Written by: Tim Nordstedt

When Peter "Pete Flesh" Karlsson announced that he had some material that didn´t fit anything he could include in a fullength album and was planning to have it released digitally as a single, my curiosity sparked and immediately caught on fire, Peter have amongst the years learned to master all kinds of genres and it seems like everything he attempts to create becomes a glistening diamond, and you can tell that he has a genuine burning passion for the music he composes so nothing really becomes sterile, plastic or without some deeper thought put behind it.

"Through Dungeons: Chapter 1" is the name of the single and title does bear promises of more of these singles to come, and luckily that is exactly the case here, there will be more songs from TPFDT that will have a certain distinction from the material on the fullength albums, and each song will have their own different identity.




Written by: Tim Nordstedt

This bands name have gotten stuck in my brain since I first heard about them, ironically and for reasons unknown I haven´t taken myself the time to inspect how their musical compositions sounds like, but when I received their latest effort "Kotzeadel" from Bleeding Heart Nihilist I felt that it would be a perfect time for a thorough listening and a review has finally come.

The first thing I noticed is that it´s definitely not a typical Black Metal cover, it appears to be a blurry picture of people skiing, and to be honest, I do appreciate these covers more than the general Satan and death thing, I love those too but in times it can be way too much and too generic.




Written by Ron Cole.

Many Russian, and in particular Polish black metal bands, has managed to bring some sort of mystique through several decades. One of the more known mysteriums that flourished around the 90s in Poland  among others was Infernum. A duo consisting of Anextiomarus and Tom Balrog. These two managed to keep themselves anonymous pretty decently a few years and it was first when the infamous artist Robbie Draken from Graveland became a part of Infernum that the remaining elite members chose to step out of the darkness. 

Another band was Mastiphal, who were most active in 1993. They splitted up after their demo ”Nocturnal Landscape” and have never been heard of again. But whom I felt to write about and what this chapter will deal with is the Russian/Polish band Gzaalheim. A duo whose material only recently surfaced on the internet from seemingly nowhere and that still many are perplexed about.

   I just got in touch with Kzoltar Kryvisz, a user who chose to publish their rehearsal demo ”Into the Crypt of Demon Lord” from 1994 on YouTube. From here (which seldom happens nowadays) my abnormal interest to find out more information on the band - a project that popped out like a malignant abscess and disappeared like a heron behind dim rainy clouds never to be seen again.

 According to Kzlotar (who personally seem to know the men) Gzaalheim was created by Król Praag who were born and raised in Poland, but later moved to Murmansk Oblast in Russia. Król never did put any emphasis on studies, but chose in an early age to go deeper into the world of music. In the beginning of the 90s he met his future band comrade Nana Cataha, that he had a bunch of different musical projects together with (among others Полностью мудак) before they four years later formed Gzaalheim.

Kzoltar told that neither of them were really musicians, but mostly wanted to stand out in the new black metal wave that flushed through nordic waters. Their inspiration was foremost gathered from the Czech band Master’s Hammer, but they wanted to do something more primitive and different for their time, so the nordic bitterness was also a part of their inspiration, not to mention Mayhem and Burzum that easily spread over storming shores on bootleg cassettes to Russia.

   Because of that Król came from Poland, they kept the polish language for Gzaalheim, despite that the band came originally from Russia. They decided to do this, unusually, for the purpose of standing out in a way that they thought was clever. The lyrics were very trollish and dealt with demons as well as occultism, blood sacrifices and black magic. The material was recored on a 4-track portable recorder at Król’s home in his basement, which ment that they had to record two instruments at a time - the lyrics had to be added at the very last which also resulted in that the cassette became very wobbly and the sound even worse.

In connection to Gzaalheim, Król also started Necrodeath Solution, a studio that was ment to release a whole row of similar material through. The first press was a sloppy put together CD of their even worse rehearsal demo. The pictures that exist on the internet is the remains of what is left from Gzaalheim and their demo (Król did a hasty photo shoot session outside the courtyard he lived on) was something that Kzoltar himself chose to publish now in retrospect. This demo was limited to 50 copies that solely was spread around friends in Russia, and when the demo got a reputation Król decided to press a hundred copies of the cassette and sell through the magazine "Ад, огонь и смерть".

    Gzaalheim recorded and should have released a five track EP during the autumn of 1995, but this was put on ice after that Cataha lost his interest and chose drugs in front of the music. Kzoltar also put in that Gzaalheim abyssal silence foremost was because of life crisis and diverse circumstances.
    Król was born in Wrocław, Poland and used to visit Gdańsk which led him in to good contact with Asmon from Mastiphal during some years and he was a part of Króls gateway to harder stuff in life which led him into jail in 1993. And during a visit to Wrocław, Cataha was in short contact with Grzegors Jurgielewicz. It was rumored that Grzegors had  severe delusions and behaved threateningly against Cataha and lately confronted him. Therefore, he interrupted the contact fairly promptly in fear to draw him into shit. Grzegors had a whole truckload full of bunch of sick ideas that later led to his own suicide.

Kzoltar told us that Cataha sadly was murdered in a knife fight back in 2001 and Król has steadily gone in and out from prisons because of heavy drug offense throughout the years. Despite that, Kzoltar have tried to publish Gzaalheims material on different metal sites, but here has been some difficulties. Metal Archives has black listed the band because of their doubtfulness because there was no larger recognition that the band even existed (regardless of the picture evidence).

     Kzoltar finds this very sad because of that both Król and Cataha wanted to reach further with the band. Early in the 2000, when the black metal genre again got a revival the guys had planned to reunite, but because of Cataha’s death, that never happened. Kzoltar have thought about to release the remaning material from 1995 and hopes that the band get recognition.



MUZAN E (1999)

Written by: Tim Nordstedt

A reporter investigates the darker side of underground porn,  while she and her crew tries to find even more extreme material and interviews the people that made the movies they misshappenly stumbled upon a video that shows how two men brutally murders a woman and decides to find out the story behind the event, when they start to get closer and actually manage to find the murderers they are discovered and short thereafter they are the ones that becomes the next victims in front of the camera.

SO this is a very reputable movie by the reputable Daisuke Yamanouchi that everyone into sleazy low budget gore movies should know, and if you have a thing for Japanese porn then you probably know him twice as well, and now I have just finished watching Mu Zan E and if you wonder if the reputation and the underground hysteria is fact or bullshit then I would say bullshit without a second thought. 



Written by: Richard Taylor

The work of German director Marian Dora can be labelled as Infamous, controversial, beautiful, and passionate. The intelligent German director has made a name for himself in making underground art masterpieces. Love or hate his work, there is no denying the man has an eye for capturing the best and worst of humanity on film. What we are made of, what we are capable of and most importantly, what bodily fluids emit from our orifices. This interview is a testament to the mind of Marian Dora, a man who keeps a low profile in fear of being prosecuted for his work, an artist that will do whatever it takes to get his message across in his films, even if it means bending moral fibres till they break.

Debris Documenter, this is said to be your first movie? Only available as a bonus on a release of Voyage To Agatis? I've developed my own interpretation of the movie but I'd like yours, what was this film intended to be about?

- First of all, thank you very much for your interest in my work. I will try to answer every one of your questions as good as possible. After making many dozens of short films, documentaries and second-unit-stuff I wanted to do Melancholie Der Engel. But the pre-production made no progress. As a result of my frustration I made Debris Documentar by following the producer, Carsten Frank, for one weekend to document his work with my camera. What I had in mind was something you can compare a little bit with early works of Paul Morrissey - Flesh, Trash or Heat. This is why I didn't care about camerawork, lighting or atmosphere in this film. I just recorded a kind of reality. It is biographic and in some way autobiographic, too.

The actor Carsten Frank, he appeared in a number of your films such as Cannibal, Melancholie Der Engel and Debris Documenter. I asked him through Manoush, as I did for you for an interview, but I'm told he refuses do interviews. The man has done some very daring things in your movies. Could you tell me if you ever had to coax him into doing some of the more extreme scenes and please feel free to give specific examples.

- As a very dedicated actor, Carsten Frank never had a problem to do even the most extreme performances. But sadly, he had a problem when he saw the results in the film, because he was afraid of legal prosecution. That is why he forced me to remove more than half an hour of the most extreme stuff of Melancholie Der Engel. After handling out the master tapes to him the material is lost.

A lot of your viewers, even your devoted followers seem to detest your use of animal violence in some of your films, in particular Melancholie. Why do you feel the need to portray animals suffering, tortured and killed in your work? Do you feel it's a strong metaphor for human suffering and easier to get across with such raw emotion from an actual dying life form?

- It is a part of the specific philosophy of my films to avoid the faking of scenes like torturing animals or human beings. But there are some reasons going beyond that philosophy. Usually there are three reasons to use scenes like that you mentioned in your question. The first reason is that such scenes help to clarify the characterisation of the protagonists. Personally, I don't think this is a good justification for the use of reality. The second, more important reason is to create the appropriate atmosphere. The closer you come to reality, the more intense the pictures will be. The third reason is the most important reason - scenes like that are a declaration that the film you are watching is not made for entertainment. You can select the audience - everyone just watching a film to have fun will be rejected.

Carcinoma, being your latest work and a departure from your other movies, it still has the great camera work and the foggy almost dreamlike shooting style I've come to expect and grown to love from your movies. The subject matter is very emotional and I felt very bad and remorseful for the main character Dorian, due to all the suffering he endured. Was there a particular message you were trying to deliver with Carcinoma or was it to basically show the damage cancer can do to a human life?

- I didn't wanted to make this film but a completely different one, called I Love Snuff. But during the first day of shooting, the owner of the story rights withdrew the permission of using it. I prepared to shoot and had the weekend off, so I contemplated some minutes and decided to do the cancer film instead. What fascinated me in the case of that man with his monstrous tumor is the fact that it happened not in the past or in a country far away, but right among us. It was the indifferent social environment that made it possible.

Do you personally know anyone who has had a form of cancer and was that the inspiration for Carcinoma or was it just an idea you came up with?

- I know many people suffering from cancer. But when I was confronted with the extreme case of Dorian I managed to meet him during his last days of life and spoke many hours with him. I wrote down every detail, even the words he used. I put his words exactly into the script. Carcinoma is not a fictional film but a documentary thing. It was a very accurate re-staging, even more accurate than Cannibal. Most of the people you see in the film are the real persons playing their own role. I shot the film on the locations the real events took place.

You make extreme art films and are known for being very elusive and shy to media and public exposure. Do you avoid exposure because of the fear of people not understan-ding your work or do you do it to separate your private life from your professional life. Your work is wonderful and very dark and powerful and I can see a lot of ignorant peo-ple not understanding it, especially in this fucked up politically correct world we now seem to live in where every idiot gets offen-ded by the slightest thing thrown at them.

- I always tried to make my films understandable, even for people not knowing the person behind the films. They should be on their own. But there are some more reas-ons why I have to hide myself. First of all, I have to prevent prosecution, especially for some elements I arranged during shooting of my Blue Snuff films and Melancholie Der Engel. On the other hand it got several death threats after those films.

I've seen on social media you are very appreciative of fans of your work and take pictures with them. You have a group dedicated to your work and have developed a cult following with your films. Did you ever see this happening? Is it something you were hoping for?

- The pictures you mentioned had been made during a film festival. The organizers persuaded me to join the festival. I was treated very well and friendly, so I agreed to do some photos, but only for private use. But generally, if I would place importance on that kind of appreciation I would do other films than the films I prefer to make.

Voyage To Agatis is one of my personal favorites. I love the simplicity of it - its not a long film, very simple but very artistic, beautiful, effective and savage at the same time. I understand it was shot in three days. I recently interviewed Thomas Goersch, he was perfect in the role of Raphael in Voyage To Agatis, a real scum bag. Can you explain a little about the making of Voyage To Agatis, the challenges of it?

- There was no idea to make the film Voyage to Agatis, there was only a situation and I had to find a story. A friend of mine suggested to me, "Why don't we spend a weekend on a small boat we can rent for two or three days? Bring your video camera with you, in that time you can shoot a small film." I reflected a minute and said "Okay, why not?" I was allured by the very intimate situation at the small boat and had to find a simple story for it. So I didn't take this too seriously. But after all it is interesting to see that there are some people liking this microscopic film. One time a Dutch film school Professor told me that he loves Voyage to Agatis and he couldn't believe that it is the same director behind that film who also made such a boring, amateurish shit like Cannibal.

In a lot of your films I notice the use of broken dolls and various mannequins as well as bones and insects. Do you use this as a form of expression? For example, the broken doll floating in the murky water in Voyage To Agatis, is that to represent the dead murdered carcass of Lisa?

- In Voyage to Agatis, as well as in Melancholie Der Engel, I was mainly interested in the metaphysical aspect I tried to bring into the film. The story of Voyage to Agatis was inspired by two books, Open Season by David Osborn, and especially, The Bermuda Triangle by Charles Berlitz. I was fascinated by the idea that there are several sites on the earth where the behaviour of human beings seems to be influenced by a strange force that, in this case, is represented or symbolized by the blind doll coming from the deep. The title is derived from that mythological Agarthi, and of course the doll is a reference to the excellent films Bermuda: La Fossa Maledetta by Tonino Ricci and Il Triangolo Delle Bermude by Rene Cardona Jr. Both films I saw at least twenty times. Of course there is a relation between that doll and Lisa, but not every aspect is explained. In the European cinema tradition there should be always a secret remained in a film.

Animals play a big part in your movies as well, weather they are in states of turmoil and trouble or moments of death they seem to frequent all of your movies. Can you explain the use of this?

- In most of my films I tried to use the nature, the landscapes, the panoramas as well as the animals to illustrate the inner shape of the protagonists. The way I try to work with these elements helps me to build up the atmosphere that fits to the situation. I always prefer outdoor shooting, I don't like interior shots.

You seem to rely on a lot of human waste and sexuality in your films. Human waste seems to frequent most of your pictures, even your most recent movie Carcinoma with the abundance of feces. What role does this play in your movies? To show the ugliness of the human body?

- Very early in my life I made the sad experience that most people are very fluffy personalities with only simple working minds, without desires, dreams and ambitions. By that I got the feeling that the most interesting aspect of persons is not their mind, but their body, with all its elaborated functions. Maybe there are some parallels with persons like Dennis Nilsen and Jeffrey Dahmer here. This is why I started becoming more and more interested in the body - mostly I choose very fleshly themes for my films. I don’t want to show the ugliness of the body, but the realness.

Melancolie Der Engel is your long running masterpiece of film as considered by many due to its long running time and display of numerous atrocities. What went into making such a twisted and ambitious project?

- Melancholie Der Engel was a very ambitious, non-commercial experiment. A very complex film, very difficult to make. The point was to make a film that you can read in different ways. But to understand the film it is necessary to disregard your moralities and to identify with one of the two main male protagonists. It is impossible to identify with one of the female parts. What is more is we tried to make the film as less interesting for "normal" viewers as possible in order to get the "right" audience. The three weeks shooting was a horrible experience, full of hate, violence, madness, drug-abuse and depravation.

In Melancholie Der Engel a young wheelchair bound girl is constantly mistreated and brutalized. What point were you trying to get across with this?

- The girl in the wheelchair was a victim and she was consequently treated as a victim. For the film it is not very important what happens to this girl. Only the feeling and thinking of the main protagonists is important. Sometimes it's a little bit sad that people only look at such marginal -- and very short in relation to the running time - scenes. Melancholie Der Engel is about much more - about friendship and the destiny of the two leading males. If I only would have in mind to shock the people, I could do much better, believe me.

I love the music in your films, especially the work of David Hess in Melancholie and Transmitted Dreams in Voyage To Agatis. What kind of relationship do you have with him and Ulli Lommel? I understand Jess Franco's voice was also used in Debris Documentar on an answering machine. Is this true?

- Most of the music in my films I did myself, as Transmitted dreams, etcetera. I used two David Hess songs in Melancholie Der Engel and Debris Documentar because I had the feeling they would fit in the mood of the films. I also conducted an instrumental version of one of his songs for Melancholie Der Engel. David Hess was a friend of mine for many years, and it was coincidence that he and Ulli Lommel know each other for years, too. Ulli Lommel I've known since 1996. It is a long friendship and I worked as second unit director, etcetera, for countless films of him. Our last collaboration was Boogyman: Reincarnation. In Debris Documentaryou hear the voice of Jess Franco, David Hess, Peter Martell and Katja Bienert on the answering machine or the phone, because for that film I followed Carsten Frank for one weekend, and this was the reality that I put into the film, of course.

Your movie Cannibal was based on Armin Meiwes and I understand Ulli Lommel would not release it because it was too extreme? Victor Brandl really gave an intense perfor-mance in this one. You never worked with him after this picture?

- I made Cannibal to do Ulli Lommel a favour, because he needed the film as contract awarded by the company Lions Gate. But after I screened the film he told me that it is not possible to hand the film over to Lions Gate or do anything else with the film, because he feels sick always when this film comes in his mind. This is why he did his own version, Diary of a Cannibal with me as second unit director again. I made some shorts with Victor Brandl before Cannibal, and he played a small role in Melancholie Der Engel. After that, I wanted him to play the lead in Reise Nach Agatis, but he refused because this project would betoo violent for him. This is why I cast Thomas Goersch. After watching the completed film, Victor Brandl regretted declining it, by the way.

What are your thoughts and feelings on homosexuality? I know in your movies you are not afraid to show male- and female nudity and rightfully so, it should be equal.

- As mentioned before, I am always looking for bodily themes for my films. As well as in real life. Sometimes people criticize me for being only interested in outer appearances, but they don‘t understand the motivation behind that.

How did you meet the adult film actor Zensa Raggi who starred in Melancholie Der Engel? Is he a friend or did he just audition for the role? All of the actors including him did a wonderful job in the movie.

- At the beginning, Frank Roth should play the part of Brauth. He would be the perfect character regarding the metaphysical aura of Brauth. But because of schedule problems he had to decline the part. Ghazi Barakat wanted to replace him, and he would be fit in the role mainly because of his violent attitude. But I decided for Zenza Raggi, who was introduced to Carsten Frank by Manoush. I liked his filmography with Aristide Masssaccesi (Joe D‘Amato), and his Muslim origin would contribute to the evil aspect of the role. It was hard to work with him due to his violent outbursts and all the drug abuse, but all in all he was the best actor I worked with, regarding his techniques. A real method actor.

When shooting Carcinoma did your lead actor Dorian go through all of the anal scoping procedures and tests that would actually be required if he had indeed had a form of cancer? You definitely made the hospital not feel like a warm and welcoming place and a lot of the people there were crazy and doing weird things.

- We shot the film Carcinoma chronologically in order to help Dorian to empathize the complete course of the cancer disease. Regarding the hospital scenes, I had to shoot it this way because the original case dictated it this way. The bad feelings of the patient during his first hospital stay lead to the motivation to decline a necessary operation. But besides that fact, I always had the feeling that hospitals are the places of real horror in our society. And the slaughterhouses, of course.

Why do you sometimes use the alias Art Doran or MD Botulino?

- I use different alias names for different functions, as an actor, filmmaker, musician etcetera. All in all I have eight or nine alias names. For some legal reasons sometimes I have to change an alias name, as it happened for Carcinoma.

I thank you for your time. It is an honor to have the opportunity to ask you these questions. I had re-watched all of your movies before I conducted this interview. They are just as fascinating and as effective as seeing them all again for the first time. Thanks to you and a big thank you to Manoush for arranging this.



Written by: Richard Taylor

Last time I crossed over to the gloriously fucked up world of James Bell’s tortured filmmaking style was with Tantrum. This time around I am happy as a cat licking the crusty shit off his own butthole to discover his new piece of work Nutsack Part I: Lucifer’s Cosmonauts. Bell continues to deliver his no-boundaries style of low budget filmmaking to the fullest by pulling out all the stops. Think Japanese tentacle porn sprinkled with splatter and a dash of old school The Deadly Spawn alien madness.

It all works great together. Nutsack Part I: Lucifer’s Cosmonauts is fucked, it’s disjointed and fans wouldn't have it any other way. Unseasoned viewers beware if you've never sat down with a beer and blunt to enjoy a James Bell movie. You'll be hooked with his underground vision and if you’re not, then go fuck yourself in the ass with an alien appendage.

The story revolves around Bell as the main character, a guy simply gone out for the day looking for a job (after he fucks his mangled faced girl). A fucked up monster devours his friend who put in a good word for him (oh well, work sucks anyways) and Bell's character discovers a book which seems to be a source of power drawing, the crusty red fucked up glob of tentacle terror. Some of the makeup is wicked in this. One particular ripped up face appliance is chilling as shit, as Bell’s character holds it in his hands. Bell's character takes the book, and the alien/monster starts to follow him mulching up people all around him into tentacle violated pools of gore. Bell himself starts inhabiting cruel deformities and is even shunned by reputable junkies. He just wanted you to suck off the tentacles growing out of his arm until they came in your mouth - come on people!

I understand most of Nutsack was filmed in a now condemned mall called Summit Place in Pontiac Michigan which is very cool - it gives this great apocalyptic-like backdrop. The music should be pressed onto a CD. Bell should take the music from Tantrum, as well and do up a CD to sell with his movies. It’s some great trippy industrial shit, sort of like 8-bit Nintendo hell meets Merzbow meets Brighter Death Now.

His wife, Mae Bell, also stars in this and she has a fucking memorable as Hell scene! She sucks off the phallic-like protrusions coming out of Bells belly like a dick till it cums in her mouth - god bless her black soul! It is probably one of the most memorable scenes in the whole movie. There is a lot of tentacle gore in this. It’s filled with it and they all wind up in any open orifice. There is a great scene of a chick sucking off a guy when a tentacle bursts through the back of his ass where his dick was so she is now sucking a tentacle dick. Lots of close up of tentacles penetrating asses and even Bell himself is not spared from the tentacle anal archery. That pesky cotton candy like regurgitated meatloaf monster fucks up lots of humans and even takes a ride down a storm drain, just floatin’ on to the next victim.

I love the grittiness of this; the filming style, the music, the gore and sure the acting and story aren't always the best calibre but just the atmosphere and substance here overrules it all. It’s for underground aficionados. I had a great laugh recently on posts of Bell selling props from his films, something he should never apologize for, by the way, especially if he is trying to finance his next project. Bell states specifically in the post "these tentacles have never been in anyone's ass, mouth or pussy." Hahahahaha! I found this very amusing and better yet, someone asks if he has anything for sale that has and Bell displays the cross he violated his own ass with in Tantrum, haha, I love it!

Please support James Bell and his movies. You can contact him on Facebook and check out his company Very Fine Crap Videos on Storenvy. He responds to messages very quickly, so buy his films and props and check out the special gore cover editions he has available of his movies with these cool flesh like bound covers.




Written by: Richard Taylor.

The savage french Canadian brutal death metalers return after 20 years to wreak havoc once again on those who ears can withstand the savage technical assault. After releasing a demo in 1993, then a split tape with Morkeum in 1994 Gore-lust released their first full length CD in 1995 on New World Symphony Records. It received a great response among fans and I still consider it one of the best and tightest pieces of punishing and techni-cal death metal on the market today.

In 2012 Remi Cote of PRC music decided to re-release Reign Of Lunacy with updated artwork and the response was strong. This caused a reaction in the former band members and prompted them to say fuck it, lets do a follow up album to Reign Of Lunacy and thus We Are The Undead was born.

What Gorelust have unleashed is a piece of raw sounding but at the same time highly technical and even sometimes catchy (as in the case of the song There Is No God). They have recorded it in the studio with no drum edits, triggers or samples. They have taken the model if you can't play it, don't record it. The opening song is an obvious tribute to Reign Of Lunacy with Lunacy Still Prevails featuring samples from the intro to The Reign Of Lunacy CD. All 9 tracks on this cd are uncompromising, well played and sometimes moshy slamming death metal as tight as ever. You can check out some very cool album sessions on YouTube of the band rehearsing, the drumming by Francis Marmen is insane!

We Are The Undead is a solid follow up, not sure if can quite capture the exact same technical speed Reign Of Lunacy possessed but it still slays heavily. My favorite song is definitely There Is No God but Entering The Kill Fest and City Of Cannibals come damn close. Quebec death metal has been a forerunner in Canada for years with such break out acts as Goreguts who have transcended and become a steam rolling technical machine.

With the cd booklet art as a tribute to Reign Of Lunacy and all original members back on duties lets hope they can pump out a couple more albums before they throw in the towel for good. If you like tight brutal death metal then you'll devour We Are The Undead. All hail Canadian Death Metal and all hail the mighty Gorelust!!!!!



Written by: Tim Nordstedt

An adult actress teams up with three guys to make a SoV pornmovie, everything seems to go fine but after the first scene the guys want to spice things up a little bit, which means whips, shibari, S/M and ending it all with an enema, after the humiliating treatment the actress wants to quit but instead gets beaten unconscious and from thereon the director get´s a new groundbreaking idea, he is going to finish the whole process by making a torture snuff movie.

Tamakichi Anaru is a man that have a mythic reputation in the underground of sleazy cult movies, mostly because he doesn´t seem to be very active and he´s definitely not appearing in a public stagelight hence the mystery around this man seems to be intact.




Written by: Tim Nordstedt

There is basically no story when it comes to Watashi No Akai Harawata/Women´s Flesh: My Red Guts or Hungry Mouth as it´s called and the whole thing is more or less spoiled with the few reviews that you can find in the cyberworld so I´ll just add the little things that I can and try to spoil it some more.

A woman that seems to be a little bit on the mentally deranged side starts to play with herself with a toothbrush that goes up in the pixelated happycave, after a little bit of yanking and thrusting the blood starts to pour pretty nicely, 


GROTESK (2013)

Written by: Richard Taylor

As it says on the DVD keep case, "Denmark's answer to Plan 9 from Outer Space." To a particular degree, this statement is correct, but I'd rephrase it and say "Denmark's answer to a gore infested Plan 9 from Outer Space." From the heart of Denmark comes this splatter-rific journey into low budget sci/fi gore, but mostly just low budget German-style gore with comedy injected into it. It’s basically a one-man monster/zombie movie done with some extrem-ely well done practical gore effects. Inspired by H.G. Lewis, Olaf Ittenbach and Andreas Schnass, this movie (if they have seen it) should make them proud because it delivers the goods and then some.

The plot for Grotesk has an American spaceship on a secret mission, which crashes into Öresund, the strait between Denmark and Sweden. A mutated monster arises from the crash and goes on a killing spree in the nearby forest (in true German splatter tradition) including a nearby trailer park. We are introduced to some funny characters in the movie, including Jack (Heine Sorensen) who is rather pleased with himself about scoring a deal with renting a trailer home for the summer. Jack seems out of his element in the park and soon discovers his idealistic vacation is not all that it’s cracked up to be.

The monster looks very cool in this - a rotting zombie with this mouth full of teeth protruding out of the top side of his face which it uses to tear and rip flesh apart. The monster emits these cool goregrind vocalist like gurgles as it stalks its prey. Grotesk is shot in this soft greenish hue where everything looks like it’s been washed in extreme radiation and as the plot in the movie unfolds this is pretty much the case. The gore effects are very reminiscent of Peter Jackson's Bad Taste, with a lot of crushed craniums with tongues still flapping on top of the mangled and opened up heads.

There is a lot of sick shit in Grotesk that goes beyond regular splatter. Picture this: a ripped out (but still attached) eyeball still being able to see as its being shoved up said victims rectum and the said victim being able to see inside her own asshole including the viewer who gets the first person point-of-view! (If this doesn't make you want to buy the movie then what would!?). The conclusion is very cool as well and features a gore and bullet riddled shootout slaughter. There is just some humor-ously sick shit in this as well as we get to see our beloved main character, Jack, sniff his way with a pair of worn panties into a surprisingly passionate climax and onscreen ejaculation on those aforementioned panties.

Only having a bit-role, Frederik Tolstrup does a hilarious job with a little piece of charis-matic poetry, where Jens Kofoed's voice is used and the dubbing and dialogue in the subtitles is downright hilarious. The special effects man, Tue Sprogo, needs to be given many props for his gore insanity. He's also responsible for the cool ass cover art and the musical score, which fits Grotesk perfectly. It lends that cool cheesy retro vibe to it which I love. There are also three music tracks feat-ured in Grotesk done by Mercyful Fate’s Michael Denner, which is very cool.

Grotesk needs more recognition and wider distribution. It’s a very underground, soon-to-be cult movie. Unfortunately, the director Peter J. Bonnermn left before the movie was completed, along with other crew, leaving lead actor and producer Ken Sorensen hanging in the lurch. Sorensen finished Grotesk and thank the unholy black forces of evil he did because gore shit like this needs to see the light of day and most importantly cross the retinas of my eyes. I talked to Sorensen and he is surprised, but extremely grateful that the movie has a following. Sorensen also told me there was a hardcore sex scene shot to be featured in Grotesk but it had to be cut out last minute because the actress didn't want it on there!

Pick up a copy of Grotesk today from Sune Rolf Jensen (who has also directed another Danish movie you should check out called Slaughter Me Naked). So fuck it. Order them both from him on Facebook or check out his label Phantasmo on Facebook. You won't be sorry. Special thanks to Sune for hooking me up with info and movies - have a Danish on me!