Ringo Deathstarr - "Rip"

 It starts like a stoner metal anthem that quickly emerges as syrupy sweet concoction of shoegaze and a monster of a dinosaur riff.  "Rip" might be the closest Ringo Deathstarr has come to tripping into the void that is heavy rock bliss, and for that, we should all be thakful.

Trash Talk - "F.E.B.N."

The future is the past and the past is a grotesque animal.  Trash Talk is prepping a release for their new label, Odd Future Records.  Prepare yourself.

Anasazi - "I Saw the Witch Cry"

Hype has been strangely mute for NY deathrockers Anasazi, stranger still because of their association with hype-generator Sacred Bones Records.  The band is working on a follow-up to their self-released debut.  In preparation of that, they've released a single on Sacred Bones for the song "I Saw the Witch Cry".  It's all angular rhythms, ghostly synths, and a hoarse master barking orders at those subservient to him; exactly the kind of stuff Alien Sex Fiend would approve of.

Unstoppable Death Machines

The NY noise punks have finally emerged after kicking around for the past year or two in support of some stellar singles.  With a sound dedicated as much to alien melodies that embed themselves in the back of your skull as it is to the violent outbursts they were originally known for, We Come in Peace seems intent on kicking down as many doors as possible until the world at large finally takes notice of their existence.  Below is a stream of one of the album's "catchier" tracks, "Life is A Lot the Like Kindergarten".  The rest of the stream is available, oddly, over at the Huffington Post.  Buy it at UDM's bandcamp.

Weird Movie Club: She Wants Revenge

Ms. 45 (1981)

The revenge film typically is a very rigid format to work within.  Its dictates are simple: unrepentant evil, an easily relatable protagonist, and lots of blood.  And on a very basic level Ms. 45 fulfills that purpose, but beyond that it also stretches itself into much darker territory.

Given enough time, every genre will have individuals who will branch out into diverging paths.  Today it's so common that it's almost more shocking when a movie isn't incorporating or blending elements from various genres.  In the early 1980s the revenge film was still experiencing a nascent success propelled on the back of films like Death Wish and First Blood.  Despite this, there had already been some rumbling within the barely established structure of revenge-fueled thrillers.  In 1972, acting as a precursor to what would become an entrenched subset within revenge films, Wes Craven's Last House on the Left debuted to shocked audiences.  While being billed a straight horror movie, the story would influence decades of film to follow, specifically its success acting as a catalyst for distributors to begin releasing more sexually violent films.  This would culminate in the release of 1978's I Spit On Your Grave, another "horror story" that owed little to the era's supernatural thrillers of Hammer or undead gut-munching of George Romero.  With I Spit On Your Grave, a new sub-classification within revenge films was born: rape-and-revenge.