It isn’t long before Whitney finds the demon handbook and draws the monster back into existence – can she erase it before it kills them all?
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His biggest fan, she asks if she can use his basement studio, and the headmistress (Yvonne DeCarlo – The Munsters) relents.
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Things immediately head for worst and Combs tries to burn all of his comics in the hopes of dispatching the monster it works, but he also manages to kill himself in the process.įlash forward 30 years and aspiring artist Whitney (Debrah Farentino – Storm of the Century) arrives at the Throckmorton Institute of the Arts, a privately funded art school that just so happens to be the locale of Combs’ untimely demise. We open with a prologue in which Empire vet (and possible contract stipulation) Jeffrey Combs, as an EC-style artist in the ‘50s conjures up the titular monster for inspiration for his titular comic. Not to worry there’s a sheen and sense of fun that makes Cellar Dweller a B-movie worth digging up. Enter John Carl Buechler, the late, lamented, legendary fx artist and burgeoning director ( Troll) who, in pure Band style, had to film this in 10 days with very little money and a severely truncated schedule. But occasionally a real talent would stop by (Stuart Gordon comes to mind) and stretch the limited resources into something worth a look or two. Take out the credits and you’re left with around 70 minutes certainly not unusual in Band’s world, as a lot of the films he turned out were done on the cheap and very quickly.
#CELLAR DWELLER MOVIE#
For what it is, it undoubtedly does not disappoint and is easily one of the better records to release in 2017 for D-beat punk.Long live Empire Pictures sure, they shone briefly in the ‘80s before bankruptcy and a rebirth as Full Moon, but there was some real talent and joy in a lot (okay, some) of those films – case in point: Cellar Dweller (1988), a straight up monster movie with no pretense beyond gore and gratuitous nudity in a tidy 78 minute package. With tones that reference and mix early D-beat scenes of Sweden and elements of Japan's’ LSD guitar tones, the record still maintains its own authenticity and genuine amount of well deserved recognition for its chthonic downbeat punk that seems to take on a perspective of genuine malice and disinterest in society. The record is pure adrenaline fueled speed (as previously stated only sixteen minutes in length), which is no surprise for the genre. I found myself almost unable to listen to a song on its own, as if the album were a seamless overarching bedlam paired together to create a singular song. Better find a cellar because this hellish-apocalypse-inducing album contains songs addressing all basis of society's downfall with such titles as “Future Cops,” “Nazi Burning Man,” and “Technology.” The confronting ideals laced with the onslaught of no breaks makes for a record that feels like you’re being suffocated by sound, entranced and cannot escape, merely at the mercy of the splitting guitar and hypnotic drumming, only to be thrown over the edge by the forward pressing vocals. Within the first second, Cellar Dweller kicks itself through your front door and for the next seventeen minutes relentlessly brings unwavering, brutal, and riff filled aggression.
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Well, at least Impalers wrote the soundtrack for it.Ĭellar Dweller is the third full length appearance for the Austin, Texas based group. A lineup that consists of Texan heavyweights such as Victor Gutierrez, Mike Sharp, Chris Ulsh, Juan Carlos, and Cody Cox – all seasoned musicians with bands such as Power Trip, Mammoth Grinder, Hatred Surge, and Glue on their resumes – it’s no wonder this record brings forward the perfect blend of unrelenting fast-paced punk with the ever so trashy riffs of metal.
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The world feels like it's coming to an end. Life can feel overwhelming sometimes in fact, it can be downright shit. By Jacob Dempsey ( hung over, pissed off, the rents due, the car won’t start, and Donald Trump is still President.