“Heavy metal has always shared a close relationship with the horror genre. From metal grandaddy Black Sabbath’s very name (lifted from Mario Bava’s 1963 anthology film) to the occult aesthetics of black metal and the grisly imagery of death metal, this diverse sonic universe overlaps with horror in varying noteworthy ways. Indeed, I found my gateways into heavy music around the same time I discovered horror fiction and cinema, and it all seemed somehow connected.”
Eric Raglin talks to Mike Thorn about the horrors of academia, formative metalhead experiences, and addiction in horror fiction. In the second half of the episode, they have a spoiler-filled discussion of “A New Kind of Drug” from Thorn’s collection Darkest Hours (Raglin provides a warning in advance, and the rest of the episode is spoiler-free).
“Given its distilled concentration of elements, its fierce reworking of pop sensibility, and its placement within the band’s trajectory, Screaming for Vengeance feels something like metal’s answer to Pet Sounds.”
Mike Thorn wrote about Korn‘s 2002 album Untouchables for the Formative Music column at Vague Visages.
“Exhume to Consume” was my working title for the second story in my new duology, Dreams of Lake Drukka & Exhumation ; unfortunately, the title already belongs to a song from Carcass’s Symphonies of Sickness (which is included on this list). Like many of the pieces in my collection Darkest Hours, this new story owes something to the atmosphere and imagery of death metal and black metal. For Night Worms, I’ve listed and (very, very roughly) ranked my 100 favorite metal albums.
“Darkest Hours is brutal. I mean that in the best way possible. The stories here range from cosmic horror to real horror and everything in between. I, myself, am a massive fan of heavy music and it was great seeing stories interjected with death and black metal imagery and references.”