Monthly Archives: June 2020

The Alarm – Stream (Hurricane of Change) (review)

The Alarm were bothering the charts long before the triumphant one-two combination of Equals and Sigma. Between 1987 and 1989 they released a trio of seminal albums beginning with Eye of the Hurricane and ending with Change, with the live mini-album Electric Folklore sandwiched in between. The late eighties were turbulent times, not just for the band, who despite arguably being at their commercial and creative peak were beginning to be torn apart by internal politics and squabbling, but also in a wider social context. This was the aftermath of the Miner’s strikes, and when the Berlin Wall fell shortly afterwards it catapulted Europe and the rest of the world into a period of seismic change. While all this was going on, lead singer Mike Peters travelled extensively through his homeland of Wales in a bid to rediscover his roots. During that period of intense retrospection he wrote extensively, many of the lyrics eventually being incorporated into the songs which appeared on the original albums while others fell by the wayside and still others remained unfinished or in some cases even unwritten.

Though it was their third official release (fourth if you count the debut EP) the original Eye of the Hurricane was the first Alarm record I ever bought, and I soon busied myself filling out my collection. The fact that I ended up with some of that collection on vinyl, some on cassette, and some on CD was perhaps indicative of the uncertainty of the times. The thing that resonated with me most wasn’t the anthemic, fist-pumping choruses or impassioned musicianship, though those things definitely played a part, but more the lyrics. In a landscape consisting mostly of Bon Jovi and Guns N Roses clones, it was refreshing to hear someone singing about the place where I was from, and about the things that mattered to me, especially at that stage in my life. I was 13 or 14, and things are especially confusing then. You begin to ask questions and seek meaning, and it wouldn’t be too much of a stretch to say that the Alarm’s music helped me find answers to some of those questions.

Thirty years later, Peters has revisited that period and put all the material in a modern context, recently commenting:

I have always thought of these three albums as an Alarm trilogy. A lot happened to the band and the world, during the writing and recording sessions from 1987-1990. As one decade bled into another, the themes of response and resolve to contend with uncertain times are running through the core of each and every album. Played together, these songs tell their own story and, with the tumultuous times Europe and the USA can expect to face in the coming months and years, are still as relevant today as when they were first written.”

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The original tracks have been re-recorded or even re-imagined, those unfinished or unwritten songs have finally been laid down, and the whole thing adapted into a sprawling double album called Hurricane of Change tied together with segments of poetry and spoken-word narratives. Mike Peters has adopted a similar approach in recent years with re-recordings of earlier Alarm albums Declaration and Strength which, though critically and commercially well received, split much of the fanbase with some appreciating the new interpretations and others maintaining that the original recordings should be left as they are. My stance has always been firmly in the former camp. I enjoy hearing different versions of my favourite songs. Always have. Remixes, remasters, covers, demos, acoustic or live versions, bring them on. Music, like life, is always progressing and evolving whether we like it or not. If your favourite flavour ice cream is strawberry, it doesn’t mean you can’t also enjoy the occasional scoop of mint choc chip as well. Besides, the hardcore traditionalists will always have the original recordings by the original line-up. It’s not like anyone is forcing them to surrender their record collection at gunpoint.

This is an ambitious project, told in chronological order with the emotive autobiographical spoken-word parts delivered by Peters, with a supporting cast of members including his wife Jules, and other members of the band, all adding depth and a theatrical quality that was missing from the originals. Most of the re-imagined songs, slower-paced and piano-heavy, bear little relation to the original versions. Rain in the Summertime and Rescue Me, two of the band’s biggest hits, are virtually unrecognisable. Of the new songs, for me Ghosts of Rebecca and The Ballad of Randolph Turpin stand out both lyrically and sonically dealing, as they do, with folk heroes and uprisings, and really do sound at home in this setting. The first disc (dubbed Downstream) presents the Eye of the Hurricane album, where the new songs serve as missing pieces. The second disc (Upstream) is comprised of tracks originally found on the Change album, including Where a Town Once Stood which I tactfully re-purposed as the title of one of my stories recently, as well as a few b-sides recorded around the same time and another new song, A New Day. The whole package makes a worthy addition to any Alarm fan’s collection, serving to put the original albums in context and take the songs down a different, lyrically-focused route where there is more of an impetus on mood, atmosphere, and storytelling rather than eighties radio-friendly pomp.

Watch the official trailer for Hurricane of Change HERE.

Peters describes the recording process thus:

“By looking at the lyrics afresh, I have now been able to fully realise what I was grasping for as a songwriter and lyricist in 1987-1989. Back then, my confidence had been blunted by a difficult creative process, and I had always privately felt that there was a lot more left to be discovered within the original body of music. With these new recordings, I have been able to realise a torrent of new possibilities and emotions and, in turn, draw them out of the very same songs. By recording Hurricane of Change in this new way, I feel that I have been able to liberate my original lyrical vision and re-present the music in a way that I believe, is just as relevant, if not more vital than ever before.”

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Go HERE for merchandise, tickets, and Alarm/Mike Peters recordings.

 


RetView #35 – Hide and Go Kill (2008)

Title: Hide and Go Kill

Year of Release: 2008

Director: Tomoya Kainuma

Length: 72 mins

Starring: Saki Yamaguchi, Haruka Misaki, Rui Ono, Aimirora

Hide and Go Kill

I’ve been quietly obsessed with internet rituals for a few years now, ever since I stumbled across something about the mysterious death of Elisa Lam online. Merging technology and the paranormal, which could be a metaphor for Japanese horror itself, internet rituals (or games) have cropped up in my writing several times, not least in my forthcoming novella Tethered, and Hitori Kakurenbo which translates to ‘hide and seek alone’ and was my contribution to 100 Word Horrors 2. Hide and Go Kill is based on the same ritual. In true urban legend fashion, the details vary between sources but in a nutshell, the instructions are as follows:

Get a doll, remove the stuffing, replace it with rice, throw in some of your blood or nail clippings (gross) then sew it back up with red thread and give it a name. Preferably something good and scary. At 3 am, turn off all the lights but leave on the TV then go to the bathroom, fill a bucket full of water, and place the doll inside. Saying “I see you (name),” stab the doll with a sharp knife, then go and hide. If you manage to perform the ritual correctly, you’ll soon start to experience certain unexplained phenomena like hearing noises from an empty room and then, you guessed it, the doll will come to find you, hence the name ‘hide and seek alone.’ Either that, or you might commit suicide or disappear without trace. Good times had by all!

The movie version opens with one of those simple yet spooky white-on-black introduction sequences consisting of what’s (I think) meant to be an exchange between several people on the comment section a blog, one of whom is explaining that a friend of theirs played hide and seek alone and didn’t come out of it very well. The film proper begins in a Japanese classroom. If you’re a fan of J-Horror as I am, you’ll know that all the best twisted shit starts in Japanese classrooms, and Hide and Go Kill is no different. Here, there’s a girl called Midori (model and actress Yamaguchi) reading a blog on her phone and remembering her absent friend, Fumika, who after being jilted by her lover and bullied at school discovered the Lonely Girl blog and tried repeatedly to persuade Midori to play hide and seek alone (“Fuck the fuck off, Fumika!”). Eventually she succumbs, of course she does. The blog, and by extension, the game, spreads, and the horror takes hold. The film is essentially an anthology of sorts, each segment following a different person’s experience with the common denominator being the blog (poorly translated in the movie as a ‘mobile novel’) and the ritual it pertains to, culminating with the origin story. True, this movie follows a popular template and in places is slightly derivative of certain J-Horror staples, notably Ringu. Also, the subtitles are atrocious.

***OMINOUS MUSIC!***

In a scathing review, BloodyGoodHorror.com  said, “It’s boring. Real boring. Each story also has to show how the characters first learned about this stupid game. In each case, it’s through some text-message released novel called “Lonely Girl”. As described in the film, “Lonely Girl” is so dark and twisted that very few people would read it. Problem is, every single fucking person in the movie reads it. As do all of their friends.”

Well, you know what they say about opinions.

Mine happens to be that while it is far from perfect, Hide and Go Kill isn’t completely without merit. In fact, as a concept it’s pretty damn good. At the time of release over a decade ago it was quite innovative, and it benefits greatly from the general skin-crawling creepiness so often associated with J-horror. Mood. You won’t find much about it online, apart from a few mixed reviews and a very basic IMDB listing. I couldn’t, anyway. Despite spawning a sequel a couple of years later (Hide and Go Kill 2 or, alternatively, Creepy Hide and Seek, which has to be the worst name for a movie ever) it’s almost like the film slipped completely under the radar. However, if by chance you have Amazon Prime you can watch it in full there. Don’t forget to turn on the subtitles, unless you happen to be fluent in Japanese.

Trivia Corner:

Word is that the movie spawned the ritual, rather than the other way around. Clever producers or PR people invented the game and floated it out to popular message boards as a form of guerrilla marketing where it soon took on a life of its own.

Tethered is available for pre-order now on Terror Tract Publishing.


Burnt Fur

My short story, The Others, is included in the furry-themed anthology Burnt Fur, edited by Ken MacGregor, and available now on Blood Bound Books.

BBB, who have previously published my stories The Devil & Jim Rosenthal in DOA and Subject #270374 in DOA III, are one of my favourite publishing companies, and it’s always a pleasure to work with them. We have something else in the pipeline for 2020, more details of that project to follow soon.

Right now, it’s all about the Burnt Fur…

Burnt Fur

“Burnt Fur: An Anthology of Horror is easily one of my favourite modern horror anthologies. There isn’t a bad story amongst the bunch with some just lacking the extra spark to really get the horror juices flowing.”

From the review by Games, Brrraaains & a Headbangin’ Life

My contribution, the Others, has an interesting back-story. A few years ago when I lived in Hunan Province, China, I started dating a local girl called Ebony. That’s not her real name, by the way. I couldn’t even pronounce her Chinese name, let alone remember it. I called her Ebony because she had beautiful dark skin. One day she told me a story. She said when she was little, she would see animals which looked a bit like ‘friendly bears,’ interacting with people around her. Some were big, some were small, they wore colourful clothing and seemed to communicate with each other. Strangest of all was that apparently nobody could see these things except her. She thought she was going mad, and when she was telling me about this, her eyes filled with tears. Telling someone about this was a big thing for her.

I didn’t know what to think. It’s not something you hear every day. I didn’t doubt her sincerity for a moment. I sympathised because she was relating what had obviously been a traumatic experience for her, or numerous traumatic experiences, as it hadn’t been a one-off incident. These bear-like creatures were around for years. The question was, what did she see? Were these things real? Transgressors from another dimension, maybe? Or was it all in her mind?

I never did find out. Our relationship fizzled out soon after. But her weird confession formed the basis of this story. I also wanted to say something about the convenience and the increasing prevalence of online dating. Because on the internet, you’re never really 100% sure who you’re talking to. 

Is that creepy enough for you? If not, why not slip into your Fursona and see what else Burnt Fur? has to offer?

Burnt Fur Available now on paperback and ebook.


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