Podcasts about My Bloody Valentine

In today's episode, a conversation with Simon Reynolds, acclaimed music writer and journalist, and author of a new book, Still in a Dream: Shoegaze, Slackers and the Reinvention of Rock, 1984-1994. Twenty years after his acclaimed postpunk best-seller, Rip It Up and Start Again, Simon Reynolds tells the tale of what happened next: the underground explosion of noisepop, shoegaze, slacker rock and grunge that reverberated through the mid-Eighties into the early Nineties. Capturing the musical exhilaration of the era along with the alienation of youth during a period of ascendant conservative politics and glitzy mainstream pop, Still in a Dream celebrates a golden age of guitar reinvention, a second psychedelia of mind-blowing sounds pioneered by bands like My Bloody Valentine and Sonic Youth. In Britain, groups like Cocteau Twins and Slowdive escaped into shimmering dreamworlds while American underground rockers like Dinosaur Jr. and Pavement blended apathy and urgency into thrilling noise. A propulsive and personal account from a journalist who covered this music in real time from the frontlines, Still in a Dream vividly recreates a period that was the last blast for the analogue culture of vinyl records and music papers, before the Internet changed everything. Enjoyed what you heard? Click here to purchase the book: https://www.readings.com.au/product/9781399618373/still-in-a-dream--simon-reynolds--2026--9781399618373

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Acceso anticipado para Fans - Tras el éxito de Loveless (1991), Kevin Shields parecía destinado a liderar el mundo con My Bloody Valentine, pero su obsesión por alcanzar un sonido perfecto acabó convirtiendo la grabación del siguiente álbum en un proceso interminable. El fichaje millonario por Island Records no evitó el bloqueo creativo: fueron años de sesiones infructuosas, el progresivo alejamiento del resto de la banda y la pérdida del contrato con la discográfica que dejaron al músico sin grupo y sin sello, alimentando la leyenda de uno de los grandes perfeccionistas de la música contemporánea. Este podcast se adentra en esa etapa menos conocida de Shields, esa en la que encontró en las remezclas para otros artistas una forma de subsistir mientras seguía desarrollando su inconfundible universo sonoro. A través de una selección de sus mejores trabajos desde mediados de los noventa, el programa muestra cómo, incluso en encargos realizados por motivos económicos, Shields era incapaz de renunciar a su personalidad creativa, transformando cada pieza en una nueva exploración de la textura, el ruido y la melodía. Con todos ustedes, las mejores remezas de Kevin Shields de My Bloody Valentine. Dirige Manuel Pinazo. Suenan: God – Tunnel (Electro-Convulsive Mix by Kevin Shields, 1995) Archive – Londinium (Kevin Shields Mix, 1996) Little Rabbits – La Piscine (My Bloody Valentine Remix, 1997) Yo La Tengo – Autumn Sweater (Kevin Shields Remix) Curve – Coming Up Roses (Kevin Shields Mix, 1998) Hurricane #1 – Rising Sign (My Bloody Valentine Mix) Lush – Sweetness and Light (The Orange Squash Mix by Kevin Shields) Mogwai – Mogwai Fear Satan (My Bloody Valentine Remix) Placebo – Pure Morning (M B V Remix) Primal Scream – If They Move, Kill 'Em (My Bloody Valentine Arkestra) The Pastels – Cycle (My Bloody Valentine Remix, 1998) Frank & Walters – Take Me Through This Life (Kevin Shields Remix) David Holmes – Living Room (Kevin Shields Remix) Bow Wow Wow – Fools Rush In (Kevin Shields Remix) The Go! Team – Huddle Flash (Kevin Shields v The Go! Team) Eyedress – HOUSE OF CARDS (Kevin Shields Rainbow Belts Remix) Escucha este episodio completo y accede a todo el contenido exclusivo de Conexiones MZK. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/286835

Hey kid, there’s a spider in your bed! From Kingdom of the Spiders (1977) We’re going back to horror history class with Episode 212: Slashers Come of Age and Horror Finds Religion 1975-1979. Seven years ago, in the early days of the Scariest Things, we did some horror history, diving into some of the more obscure titles that you may not be aware of. We stopped at the early seventies, and then went on a very long hiatus. But now we are back with some (maybe) forgotten gems from 1975 to 1979. Friend of the podcast Ian Parker joins Eric and Mike in this deep dive. It took a while, but we are back to our chronology of horror movies. We have picked up the baton and are moving our movie history lessons forward. The seventies were a turbulent period in history. The Hayes Code, now dead and defeated, is no longer. The early seventies started playing around in the margins with movies that pushed the boundaries of what was possible. The advent of the massive summer blockbuster began to separate movies into big-budget and indie-budget films, and horror was part of that trend. Jaws (1975) and The Exorcist (1972) proved that with the right director, scary movies could bring in big money and be legitimate critical darlings as well. The doors opened for studios to pour big money into movies that would become The Omen, Alien, Invasion of the Body Snatchers, and Carrie, landmark movies all. Big-name actors with great pedigrees were coaxed into performing in big studio horror projects. Gregory Peck did The Omen. Faye Dunaway at the height of her career did The Eyes of Laura Mars. It wouldn’t be long before Jack Nicholson got cast in The Shining (1980), but we’ll get to that one later. Having said all that, the studios weren’t quite all-in yet. There were a few pet projects out there. But the domain of the horror movie was still in the dilapidated old downtown movie houses and drive-in theaters. You couldn’t yet rent movies for home viewing. If you wanted to go see independent horror movies, you had to be willing to get down and dirty. The Cineplex wasn’t yet ready for showing off the gory delicacies that were being cooked up in the era when the boundaries between R and X hadn’t been settled yet. Slasher Movies Come of Age Horror never forgot its roots. You could still make a low-budget movie, with no-name actors, scare some teenagers, and turn a profit. But a guy in a rubber suit wasn’t going to cut it anymore. Real explicit violence and raw visceral horror are now how to make a memorable mark. Following in the footsteps of Black Christmas (1972), Last House on the Left (1972), and The Texas Chainsaw Massacre (1974), the slasher film was going to find the sweet spot of low budget and mass appeal. Enter Halloween (1978). Stabbing and spooking were now moving into the suburbs. On a budget of $325,000, Halloween would go on to earn $47,160,000. On a budget of $325,000, Halloween would go on to earn $47,160,000. Hollywood noticed. The impact of Halloween would be felt primarily in the early eighties, but a few filmmakers picked up on the trend early. The slasher films influenced directly in the wake of Halloween include: Don’t Go Into the House (1979), Silent Scream (1979), Tourist Trap (1979), Driller Killer (1979), Prom Night (1980), Maniac (1980), Friday the 13th (1980), Don’t Go into the Woods (1981), Madman (1981), Happy Birthday to Me (1981), My Bloody Valentine (1981), The Burning (1981), The House on Sorority Row (1982), and The Slumber Party Massacre (1982). All of these films featured a masked killer (usually) and some sort of stabbing weapon (usually), and oblivious teen victims (usually), with sexual activity usually as part of the equation (usually)… and a final girl (usually). That’s the modern slasher template. It didn’t take long for filmmakers to figure out the formula. Our great directors who would lead horror for the next twenty years were in place. John Carpenter, Tobe Hooper, and Wes Craven had their knives out and were ready to dominate the field. This genre still felt fresh. The sequels had yet to take control of the industry, and the concept felt raw and scary. This trend would find its killer’s stride in the 80’s, but this is when the slasher movie came out of the shadows. Horror Gets Really Weird, and Discovers God While the sixties still had a safety belt on, and the eighties went for the reliable thrills, the seventies was a period that allowed directors to stretch out their ideas. The early seventies also contributed a number of strange films, but it is hard to match the back half of the seventies with the likes of The Manitou (1976), Phantasm (1979), Hausu (1977), and Eraserhead (1977), which brought wildly original concepts to the table. Religion was a big thing too. Conventionally, there were movies like The Omen and The Exorcist that were, while very scary, using traditional good-and-evil concepts. This era also had a more counter-cultural and artistic interpretation of holy horror. God Told Me To (1976) and The Visitor (1979) were gonzo strange concepts that never found an audience, but were challenging with their takes of what celestial beings might be. What is Jesus, really? For that matter, what is God? An alien? Perhaps. Truly strange, blasphemous stuff. Perhaps it was all the hallucinogens that were popular of the era. Cosmic horror found truth in a far-out metaphysical moment. It wouldn’t take long for the politicians and the morality police to put an end to such wild concepts. But in truth, the conservative backlash was waiting in the next decade. In the seventies, the liberal notions of acceptable content had plenty of room. That would be coming to an end soon, especially when movies could come home on cable TV and VHS. The Scariest Things History of Horror Episodes Episode 22: The Silent Era 1920s Episode 25: The Rise and Fall of the Golden Age 1930’s and 1940s Episode 29: Horror Comes Back – The Matinee Era Part 1 1950-1954 Episode 31: The Height of the Atomic Age – The Matinee Era Part 2 1955-1959 Episode 51: The International Gothic Trend – Horror From 1960-1964 Episode 53: The Diversification of Horror – Horror From 1965-1969 Episode 57: Horror Gets Trippy – Horror From 1970-1974 Episode 213: Slashers Come of Age and Horror Finds Religion 1975-1979 Friend of the Podcast Ian Parker joins Eric and Mike to talk about some deep cut movies from the late seventies. We have tried to avoid the obvious stuff and to notify our audience about some curious gems that you might have missed when shuffling through your streaming options: Burnt Offerings (1976) Don’t Go Into the House (1979) God Told Me To (1976) Kingdom of the Spiders (1977) Rabid (1977) Shock Waves (1977) The Witch Who Came From the Sea (1976) The Eyes of Laura Mars (1978) The Manitou (1978)

In which The Curmudgeons revisit the most popular and epic music from most of the year they both turned 16 years of age. Why most? Because on September 24,1991, a whole hell of a lot changed. That was the day Nirvana's Nevermind hit record-store shelves (remember those?). Before then, the world was inundated with diva pop from Mariah Carey and Paula Abdul, the embers of pop metal from the Scorpions, Skid Row and Guns N' Roses, a ton of mostly awful R&B slow jams, novelty hits from folks like Gerardo and MC Hammer and some actually great stuff from R.E.M., Gang Starr, My Bloody Valentine, Metallica, INXS, Londonbeat and others. We put our track shoes on in this episode to brave the rapids of these decidedly mixed and non-zeitgeist-ish first nine months of 1991...covering nearly 100 songs! Enjoy the ride...    Listen to all of this great (and not so great music) from 1991 by access our special Spotify playlist: https://open.spotify.com/playlist/3EdH6x0Uy5phuXOadoe2z1?si=7fa8ae32186c4562   Here's a handy navigation companion to this episode:   (00:52 - 03:05) - Arturo Andrade sets the parameters for our discussion of the pre-Nirvana months of 1991   (04:04 - 22:29) - The Parallel Universe, featuring reviews of new albums from Mildred and Vince Staples   (23:27 - 01:31:19) - We rumble through songs that were either big or notable between January and May of 1991. Some names some of you may remember: Keith Sweat, Cath Dennis, Wilson Phillips, C+C Music Factory, Extreme, Color Me Badd, Roxette and Massive Attack.   (01:32:25 - 02:33:57) - We sprint through a whole bunch of other songs, this time focusing on June to September 1991. Other names you might remember: Seal, Big Audio Dynamite, EMF, Right Said Fred, Naughty By Nature and The Cult   Join our Curmudgeonly Community today! facebook.com/groups/curmudgeonrock   Edited with an assist from Descript! web.descript.com     Hosted on Podbean! curmudgeonrock.podbean.com   Subscribe to our show on these platforms: https://podcasts.apple.com/us/podcast/the-curmudgeon-rock-report/id1551808911   https://open.spotify.com/show/4q7bHKIROH98o0vJbXLamB?si=5ffbdc04d6d44ecb   Co-written and co-produced by Arturo Andrade and Christopher O'Connor - The Curmudgeons

Comienza la temporada veraniega de Carretera Perdida, y recuperamos dos secciones favoritísimas. Por un lado, 33 1/3, hoy dedicada al Loveless de My Bloody Valentine y la obsesión por ese sonido que solo existía en la cabeza de Kevin Shields. Por otro, vuelve Carlotta Chelsea, que abre su hotel a Belén Yáñez para hablar de ese maravilloso proyecto que es Habitar Drados. Los temas 1 Rolling Stones - In the stars 2 Getdown Services - Dog Dribble 3 My Bloody Valentine - I only said 4 My Bloody Valentine - Only shallow 5 My Bloody Valentine - When you sleep 6 My Bloody Valentine - To here knows when 7 My Bloody Valentine - Soon 8 Antonio Arias - Boabdil el Chico

In this episode, Kyle and I review My Bloody Valentine (1981) -- quite possibly the Greatest Movie EVER!

Simon Reynolds in conversation with David Eastaugh  https://store.whiterabbitbooks.co.uk/products/still-in-a-dream Twenty years after his acclaimed postpunk best-seller, Rip It Up and Start Again, Simon Reynolds tells the tale of what happened next: the underground explosion of noisepop, shoegaze, slacker rock and grunge that reverberated through the mid-Eighties into the early Nineties. Capturing the musical exhilaration of the era along with the alienation of youth during a period of ascendant conservative politics and glitzy mainstream pop, Still in a Dream celebrates a golden age of guitar reinvention, a second psychedelia of mind-blowing sounds pioneered by bands like My Bloody Valentine and Sonic Youth. In Britain, groups like Cocteau Twins and Slowdive escaped into shimmering dreamworlds while American underground rockers like Dinosaur Jr. and Pavement blended apathy and urgency into thrilling noise. A propulsive and personal account from a journalist who covered this music in real time from the frontlines, Still in a Dream vividly recreates a period that was the last blast for the analogue culture of vinyl records and music papers, before the Internet changed everything.  

Rigor Mortis (2013), When Evil Lurks (2023), and Vicious (2025) Pretty much from the very beginning of horror cinema—or cinema in general—supernatural horror has been part of the storytelling tradition. Granted, many of those early films were adaptations of famous works of literature dealing with ghosts, vampires, and other unworldly creatures, but more than a century later, the supernatural remains a huge gateway for creative filmmakers to walk through in order to create something interesting, and sometimes something genuinely new. Many modern supernatural horror films deal with grief and how we cope with it. Some might call it cathartic, while in other films, it's just downright mean! In the three movies we discuss in this episode, you'll get a taste of all of that—and more. A couple of these films hit especially hard and will leave an impact on you days after the credits roll. You'll either be running to tell your closest friends that they absolutely need to watch them, or you won't say a word for fear that someone might ask, "Is everything okay at home?" But we think that films that can hit that hard deserve to be applauded. So, if you're game, take that next step- and hit play. Movies mentioned in this episode: The Blackcoat's Daughter (2015), The Boxer's Omen (1983), A Chinese Ghost Story (1987), The Dark and the Wicked (2020), Dream Home (2010), Errementari (2017), Exhuma (2024), The Exorcist (1973), Friday the 13th (1980), Ghostbusters (1984), The Golem (1915-1920), The Grudge (2002), Halloween (1978), Häxan (1922), Hellraiser (1987), Henry Portrait of a Serial Killer (1986), Hereditary (2018), Hostel (2005), House of the Devil (1897), Last House on the Left (1972), Killer Party (1986), Maniac (1980), Midsommar (2019), Mockingbird (2016), The Monster (2016), Mr. Vampire (1985), My Bloody Valentine (1981), A Nightmare on Elm Street (1984), Nosferatu (1922), The Prowler (1981), Psycho (1960), Rigor Mortis (2013), Scream 7 (2026), The Strangers (2008), The Strangers: Prey at Night (2018), Terrified (2017), Texas Chain Saw Massacre (1974), The Uninvited (1944), Vicious (2025), When Evil Lurks (2023)

Andrea Subissati, Editor of Rue Morgue and Podcaster for Faculty of Horror The Bloody Judge for the 2026 Portland Horror Film Festival was Andrea Subissati, the Executive Editor of Rue Morgue. She is one of the most compelling voices within the horror community, and is a powerful advocate for women within the genre. Andrea was kind enough to set some time aside to talk some terror with us between feature film showings at the festival. We at the Scariest Things take our work seriously, but let’s be real. Rue Morgue is the real shit. It is a top-shelf professional horror periodical, and Andrea is a charismatic pro guiding that ship. We dabble in the eddies of horror film criticism. Rue Morgue is the river of horror discussions and sets the standard for horror journalism. As Bloody Judge, she delivered the keynote address to the festival, interviewed George Mihalka on stage for his Q&A for My Bloody Valentine’s 45th anniversary. Most importalntly, she also applied her horror wisdom to pick her favorite film in the festival. She selected Alect Patchin’s short film, “The Bargain”, a short film involving child abuse, revenge, religion, and a summoning. Andrea Subisatti arrives on stage at the Portland Horror Film Festival to give the Keynote Address Interviewing George Mihalka for My Bloody Valentine’s 45th Anniversary Q&A I asked Heather Alexander, who is a huge Subissati fan, to write an essay about Andrea’s influence on her as a prologue to our interview: Andrea Subissati is among the luminaries of horror. As the executive editor of the Canadian horror magazine Rue Morgue, she not only has her finger on the pulse of all things horror but is also a profound feminist voice in the genre. I've been reading her editorials, celebrity interviews and articles since she began her Rue Morgue reign in 2017. Her voice and vision have made me laugh and cry. It's given me perspective, made me feel seen, and inspired me creatively.  Andrea has a master’s degree in sociology and uses her big brain to analyze horror in relation to gender dynamics, culture, history, and the general state of the world. Her academics come into full focus in her intimidatingly brilliant and award-winning podcast, The Faculty of Horror, which she co-hosts with Alexandra West. It’s here that these two brainy horror queens have thoughtful, feminist, and incredibly researched discussions on horror movies and the impact they've had on the genre. I'm a lot late to the podcast party in general, so it's only recently that I've been a listener, but believe me when I tell you The Faculty of Horror is highly captivating. I knew Andrea was scheduled to be a judge and interviewer at this year's Portland Horror Film Festival. I didn't dream of meeting her, but I sure as hell wanted to be in the audience when she interviewed director George Mihalka after the fest's viewing of his movie, My Bloody Valentine. So I bought a ticket to that night's event. On June 4th, I left work early to head over to the film fest. In the car, I received a text from Eric Li, my friend and fellow podcaster on The Scariest Things. He asked if I was interested in interviewing Andrea with him. I read this text and almost had a heart attack. The festival started in an hour! I had no time to prepare! I can't embarrass myself in front of Andrea Subissati! But I also couldn't say no to this opportunity. So I rushed home, got a pep talk from my husband, and set about writing a few questions.   Turns out, I could have talked to her for hours. The woman is rad as hell, and what an honor to meet her, if only for a brief time, in a strange and probably haunted backroom at The Hollywood Theater. Andrea – thanks for lending us your time, I hope our paths cross again. Until then, I remain an avid Rue Morgue reader, and your newest Faculty fan.  – Heather Alexander Heather Alexander is a guest podcaster on The Scariest Things Podcast. She is also a co-host on The Portland Horror Podcast Massacre, a co-host of The Portland Horror Trivia Massacre, a moderator and panelist at Cryptocon, and a bookseller at Powell’s Books. She writes horror movie reviews on Letterbox'd under HeatherA and occasionally at horrormoviesinthedark.blogspot.com. Heather Alexander and Andrea Subissati My Bloody Valentine Director George Mihalka and Rue Morgue Editor Andrea Subissati

Send us a text or a voicemailA reckless Patreon Supporter goes dangerously rogue to catch a group of hardened podcasters. He explores a corrupt world where the lines between fantasy and reality completely blur. On Episode 724 of Trick or Treat Radio we are joined by Joshua Libre for the June Patreon Takeover! Josh has selected the films; To Live and Die in L.A. from director William Friedkin, and The Convent (2000) from director Mike Mendez for us to discuss! We also find out what a four robot lion Voltron would look like, learn what horrifying selections have been curated on our Tubi recommendations, and we react to trailers for the films; Fall 2: Deadpoint, and Night Nurse. So grab your bags of neon blood, make sure to have unique serial numbers on your counterfeit money, and strap on for the world's most dangerous podcast!Stuff we talk about: George A. Romero, Day of the Dead, Tom Savini, Scream Factory, Cine-Strange, AI upscaling, Voltron, forming the blazing sword, a one-armed Jack Palance push-up, City Slickers, Rescue from Gilligan's Island, Martin Landau, The Professionals, Qui-Gon Libre, The Covenant, Tubi or not Tubi, Megan is Missing, Salo, Massage Parlor Murders, Debbie Does Demons, A Clockwork Shining, Donald Farmer, 8 1/2, Fellini, Amityville Spa, Bob Kraft, Donna Speir, Ted Lasso, World Cup, The Oblong Box, E.T. The Extraterrestrial, Humongus, Witchcraft 4: The Virgin Heart, Jurassic Park, Blink, The Chronicles of Riddick, Open Water, The Stepford Wives, The Originals, The Vampire Diaries, Shia Lebouf, The Transformers, Joshua Jackson, Shutter, Fringe, The Facts of Life, being a Cloney, Peter Dinklage, The Toxic Avenger, Adrienne Barbeau, The Fog, Creepshow, Escape From New York, Open House, Back to School, Young Frankenstein, Gene Wilder, Richard Todd, The House of Long Shadows, Sly Stallone, Fall 2: Deadpoint, The Spierig Brothers, My Bloody Valentine, Undead, Bad Taste, Night Nurse, Masters of the Universe, Wang Chun, Laura Branigan, To Live and Die in L.A., Willem Dafoe, William Friedkin, William Peterson, Michael Mann, Cruising, Al Pacino, Sorcerer, Sirat, American Ninja, Dead Stockwell, Quantum Leap, Steve James, Griffin Dunne, Asia Argento, the history of the Secret Service, Invasion USA, Die Hard, Cobra, Barton Fink, John Turturro, Oliver Stone, Natural Born Killers, John McTiernan, Neon Demons, The Convent, Mike Mendez, Dead Alive, Evil Dead II, Night of the Demons, Nunsploitation, Hokum, Patreon Takeover, Iron Lung, Backrooms, CSI DSO, Brian May, I'm Prince Albert Prince of Eternia, Nipsey Muscle, and the details are a lie.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Hvordan har man et band sammen, når man er forelskede, og hvordan har man et bandsammen, når man går fra hinanden? Det ved den eksperimenterende duo 'Lovers Revenge', somengang var kærester, og som nu fortsætter med at spille sammen, efter de er gået fra hinanden.Hvad sker der med den musik, man laver, når der er alt muligt på spil mellem dem, der spillerden? Det kan I blive klogere på i denne uges helt særlige udgave af Poptillægget. Glæd jer til at lære 'Lovers revenge' at kende, men også til at høre om alle de andre lovers og tidligere lovers, som bandet er inspireret af. Vi snakker blandt andet om parrene fra Sonic Youth, No Doubt, Cocteau Twins og My Bloody Valentine. Panel: Heva Vaupel, komponist og med i bandet ’Lovers Revenge’ anbefaler at spille World of Warcraft: The Burning Crusade og at høre Soli Citys ’Poetics of a New Estate’ Camilla Lind, danser, koreograf og med i bandet i ’Lovers Revenge’ anbefaler at læse ’Reverse Cowgirl’ af McKenzie Wark og høre Debbie Sings Vært: Lucia Odoom anbefaler se den nye musikdokumentar ’Marianne Faithfull: Broken English’ Producer: Sille WestphalSee omnystudio.com/listener for privacy information.

Harry Warden is here to see you! My Bloody Valentine (1981) My Bloody Valentine turns 45 years old this year. The director, George Mihalka, was the guest of honor at this year’s Portland Horror Film Festival. He was kind enough to speak with the Scariest Things, who are huge fans of the film. Lost cutting room footage was recently found when the producer was absorbed by Lionsgate, allowing some of the missing gory effects to be brought back into the movie. So, it’s time to revisit this movie and talk to the creator about why it remains important today. In my nine years of managing the Scariest Things, I have been honored to meet some of the best people in the horror movie industry. Mick Garris, David Dastmalchian, Darren Lyn Bousman, Ben Leonberg, Aaron Moorhead, Carter Smith, and Ted Geoghegan are all people whom I would consider friends of the Scariest Things, having met and interviewed them. But, after meeting George Mihalka, director of My Bloody Valentine (1981), I can firmly say that he is my favorite person in the genre. Talking with George felt like story time. He was warm and generous, and was eager to tell us all about how he did his movie. George is an outlier, as far as horror directors go. He produced a singular, momentous horror film and then had a long directorial career outside of the genre. His experiences with Jack Valenti and the MPAA, who censored his film, were a “death by a thousand cuts” quite literally. It may have scared him off from continuing as a horror specialist, even though he had the gift. Sadly, some of the most creative kills in the movie got edited to the point of bloodlessness. He likes to say that it became “My Anemic Valentine”. And that, “There is more blood in the title than there is in the movie.” Frame-by-frame slicing and dicing. The film became the fall-guy film for the industry as a reaction to random violence following John Lennon’s assassination. Somebody would have to be made an example of, and in this case, it was Mihalka and My Bloody Valentine. The Legacy of My Bloody Valentine Despite all the censorship, it still found an audience. And we can celebrate it 45 years later. It is a testament to the story, the amazing sets, and better-than-average performances that, despite having the most exciting parts of the movie excised, the film became iconic. It is the trope foundation for so many slasher films to come. I Know What You Did Last Summer comes to mind. Scream, with its multiple killer options, also owes a debt to this film. And those are just the big ones. Simply put, My Bloody Valentine is foundational horror. For me, it ranks only behind 1978’s Halloween for slasher movies of that era. You can see the family tree: Black Christmas, The Town That Dreaded Sundown, My Bloody Valentine, I Know What You Did Last Summer, Cold Prey, Heart Eyes. Silent human killers bent on revenge, in full costume, butchering their way through lots of pretty young adults. This is the model, and it works well when executed with focus and craft. My Bloody Valentine helped build the trope platform that so many slasher films have utilized. They may be cliches now, but along with Friday the 13th, The Burning, and Halloween, MBV established these themes: Masked killer (essential) The Hidden Villain Switcheroo Splitting up the group (OK, this one is as old as horror films have been around, but slashers really take advantage of this trope.) Sneaking off to have sex in the next room is really dangerous. Never leave a romantic interlude to get booze. Let’s go exploring a really dangerous place for the fun of it. A panicking mayor. The young people don’t listen to the cops. The cops don’t tell the people what they need to know. The mad prophet. (Happy, in this movie) The body in a cooler. (A nod to Rabid?) Childhood trauma made the killer. Remember. This is an early slasher film. MBV does all of these tropes better than most. Mihalka wanted to do Deer Hunter, slasher style. He knew what he was getting into and willingly admitted that this was a movie meant to be fun and make money. It wasn’t going to be an Oscar contender. But he took the ideas of The Deer Hunter and the disaffected blue-collar workers and crafted a story that, despite its drive-in bona fides, was as much about the community as it was about the killer. The film used a real mine in a wind-swept working-class Sydney, Nova Scotia. It has a simple, plausible story. And now that the film has recovered some of its cutting-room components, restored to a 4K Blu-ray Collector’s edition, it can be appreciated for the gory creativity that fans were denied in 1981. About George Mihalka George was a Hungarian immigrant to Canada, initially unable to speak English or French. He initially found it difficult to integrate into Canadian culture, but would eventually become a highly prolific director in both English- and French-language films. He has amassed over fifty credits. This includes long runs on Canadian TV shows: Crossbow, Scoop, Undressed, and 24-Hour Rental. However, he will always be known for My Bloody Valentine. You can find several of his interviews online, talking about this movie. (But of course, you found this one first, right?) Mihalka appears to be comfortable with his legacy. He’s had plenty of time to see his film first get threatened with an X-rating, then achieve moderate box-office success, receive a sequel, and become the moniker of a hugely influential post-punk shoegaze band. George genuinely seemed to glow at how much the fans appreciated his work all these years later. He isn’t a stranger to the festival and podcast interview circuit. His easygoing demeanor, combined with his wisdom and eagerness to share stories about the craft of filmmaking, makes for story time with Uncle George. This is why I love doing what I do. When you meet your heroes and they turn out to be wonderful people, it confirms that pursuing this hobby as a small-press horror blogger rewards the grind. The Interview: This is the recording from the Portland Horror Film Festival 2026 by Eric Li and Mike Campbell with George Mihalka. We recorded this in the green room for the Hollywood Theater before the big-screen presentation, with all the restored footage in 4K. I included an audio recording of the Q&A session with George, hosted by Andrea Subissati, editor of Rue Morgue and the Bloody Judge this year at the PHFF. More content!

Parlem dels artistes destacats en la jornada de dissabte del festival Primavera Sound: caps de cartell com The xx, Gorillaz o My Bloody Valentine, i bandes m

Hey Talkhouse listeners, this week, I'm throwing you a rerun from a while back, but whose wisdom hasn't dimmed since 2018 when it was recorded. It's a great conversation between Steve Albini and Devo's Jerry Casale that was captured backstage at the Desert Days Festival. I grabbed this one from the archive because we recently passed the 2nd anniversary of Albini's untimely death, and there was a great Rolling Stone piece about his legacy that got me thinking. He was a very smart, sometimes controversial guy, always opinionated, but always thoughtful. Check it out and we'll see you with a new episode next week. —Josh Modell, Host of the Talkhouse Podcast  The Talkhouse Podcast recently headed out to the fantastic Desert Daze festival at Moreno Beach at Lake Perris in Southern California. When we weren't catching sets by Tame Impala, King Gizzard, and My Bloody Valentine, we recorded a trio of great talks; this week, we present the first. When I saw that both Steve Albini and Devo's Jerry Casale were going to be at Desert Daze giving talks, I knew we had to pair these two icons of alternative music. They're big fans of each other's work, and halfway through their conversation, Steve said, “This is the sort of stuff no one ever talks about. These are the questions I've had for 30 years.” Their fascinating talk takes in the beginning years of Devo's existence; their complex relationship with Neil Young; Brian Eno's proclivity for ménage à trois; the differences between poker and making records; and how the name Devo became a category alongside jocks, squares and nerds. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. —Elia Einhorn, Talkhouse Podcast host and producer 1:01 — Start of the chat  1:14 — Introductions, names, and local sports  3:50 — On Devo straddling genres, their connection to Neil Young, and punk rock  8:14 — On the orthodoxy of punk rock culture, and reactions to politics and power structures  15:17 — On Devo's connection to the experimental and underground scene  17:58 — On lying to club owners to book shows in the '70s  19:13 — On promoting Devo's first albums, and Stiff Records  22:44 — On working with Brian Eno, their first major record deal, and meeting David Bowie  27:41 — On Devo controlling and developing their own sound  29:04 — On making “non-functional” experimental music versus dance music, and the role of taste in producing and creating  31:58 — On studio musicians working across genres  35:56 — On being compelled to create original art, regrets, and the paradox of the mainstream record industry  39:17 — On playing poker, and the psychological relationship between poker and creative personas  45:55 — On being an outsider, and Devo becoming “a badge of courage”  This episode was recorded by Keenan Kush at Desert Daze. It was co-produced by Mark Yoshizumi. The Talkhouse Podcast's theme song was composed and performed by The Range. Big thanks to Desert Daze for hosting the Talkhouse Podcast. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Entre The Walkmen, My Bloody Valentine o Superheaven se mueve "Señales", el tercer adelanto del disco que levitants sacarán el próximo otoño. Nuevo artefacto de los vallisoletanos que aborda sin rodeos esa chispa de belleza que, a veces, surge en las derrotas. Emoción, épica y guitarras (y melodía) brillantes para reflexionar sobre una relación que podría haber tenido un mejor futuro, pero que llegó a un fin inevitable. Aparte, escuchamos lo nuevo de Ibeyi, Muse, Grace Potter, el remix de "I Feel So Free", de Madonna por Peggy Gou y recuperamos "Firestarter", de The Prodigy, que vienen al Sonar 2026 y "Chasing Cars", de Snow Patrol, con motivo de la reedición de "Eyes Open", por su vigésimo aniversario.  ANNI B SWEET - Adiós Con AlegríaANGEL STANICH - La Casa NegraVIVA SUECIA, ENJAMBRE - Dolor y GloriaIBEYI - AsetMADONNA - I Feel So Free (Peggy Gou Energy Mix)THE PRODIDY - FirestarterCORIZONAS - Una y Otra VezLEIVA - Cortar Por La Línea de PuntosMUSE - HexagonsCIGARETTES AFTER SEX - Twizzlerlevitants - SeñalesTHE LAST DINNER PARTY - Big DogGRACE POTTER - Love Me NotSNOW PATROL - Chasing CarsEscuchar audio

A whole new age of psychedelia kicked off in the mid-‘80s, of dream-weavers and glorious underachievers, a complete rejection of the standard rock approach to stagecraft, sound and self-promotion. Simon Reynolds was at the heart of it, writing for Melody Maker and piping aboard the pioneering noise-mongers aiming to entrance and disorientate, as recalled in his new book ‘Still In A Dream: Shoegaze, Slackers and the Reinvention of Rock 1984-1994'. He looks back with us here from his home in Los Angeles at its key bands, events and spiritual godfathers, these among them … … the return to childhood via Syd Barrett and Jonathan Richman to Sarah Records … is ‘feeble little horse' the most Shoegaze band name ever? ... what it was about Morrissey that made Smiths singles sink after Top Of The Pops … the reason Bowie formed a band … charming/infuriating interviews with the Cocteau Twins: “words only have any meaning when they're sung” … how Britpop brought down the curtain of the wall of sound … Shoegaze, Dreampop, Lovelynoise, Wide-Brimmed Hat Music and the rock press attempt to impose order: “if a band was on the cover they could double their fee” ... the divine arrogance of Lawrence of Felt who “didn't want ordinary people buying my records” … the ever-extending “noise chasms” of My Bloody Valentine … “shattering quartz”: reviewing music that's about sound not words … Shoegaze DNA in the 21st Century ... and the greatest album of that decade, “each track like a session beer”. Order copies of ‘Still In a Dream' here: https://www.waterstones.com/book/still-in-a-dream/simon-reynolds/9781399618373Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

A whole new age of psychedelia kicked off in the mid-‘80s, of dream-weavers and glorious underachievers, a complete rejection of the standard rock approach to stagecraft, sound and self-promotion. Simon Reynolds was at the heart of it, writing for Melody Maker and piping aboard the pioneering noise-mongers aiming to entrance and disorientate, as recalled in his new book ‘Still In A Dream: Shoegaze, Slackers and the Reinvention of Rock 1984-1994'. He looks back with us here from his home in Los Angeles at its key bands, events and spiritual godfathers, these among them … … the return to childhood via Syd Barrett and Jonathan Richman to Sarah Records … is ‘feeble little horse' the most Shoegaze band name ever? ... what it was about Morrissey that made Smiths singles sink after Top Of The Pops … the reason Bowie formed a band … charming/infuriating interviews with the Cocteau Twins: “words only have any meaning when they're sung” … how Britpop brought down the curtain of the wall of sound … Shoegaze, Dreampop, Lovelynoise, Wide-Brimmed Hat Music and the rock press attempt to impose order: “if a band was on the cover they could double their fee” ... the divine arrogance of Lawrence of Felt who “didn't want ordinary people buying my records” … the ever-extending “noise chasms” of My Bloody Valentine … “shattering quartz”: reviewing music that's about sound not words … Shoegaze DNA in the 21st Century ... and the greatest album of that decade, “each track like a session beer”. Order copies of ‘Still In a Dream' here: https://www.waterstones.com/book/still-in-a-dream/simon-reynolds/9781399618373Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

A whole new age of psychedelia kicked off in the mid-‘80s, of dream-weavers and glorious underachievers, a complete rejection of the standard rock approach to stagecraft, sound and self-promotion. Simon Reynolds was at the heart of it, writing for Melody Maker and piping aboard the pioneering noise-mongers aiming to entrance and disorientate, as recalled in his new book ‘Still In A Dream: Shoegaze, Slackers and the Reinvention of Rock 1984-1994'. He looks back with us here from his home in Los Angeles at its key bands, events and spiritual godfathers, these among them … … the return to childhood via Syd Barrett and Jonathan Richman to Sarah Records … is ‘feeble little horse' the most Shoegaze band name ever? ... what it was about Morrissey that made Smiths singles sink after Top Of The Pops … the reason Bowie formed a band … charming/infuriating interviews with the Cocteau Twins: “words only have any meaning when they're sung” … how Britpop brought down the curtain of the wall of sound … Shoegaze, Dreampop, Lovelynoise, Wide-Brimmed Hat Music and the rock press attempt to impose order: “if a band was on the cover they could double their fee” ... the divine arrogance of Lawrence of Felt who “didn't want ordinary people buying my records” … the ever-extending “noise chasms” of My Bloody Valentine … “shattering quartz”: reviewing music that's about sound not words … Shoegaze DNA in the 21st Century ... and the greatest album of that decade, “each track like a session beer”. Order copies of ‘Still In a Dream' here: https://www.waterstones.com/book/still-in-a-dream/simon-reynolds/9781399618373Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

You probably know "Fade Into You." But did you know that Mazzy Star's thirty year career includes collaborations with The Jesus & Mary Chain and My Bloody Valentine? Have you considered their influence on Lana Del Rey and Beach House? This week we're answering those questions and more with a deep dive on a band that should have been more than a one hit wonder. This week's picks "Halah" by Mazzy Star "In The Kingdom" by Mazzy Star "I'm Less Here" by Mazzy Star The Playlist No Repeat Playlist on Spotify No Repeat Playlist on Apple Music B-Sides Unofficial B-Sides Playlist Support the Show No Repeat on Patreon Join our Discord Email us: norepeatpod[at]gmail[dot]com Follow Us Follow Tyler on Instagram Follow Shaun on Instagram Follow Taylor on Instagram

Deb Googe and Cara Tivey join Mark Millar on the XS Noize Podcast to discuss The Golden Thread — their debut full-length album together as da Googie + Cara Tivey. da Googie is the solo project of Deb Googe, best known as the bass player in My Bloody Valentine and Thurston Moore Group. Cara Tivey is a pianist and composer whose career includes work with Billy Bragg, Everything But The Girl, Blur, Au Pairs and The Lilac Time. In this episode, Deb and Cara talk about bringing The Golden Thread to Belfast as part of the Oh Yeah Presents immersive series, where the music becomes visual as well as sonic. They discuss how the collaboration began, how Cara's piano changed the shape of da Googie, and how improvised pieces were reshaped into finished songs. They also reflect on creative ownership after decades of working inside other people's music, the challenge of performing the material live, the physical force of My Bloody Valentine, women in alternative music, and why there is no grand master plan for what comes next. For the Belfast performance, The Golden Thread will be presented as an immersive live event at the Oh Yeah Centre, co-produced by Oh Yeah Presents and CQAF. The visuals have been designed by Deb Googe and will be operated and installed by The Fully Automatic Model. Listen to episode #283 of the XS Noize Podcast now. Follow XS Noize: Website: xsnoize.com Instagram: @xsnoizemusic Facebook: XS Noize X: @xsnoizemusic YouTube: @thexsnoizepodcast

El profesor presenta en Economía para Quedarte sin Amigos su defensa de la fragmentación política como motor de progreso: Lo pequeño es posible. Europa nunca estuvo políticamente unida y, paradójicamente, ese es el secreto de su éxito a lo largo de su historia. La diversidad, la innovación y el comercio. Resulta llamativo que quienes más invocan la herencia civilizatoria del continente sean también los más empeñados en enterrarla bajo una burocracia supranacional. Esta semana, en Economía para Quedarte sin Amigos, contamos con Miguel Anxo Bastos, profesor de Ciencia Política en la Universidad de Santiago de Compostela. Acude al programa para presentar su último libro, Lo pequeño es posible. Cómo el tamaño define el futuro de una nación (Editorial Deusto), una defensa sin complejos de la descentralización política y una crítica directa a la lógica de integración que ha guiado el proyecto europeo en las últimas décadas. Y es que, según Bastos, "lo más contrario al genio de Europa es estar unida".Música Esta semana, el protagonista de nuestra selección musical es el grupo My Bloody Valentine. Y estos son los temas que hemos escuchado: "When you Sleep" "Sometimes" "Only Shallow" "Soon"

Ce 22 avril, Marjorie Hache anime deux heures de Pop-Rock Station mêlant classiques intemporels et découvertes musicales. On redécouvre des titres de Morcheeba, Bob Dylan, The Fall, George Harrison, Serge Gainsbourg, Michael Jackson et Dropkick Murphys. Mais aussi The Rolling Stones, Limp Bizkit, Devo, Melissa Auf Der Maur, Led Zeppelin et My Bloody Valentine. L'animatrice célèbre également le 73e anniversaire de Peter Frampton avec "I'm In You". Pour ce qui est des nouveautés, Gorillaz s'associe au regretté Mark E. Smith sur "Delirium". Pulp dévoile l'inédit "Begging For Change", et que les Lambrini Girls livrent "Cult Of Celebrity". Sont aussi de la partie la collaboration entre Story of the Year et Jacoby Shaddix sur "Fall Away". La primeur du jour nous vient directement d'Australie avec le groupe Pond, qui offre le titre porteur d'espoir "Terrestrials". L'album de la semaine continue d'explorer "Creature Of Habit" de Courtney Barnett, mis en lumière ce soir avec "Great Advice". Enfin, la reprise de la soirée est signée Smash Mouth, qui revisite de façon surprenante le fameux "Blinding Lights" de The Weeknd. Gorillaz - Delirium (Feat. Mark E. Smith) The Fall - Cruisers Creek Peter Frampton - I'm In You Morcheeba - Rome Wasn't Built In A Day George Harrison - What Is Life Serge Gainsbourg - Harley David Son Of A Bitch Michael Jackson - Beat It Courtney Barnett - Great Advice Bob Dylan - Like A Rolling Stone Dropkick Murphys - I'm Shipping Up To Boston Led Zeppelin - Black Dog Pulp - Begging For Change Smash Mouth - Blinding Lights Limp Bizkit - Break Stuff Story Of The Year & Jacoby Shaddix - Fall Away The Rolling Stones - Sympathy For The Devil My Bloody Valentine - Only Shallow Lambrini Girls - Cult Of Celebrity The Seeds - Can't Seem To Make You Mine Melissa Auf Der Maur - Out Of Our Minds Pond - Terrestrials Deep Purple - Highway Star Devo - Working In The Coal Mine Cage The Elephant - Shake Me Down Aldous Harding - One Stop Ed O'brien - IncantationsHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Tyler Overland and Lewis Cole run the Toronto based record label Cooked Raw. They also book shows and play in bands such as The Crime Family, Christine and Automania. Tyler and Lewis sat down with us to discuss Japanese baseball, 'the dugout deal', never getting sick of throwing shows, YUNGBLUD, Duster, post Bar Italia bands, My Bloody Valentine, the origins of Cooked Raw, dubbing their own tapes, meeting in 2017 at a house show, The Crime Family opening for Angel Du$t, migrating from hardcore to indie rock, Sonic Youth, Sebadoh, Archers of Loaf, the final Strange Ranger album, Dina's Tavern, specific beers from indie rock eras, what not to order at A&W, the worst Wendy's in Ontario, their new band Automania, bar demons, bike accidents, the east end, Christine, upcoming releases and much more!Cooked RawTyler OverlandLewis Cole----Josh McIntyreNick MarianCold Pod----Join us on Patreon to access all episodes and weekly one on one pods!

On this week's Talkhouse Podcast, we've got an intense conversation between two friends about loss, mental health, and more: It's James Graham and Rachel Goswell. Graham is the singer and lyricist of the Scottish band the Twilight Sad, whose first full-length came out back in 2007, and who were part of a scene that included their friends in Frightened Rabbit and We Were Promised Jetpacks—the common thread being intense, emotional, heart-on-the-sleeve rock songs. They chugged along for a while there, making great records, and were eventually kind of taken under the wing of the Cure's Robert Smith, who loved their music so much that the Twilight Sad has become the Cure's default opening band. But life hit Graham pretty hard over the past decade, with a seven-year stretch that included losing his mother to dementia and a bout of his own with mental illness. Graham eventually began writing songs about it, and the result is the first Twilight Sad record in seven years, called It's The Long Goodbye. It's not necessarily an easy listen, but it's worth it. Check out "Chest Wound to the Chest" right here. The other half of today's conversation is Rachel Goswell, best known as the singer of '90s shoegazers Slowdive. Slowdive had a pretty weird trajectory, coming up in the same scene that birthed My Bloody Valentine, Ride, and other big players, but never really getting their due back then. But history was justifiably kind to Slowdive, and they re-formed about 10 years ago, picking up a much younger fanbase in the process—theoretically thanks to TikTok and other social platforms. But Slowdive isn't just playing the nostalgia game: They've released vital new music in recent years, and their latest is 2023's Everything is Alive. In this immediately intense conversation, Graham and Goswell talk at length about how they first got to know each other, about how they become different people on stage, and about their common bond, having both lost their mothers to dementia in recent years. Like I said, it can be intense, but I appreciate their sincerity and openness, and I hope you do too. 0:00 – Intro 2:19 – Start of the chat 3:40 – On how Rachel & James met 4:55 – Staying healthy & finding connection on tour 11:18 – On daily routines to cope with mental health challenges 14:06 – On musician personas & enjoying tour prep 19:54 – On supporting each other while both their mothers had dementia, and the types of dementia 26:42 – On processing difficult memories & mourning for the future 29:57 – On coping with their mothers' dementia during the pandemic 31:18 – On saying goodbye to their moms 33:17 – On living and working with grief 35:24 – On anxiety & working on mental health 36:25 – On "active grieving" 38:42 – On realizing what matters about art after tragedy 40:21 – On finding hope through connecting with new audiences Thanks for listening to the Talkhouse Podcast, and thanks to James Graham and Rachel Goswell for talking. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Toronto shoegaze 5 piece band Mad Iris bring together harsh, loud guitar noise, softer, intimate sounds, both screams and whispers, while evoking a certain hazy, nostalgic 90s image that brings to mind artists like Sonic Youth and My Bloody Valentine. They also have a unique sound through layering up 3 guitars, all adding something new. We caught up with the band at Wavelength Festival 2026, where they performed at St. Anne's Parish, for a quick chat and live session ahead of the release of their self-titled debut album.Songs played in this session: 1. Blackjack 2. Silver Nails, 3. Daisy, Don't Take My Baby.Cover shot: Mad Iris @ St. Anne's Parish, by Owen Forbes.Touch that dial and tune in live! CFRC 101.9 FM in Kingston or cfrc.ca⁠, Sundays 8-9:30 PM! Full shows in the linked archive for 3 months from broadcast.Like what we do? ⁠Donate⁠ to help keep our 102-year old radio station going!Get in touch with the show: email ⁠yellowbritroad@gmail.com⁠, IG @⁠⁠yellowbritroad⁠⁠.PS: submissions, cc ⁠music@cfrc.ca⁠ if you'd like other CFRC DJs to spin your music on their shows as well.

It's 1981 and you're in a small Canadian town that is really into murders, mining, and Valentines Day. We're continuing our mini-series of monies that inspired band names and watching My Bloody Valentine this time on Holiday Phosphorescence! Support the show and get early access and exclusive content on Patreon! Watch us on YouTube! Buy some Merch! https://www.teepublic.com/stores/attention-hellmart-shoppers Check out Executive Producer Michael Beckwith's movie website at https://upallnightmovies.com/ Siskel and Ebert Scale Josh - Down Brian - Down Al - Down Thoreau - Down

Read Todd's piece in Fangoria magazine here: https://www.fangoria.com/hollywood-to-homeless-one-horror-screenwriters-nightmare-trip/ He's written Jason X and My Bloody Valentine just to name a few, but Hollywood even writers can be disposable commodities in Hollywood. We'll disscuss with writer, actor, Todd Farmer. Check out our new bi-weekly series, "The Crisis Papers" here: https://www.patreon.com/bitterlakepresents/shop   READ THE WEEKLY TIR NEWSLETTER HERE: https://www.patreon.com/collection/1853497 Thank you guys again for taking the time to check this out. We appreciate each and everyone of you. If you have the means, and you feel so inclined,   BECOME A PATRON! We're creating patron only programing, you'll get bonus content from many of the episodes, and you get MERCH!   Become a patron now https://www.patreon.com/join/BitterLakePresents?   Please also like, subscribe, and follow us on these platforms as well, (specially YouTube!)   THANKS Y'ALL   YouTube: https://www.youtube.com/channel/UCG9WtLyoP9QU8sxuIfxk3eg Facebook: https://www.facebook.com/Thisisrevolutionpodcast/ Twitter: @TIRShowOakland Instagram: @thisisrevolutionoakland   Substack: https://jmylesoftir.substack.com/.../the-money-will-roll...   Read Jason Myles in Current Affairs Magazine here: https://www.currentaffairs.org/.../donald-trump-is-a-pro... Read Jason Myles in Damage Magazine https://damagemag.com/2023/11/07/the-man-who-sold-the-world/ Read Jason in Black Agenda Report: https://www.blackagendareport.com/rainbow-and-machine...

Send a textA misfit group of unwitting podcasters stumble upon a cursed ancient Aztec Death Whistle. They discover that placing their lips on the whistle will summon strange new feelings deep inside them. On Episode 711 of Trick or Treat Radio our feature film discussion is the horror flick Whistle from director Corin Hardy! We also talk about 90s teen horror, films with great soundtracks, and react to trailers for the films; Hokum and The Serpent's Skin! So grab your favorite ancient cursed artifact, avoid taking drugs from the local youth pastor, and strap on for the world's most dangerous podcast!Stuff we talk about: Shudder, Joe Bob Briggs, good sized libraries, old school horror hosts, The Last Drive In, upset horror fans, Fangoria Chainsaw Awards, Manny Ramirez, Drew Peacock, Friday the 13th, Happy Jason Day, The Andromeda Strain, Godzilla, Monarch, Apple TV+, Kurt Russell, Parasite, Demi Moore, Superstition, The Slumber Party Massacre, Evil Dead II, Demonic Toys, The Rage: Carrie 2, Wishmaster II, The Lost Skeleton of Cadavra, Secret Window, Suicide Girls Must Die, Unaware, The Innkeepers, Ti West, Evidence, Big Ass Spider, The Ranger, Snatchers, Jeremy Holm, Incarnate, The Wicker Man, Slaughter of the Innocents, Monkeyshines, Ron Jeremy, Terror Firmer, Poultrygeist, Svengoolie, Caren Kaye, Dean Cundey, The Fog, Megatron, Scooby-Doo, Frank Welker, Peter Cullen, Corey Burton, Dan Gilvezan, Scream and Scream Again, Donald Webster, Robert Painter, Over the Top, Hokum, Adam Scott, Oddity, Caveat, The Zombie Grrlz, More Deadly Podcast, The Serpent's Skin, Alice Maio Mackay, Charmed, Buffy the Vampire Slayer, RIP Jennifer Runyon, Carnosaur, The Crow, Whistle, Corin Hardy, The Crow, Jason Mamoa, The Hallow, The Nun, Glenn Fabry, Nick Frost, Sophie Nelisse, Dafne Keen, Donnie Darko, My Bloody Valentine, The Breakfast Club, Nightmare on Elm St: Dream Master, Wes Craven, Paul Verhoven, The Ruins, Jena Malone, Aztec Death Whistles, “The Hellraiser Rubik's Cube”, The Faculty, The Guest, Blade II, Fouls Balls, Sirat, One Battle After Another, Buckfast, Michael Jackson Biopic, Django Unchained, Drum, Drum, Hokum if you got em, vegan Aztec death whistle, Wrap It Slap It and Put Your Lips Around It, and The Patreon Pimp.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

-MY BLOODY VALENTINE (2009) -DEMO-CRAZY

Scatter some rose petals on the bed, crack open a bottle of bubbly, and try not to die horribly at the hands of a lunatic. It's Valentine's Day horror with Heart Eyes, My Bloody Valentine, and Valentine on this episode of Attack of the Killer Podcast! Listen & subscribe wherever you get your podcasts or go to http://www.aotkp.com Connect with the show: Become an Official Attacker: http://jointheattackers.com/ Visit our website: http://www.attackofthekillerpodcast.com/ Like us on https://www.facebook.com/attackofthekillerpodcast Follow us on https://twitter.com/AotKP Follow us on https://tiktok.com/@attackofthekiller  Follow us on https://www.instagram.com/attackofthekillerpodcast/ Follow us on https://www.threads.net/@attackofthekillerpodcast Subscribe on https://www.youtube.com/attackofthekillerpodcast Join us on https://www.aotkp.com/discord  Support the show at https://www.patreon.com/aotkp/posts Lastly, check out all the amazing shows at http://thepfpn.com

This week, we promote awareness of “Shoe The World Day – March 15” by visiting a long-forgotten genre that emerged in the late 80s – early 90s. A genre that exploited obscured vocals, guitar distortion, effects, feedback, and overwhelming volume: SHOEGAZE. In part 1, we focused mostly on bands from the UK, but in part 2, we are exploring bands from other parts of the world. These bands use the artistry of guitar innovation to paint some wonderfully layered sonic canvases! If you have a preconceived notion that you don't like this stuff, we ask that you give this episode a shot, as you might be surprised how much it rocks… What is it we do here at InObscuria? Every show, Kevin opens the crypt to exhume and dissect from his personal collection: an artist, album, or grouping of tunes from the broad spectrum of rock, punk, and metal. If you were into this music when it came out back in the early 90s, chances are that you haven't revisited it in a while. Come along on this ride with us and spend the next 90 minutes staring at your feet! We hope we turn you on to something new! Songs this week include: Big Jesus – “Felt In Reverse” from Oneiric (2016) Band Of Susans – “Pearls Of Wisdom” from Veil (1993) Blackwater Holylight – “Bodies” from Not Here Not Gone (2026) Kent – “Lifesavers” from Isola (1998) Softcult – “16/25” from When A Flower Doesn't Grow (2026) Swirlies – “San Cristobal De Las Casas” from They Spent Their Wild Youthful Days In The Glittering World Of The Salons (1996) HUM – “Starts” from You'd Prefer An Astronaut (1995)   Buy cool stuff with our logo on it!:InObscuria Store Visit us: https://inobscuria.com/ https://www.facebook.com/InObscuria https://twitter.com/inobscuria https://www.instagram.com/inobscuria/ If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/ Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/ If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/

On this episode of the podcast Phillip is joined for the first time by movie lover and record producer Shon Wheeler. On the episode he talks about the NEW My Bloody Valentine soundtrack album that is now out. Go here to buy it https://www.terror-vision.com/store/p/my-bloody-valentine Phillip starts the show by giving the general information about My Bloody Valentine with some interesting facts thrown in. It's then time to for Listener' Opinions from Twitter, Instagram, and Facebook. Then Phillip and Shon discuss this movie, and it's a great discussion. They then answer the question of whether they noticed anything from this movie that Tarantino might have liked or used in a film. It's then time to individually rate the movie. Phillip then asks whether they would buy this movie, rent it, or find it for free. Then Phillip gives his Phil's Film Favorite of the Week; Santo vs. Riders of Terror (1970). Shon then gives his recommendation of a movie that he recently watched; The Driver (1978). Phillip then promotes next week's show when he will be joined once again by author and new podcaster Jennifer Upton for The Summertime Killer (1972). Thanks for listening.

Brandon, James, and Hanna discuss the earlier works of this year's Best Director Oscar nominees, starting with Paul Thomas Anderson's ensemble-cast drama Magnolia (1999) 00:00 Welcome 02:30 Soy Cuba (1964) 09:46 Safety Last! (1923) 18:45 My Bloody Valentine (1981) 22:30 Twisted Issues (1988) 27:12 Magnolia (1999) 52:17 Black Panther (2018) 1:15:27 Songs My Brothers Taught Me (2015) 1:26:26 Heaven Knows What (2014) 1:47:00 Thelma (2017)

On this episode of the podcast Phillip is joined once again by movie reviewer Jaylan Salah. Check out her YouTube channel at https://www.youtube.com/@jaylansalahsalman. Phillip and Jaylan discuss the badass Pam Grier and her 1973 film Coffy. After a little Tarantino Talks, Phillip starts the show by giving the general information about the movie as well as some trivia. It's then time for Listener' Opinions from Twitter, Instagram, and Facebook. Then they discuss the movie. It's a great discussion. Phillip and Jaylan then answer the question of what they think Tarantino might have seen from this move that he liked or used in one of his films. They then individually rate the movie. Then they answer the question of whether they would buy this movie, rent it, or find it for free. It's then time for Phil's Film Favorite of the Week; The Pope of Greenwich Village (1984). Jaylan then gives her recommendations; Seeds (2025) and The Tale of Silyan (2025). Then Phillip promotes next week's show, when he will be joined by Shon Wheeler from Scareflair Records to talk all about My Bloody Valentine (1981). Thanks for listening.

Heart-shaped boxes and gas masks: The ultimate horror summit starts NOW! ❤️⛏️ Welcome to Season 4, Episode 4 of The Average. Tonight, we are skipping the corporate romance and descending into the gritty, blue-collar mines of Valentine Bluffs to break down the 1981 cult masterpiece: MY BLOODY VALENTINE. We are incredibly humbled to be joined by a powerhouse panel of horror creators to discuss the lasting impact, the infamous censorship battles, and the legendary legacy of Harry Warden. Joining Johnathan and Tim in the booth tonight:

Nick welcomes Forbes music journalist Jim Ryan back for another round of concert stories and backstage encounters. They talk about recent shows including the Lemonheads at Thalia Hall and Sons of the Silent Age at Metro, then swap stories about run-ins with Flavor Flav of Public Enemy, Chip Z’Nuff of Enuff Z’Nuff, and Al Jourgensen from Ministry. They also look ahead to upcoming tours and vent about just how expensive concert tickets have become. Esmeralda Leon joins in to talk about the weirdness of Valentine's Day, how they spent the weekend, and why the holiday lends itself so easily to horror movies. That leads into a deep dive on ridiculous 80s slasher films, including My Bloody Valentine, and a continuation of their conversation about celebrity pranksters, with Tom Cruise and Ben Affleck added to the mix. It's music talk, holiday skepticism, and horror nostalgia, all rolled into one. [Ep 430]

Send a textEric and Neil head back to the land of the holiday themed slasher movie. We talk about, My Bloody Valentine from 1981. It's a fun early 80's romp, with a small town Canadian feel. 1981 was truly the slasher heyday. Grab a Moosehead beer and join us! 

We celebrate Valentine's Day by reviewing the 1981 horror-slasher classic, My Bloody Valentine! Pickaxes and Canadian accents abound! Plus: Bonobos playing pretend, the superiority of regular olive oil, Valentine's Date 20 Questions, and trailer review of Spielberg's upcoming Disclosure Day!

We're kicking off 2026 with a bang and diving into the classic slasher flick, "My Bloody Valentine." This film is a wild ride through a mining town where love and terror collide—literally! As we gear up for the Anomaly Film Festival happening from November 11th to 15th in beautiful Rochester, New York, we're hyped to discuss the movie's gory charm and its memorable characters. We'll chat about the love triangle drama and the town's unfortunate history that led to a killer returning on Valentine's Day. So grab your popcorn, and let's dig into the blood-soaked fun of this Canadian classic!Check out Anomaly on Social Media!www.anomalyfilmfest.comInstagram: @anomalyfilmfestFacebook: https://www.facebook.com/AnomalyFilmFest/Join us for the Anomaly Film Festival November 11-15 in Downtown Rochester, NY!Mentioned in this episode:Connections with Evan DawsonConnections with Evan Dawson - Subscribe wherever you get your podcasts connectionsJoe Bean RoastersJoe Bean Coffee - Coffee that lifts everyone. https://shop.joebeanroasters.comCommon ThreadCheck out Common Thread on Lunchador! https://feeds.captivate.fm/common-threads-hardcore/ Dialed In: A Coffee PodcastGet Dialed In to the world of coffee with Aaron and Wade! Tastings, coffee news and opinion and more! https://dialedincoffee.captivate.fm

What's the deadliest day after Friday the 13th? Why, February 14th, if you happen to live in the grimy, coal-infested town of Valentine's Bluff in Canada! Love is in the air, blood is spilled on the ground, and hands are being eaten in this special redux episode (because computers ate our Friday the 13th special). From way back in 2017, listen to us - and special guest Becky Wilson in her debut - dig into all the gory details of 1981's MY BLOODY VALENTINE!! It's Canuxploitation, bad laundry, oblivious authority figures, meals on unmoving wheels, hot dog water, very bad romance, quick cannibalism, terrible places to have sex, Hollis worship, and a chocolate-covered edition of Choose Your Own Deathventure!! Check it out and hopefully we're able to rescue the new episode out of the digital dustbin!!   Part of the BLEAV Network.Get even more episodes exclusively on Patreon! Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!Join the new Discord Server Convo here! Our linker.ee Click here to visit our Dashery/TeePublic shop for killer merch! Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast!! Join us on Threads or even Bluesky Check out Gena's newsletter on Ghost!! Check out the films we've covered & what might come soon on Letterboxd! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send a textAfter a catastrophic military disaster, the dead don't just rise - they come back, sit on the couch and refuse to do any housework. A group search for their missing friend, but what they find is far more terrifyingly lazy. On Episode 707 of Trick or Treat Radio our feature film discussion is We Bury the Dead from director Zak Hilditch! We also talk about the best Dick (Grayson) we've ever seen, debate the weight that expectations can place on a film, and for our coming attraction reaction we check out the trailer for the film Obsession, and a preview of the German opera Monster's Paradise! So grab your Zombie Survival Guide, make sure you don't leave any unfinished business, and strap on for the world's most dangerous podcast!Stuff we talk about: Valentines Day, Slim Jims, love is in the air, Friday the 13th, Sean Cunningham, Jason Voorhees, Scream 7, Mummy 4, The Mist, In A Violent Nature 2, Evil Dead Wrath, Chromebook Troubles, lens caps, Frankenstein Must Be Destroyed, The Sentinel, My Bloody Valentine, My Demon Lover, To Catch A Vampire, Charlie Spradling, Sphinx, House of the Dead 2, Sherlock Holmes, The Creeping Flesh, The Stepford Wives, The Beast Within, Dead Alive, The Temp, My Favorite Martian, Teen Ape, Mulva, Messengers, The Wolfman, Christina Ricci, Sleepy Hollow, Cursed, Adams Family, Darren Aronofsky, Josh Brolin, Planet Terror, The Goonies, Christine Elise, Needful Things, Michael Ironside, Total Recall, David Seltzer, The Omen, Richard Lynch, Bad Dreams, Corpses are Forever, Hillbilly Vanilli, Bad Bunny, Punishment Martinez, The Mandalorian, Gorgonzilla, Turbo Kid, RKSS, Klanchella, Milk and Serial, Obsession, Send Help, Sam Raimi, Drag Me To Hell, Iron Lung, the Black Lung game, RIP Ollie and Rio, “the best Dick I've ever seen”, Titans, Archie Bunker, We Bury the Dead, Daisy Ridley, The Battery, Dawn of the Dead, Brenton Thwaite, “Star Wars”, Captain Ron, Kurt Russell, humanity in zombie films, Cold Storage, brush fires, Benny Hill, don't put off tomorrow what you can do today, Night Patrol, Ryan Prows, The Unknown Comic, Pat Morita, Luc Besson, Dracula, Cumberland Farms, Malfunction Junction, My Bloody Scott Valentine, Happy Palentines Day, Go Fund Yourself, Oberons and Deuterons, and Han Salo or the 120 Days of Sodom.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

This week, we celebrate Valentine's Day by reviewing a film that we surprisingly have never done before, 1981's My Bloody Valentine! Also in this episode, Todd gives the boys their punishment film after winning his Super Bowl bet, Steve gives a few anecdotes about the struggles of filming an independent movie and Joe goes on a rant about AI confessionals in true crime documentaries. All that and more! Music provided by www.purple-planet.com

Get your heart broken. TAINTED LOVE month continues with the 2009 remake MY BLOODY VALENTINE. A decade after a mining accident massacre, the town of Harmony is terrorized again when a killer in miner's gear begins a new string of brutal attacks. As survivor Tom Hanniger returns home, secrets resurface while suspicion spreads among the townspeople. Also this week: Ben vs the KFC drive-thru, Snowmaggedon 2026, and this movie's TWO Scrooges. All this--and a whole lot more--on this week's episode of NEON BRAINIACS!! "Happy f---in' Valentine's Day." ----- Check out our Patreon for tons of bonus content, exclusive goodies, and access to our Discord server! ----- My Bloody Valentine (2009) Directed by Patrick Lussier Written by Todd Farmer and Zane Smith Starring Jensen Ackles, Jaime King, Kerr Smith, Kevin Tighe, and Tom Atkins ----- 00:00 - Intro & Opening Banter 24:22 - "The Shpiel" 45:20 - Film Breakdown 01:46:45 - Surprise Segement & Outro    

It's Time D-Heads! Welcome back to The DizRadio Show, where we curate the magic, nostalgia and fun of the things you love even the scary ones! It's a truly epic weekend, folks! We are stepping into a special Valentine's Day that also falls on Friday the 13th. Talk about a recipe for LOVE AND FRIGHTS! Joining us to talk about navigating those blurry lines is the incredible LAUREN O'HARA (Heart Eyes, Not Even, Epic NPC Man)! She is here to discuss starring in the Valentine's Day slasher flick, HEART EYES and we're going to dive into her first American major movie role, creating an American accent, practical effect, cinema scares, living in New Zealand and the film's epic ending! As we celebrate that perfect blend of romance and terror Jonathan from The D-Team talks about those timeless romances from Frankenstein, Vampires, Gomez, Werewolves, Gothic Love, Monsters, Slashers, My Bloody Valentine and so much more! Grab your chocolates, lock your doors, and get ready for a nostalgic rollercoaster of terror and romance! So get ready for the Nostalgia, the Magic, the Wonder, and the Memories with The DizRadio Show "A Pop Culture Celebrity Guest Show"!

Love isn't soft this week — it's sharp. In Valentine's Week Horror History (Feb 9–15), we trace the anniversaries where romance curdles into obsession, suburbia turns sinister, and the holiday's heart-shaped sheen hides something mean underneath.Inside this episode (Quick Hits + Spotlight):Feb 11, 1981 — My Bloody Valentine: blue-collar slasher dread in a mining town where the tunnels feel alive and the “tradition” is murder. (U.S. this week: free via Kanopy / buy-rent on major VOD.) Feb 13, 2009 — Friday the 13th (reboot): Jason's modern-era brutality — fast, nasty, and built like a greatest-hits mixtape of the franchise's worst impulses. (U.S. this week: Netflix and Tubi, plus VOD.) Feb 14, 1991 — The Silence of the Lambs: prestige terror and psychological horror that changed the culture — and proved “thriller” can still be nightmare fuel. (U.S. this week: AMC+.) Feb 13, 2019 — Happy Death Day 2U: time-loop mayhem with real heart and a wicked sense of humor. (U.S. this week: HBO Max.) Deep-Cut Spotlight:Feb 12, 1975 — The Stepford Wives: no monster suit required — just a perfect town, perfect smiles, and a nightmare hiding behind domestic bliss. (U.S. this week: Tubi.) Birthday Roll (4): Emma Roberts (1991), Natalie Dormer (1982), Simon Pegg (1970), Claire Bloom (1931).Weekly Recommendation (Valentine's “bouquet” stack): Misery (1990) (MGM+), Audition (1999), The Fly (1986) (Tubi), plus modern Valentine carnage with Heart Eyes (2025) (Netflix) and Companion (2025) (HBO Max).  If you like your romance with slashers, psychological dread, body horror, and suburban nightmares, this week's timeline is a whole box of chocolates… and at least one of them bites back.

This week we continue our Valentine's Day series of films with a look at the 1981 film My Bloody Valentine. This is Episode 476! My Bloody Valentine is a 1981 Canadian slasher film directed by George Mihalka from a screenplay by John Beaird. It features an ensemble cast that includes Paul Kelman, Lori Hallier, and Neil Affleck. The plot tells about a group of young adults who decide to throw a Valentine's Day party, only to incur the vengeful wrath of a maniac in mining gear who begins a killing spree.Become a supporter of this podcast: https://www.spreaker.com/podcast/castle-of-horror-podcast--4268760/support.

Happy Valentines Day!!! Today we're heading deep underground to crack open My Bloody Valentine (1981). the grimy Canadian slasher that proves nothing says romance like a pickaxe to the heart. Set in a mining town where Valentine's Day comes with a body count, this cult classic blends blue-collar dread, holiday horror, and some truly brutal kills. We dig into the film's troubled production, the infamous MPAA cuts, and why its atmosphere hits harder than most slashers of the era. Is Harry Warden one of the most underrated horror villains? And does this movie deserve more love than it gets? Grab your gas mask, lock the mine shaft, and join us as we unearth one of the bloodiest Valentine's dates in horror history.TikTok: https://www.tiktok.com/@wheel.of.horror7?is_from_webapp=1&sender_device=pc YouTube: https://www.youtube.com/@wheelofhorrorpodcast1802/videos Apple Podcast: https://podcasts.apple.com/us/podcast/wheel-of-horror/id1534102813 Spotify: https://open.spotify.com/show/3HnyAISG8Z8hvMFdSG60tE?si=9b785cf21c7f46a3 Instagram: https://www.instagram.com/wheel_of_horror/ Twitter/X: https://twitter.com/HorrorWheel

We celebrate Valentine's Day with the 2009 remake of the horror classic "My Bloody Valentine"! Part of the Morbidly Beautiful Podcasting Network! Go to www.aaspookshow.com & join our Patreon for bonus episodes & content over at https://www.patreon.com/aaspookshow & follow us on X @AASpookshow as well as Facebook, Instagram, TikTok, Slasher, Threads, Bluesky & our YouTube channel by searching All-American Spookshow Podcast. Email us at allamericanspookshow@gmail.com with questions & comments, and be sure to leave us a 5-star review on Apple Podcasts & Spotify! LINKS: https://linktr.ee/aaspookshow

Andy eulogizes Bob Weir then talks about Ari Aster being more interesting than his films, Yorgos Lanthimos' 2025 film, Bugonia, Emma Stone's interesting choices, the missing My Bloody Valentine albums on streaming services, Cate Le Bon being a better producer than a musician, Marcello Hernández's Netflix special, Andy's new favorite pasta sauce, Swords2's song "失望吗", and Vinnie Vincent's $4,000 album, Guitarmageddon. On Rachel's Chart Chat, Rachel from Des Moines delivers part 2 of her overview of Stevie Nicks' solo singles. Follow Rachel on Last.fm here. You can find a Stevie Nicks Singles playlist Rachel created for this episode here.