargantuan power drill. A fight ensues where the businessman terrorizes his girlfriend, and acquires more and more metal on his body. She fights back and in the end impales herself on his drill and dies.
Helpless to do anything, the businessman, now the Iron Man, is visited by the Metal Fetishist, who emerges from his dead girlfriend’s corpse to show him a vision of a “New World” of nothing but metal and turns his cats into grotesque metal creatures. The Iron Man flees and is followed by the Metal Fetishist into an abandoned building. After the Metal Fetishist explains to the Iron Man how both of them became what they are, a final battle ensues. The Iron Man ends by attempting to merge himself with the Fetishist into a horrific two-headed metal monster. The two agree to turn the whole world into metal and rust it, scattering it into the dust of the universe by claiming “Our love can put an end to this fucking world. Let’s Go!” The duo charges through the streets of Japan in a horrific fusion of the two men and the accumulated metal, in a largely phallic form. The film ends with the words “GAME OVER” as opposed to “The End” after the closing credits.
Conjured by o~ SeMeN SPeRmS ~o on October 20, 2013
Mr. Freedom is a 1969 film by the expatriate American photographer and filmmaker William Klein. Starring the popular French actor Delphine Seyrig, this anti-imperialist satirical farce has cameos by the well-known actors Donald Pleasence and Philippe Noiret, as well as the musician Serge Gainsbourg.
Like his previous film, Who Are You, Polly Magoo?, and reminiscent of the feel of much of Zazie in the Metro, in which Klein is credited as artistic consultant, Mr. Freedom features absurd characters, comical costuming, and exaggeration. The title character’s uniform is an odd assemblage of discarded football gear, face paint, and hockey gloves. The United States Embassy is a department store run by skipping models in spandex, proffering right-wing mercenaries and “Freedom Kits” of high-tech weaponry. Freedom training sessions are Dantian visions of rape and sadism. Every scene aims for the absurd, reaching both for comedic effect and political statement.
Filmed at the height of the Vietnam War and concurrently with the radical political upheaval of 1968 France, Mr. Freedom is a political farce, clearly sympathizing with national liberation and left wing movements. The title character, a stand-in for U.S. political and economic might, is a crude, cruel buffoon in the service of corporations. His rhetoric of freedom stands in cold relief to his actions, which are anything but democratic. The politics get a bit muddled with the characters of Mujick Man, Red China Man, and the FAF, but they would seem to be stand-ins for the Soviet Union, communist China, and the radical milieu of the 1968 uprisings, respectively. Mr. Freedom makes numerous left wing statements on the Cold War, and more specifically, the Vietnam War.
Conjured by o~ SeMeN SPeRmS ~o on March 31, 2013
Conjured by o~ SeMeN SPeRmS ~o on March 4, 2010
Conjured by o~ SeMeN SPeRmS ~o on March 4, 2010