Editors Justine Geoffrey and Scott R Jones, along with everyone else at MMP HQ, are very pleased to announce the authors who’ll be gracing the pages of the premiere issue of NECRONOMICUM: The Magazine of Weird Erotica! But before we get to those names, we’d like to also present the amazing cover art we’ve commissioned from Vancouver-based artist and illustrator Michael “Alchemichael” Lee Macdonald!
Our intention with NECRONOMICUM is to showcase transgressive weird-erotic stories that go beyond the usual expectations, stories that aren’t simply “monster sex” or be-tentacled parodies of erotica. We want the magazine to push the boundaries of weird-erotica while still honouring the traditions that have built this very specific genre, and to do it all with a certain class. If you think you’ve seen enough hentai to know where we’re going, we’d like to ask you to think again. We also wanted to pay homage to the mythical book of Cthulhu Mythos magic and madness that the magazine’s name puns on. So: sex, horror, and contact with divine (if unholy) beings… the ecstasy of encountering the wholly Other… how to pull that off, and do it in a classy way?
Enter Gian Lorenzo Bernini and his The Ecstasy of St Teresa…
Thanks, you naughty Christians saints, you! It’s that kind of transcendent confrontation with another realm of Being that we want to highlight in NECRONOMICUM (with the occasional break for funny bits!) and so we turned to Macdonald (who provided the interior illustrations for Jones’ When The Stars Are Right: Towards An Authentic R’lyehian Spirituality earlier this year) and asked him if he could, y’know, give Teresa of Avila a splendidly squamous dose of Lovecraft.
As it turns out, he could. Boy, could he ever.
Sure, sure… the angel and the arrow are gone. But do you really miss them? Nah!
And now, below, the pretty-much-final cover for NECRONOMICUM #1! You’ll notice we have some authors listed here, and we’re very proud to see their names on this fantastic piece of art and design. The magazine will have stories by Christine Morgan, Sean Hoade (with the funny bit mentioned above!), Jessica McHugh, Konstantine Paradias, and the legendary Ramsey Campbell! There will also be steamy poetry selections from Portland’s own Pattie Palmer-Baker and Richard King Perkins II, as well as an illuminating short essay by Bobby Derie (author of Sex & the Cthulhu Mythos) on our literary-smut mag predecessor, the short-lived but memorable CthulhuSex magazine. And of course, a brief letter of introduction from our editrix Justine Geoffrey.
NECRONOMICUM: The Magazine of Weird Erotica Issue #1 will be online and available for pre-order purchase as an e-magazine (in multiple formats) from the MMP Bookstore and Amazon by the first week of October, and officially drops THURSDAY OCTOBER 23, just in time for Halloween. The magazine will be released electronically three times a year, with a planned best-of collection each autumn. We hope you’ll join us for the ride!
Martian Migraine Press: the Best Kind of Headache!
PLANET of the LUST LARVAE
by Justine Geoffrey
COMING LATE OCTOBER 2014
the much anticipated sequel to Justine G’s gonzo sci-fi erotic spectacular
Orgy in the Valley of the Lust Larvae
teaser trailer for
the Magazine of Weird Erotica
COMING HALLOWEEN 2014
Coming from Martian Migraine Press… NECRONOMICUM: The Magazine of Weird Erotica. From editors Justine Geoffrey (author of the Blackstone Erotica series & Orgy in the Valley of the Lust Larvae) and Scott R Jones (author of Soft From All the Blood), a thrice-yearly selection of the finest, strangest, and most blood-curdling literary smut this side of Dunwich. Think you’ve seen enough hentai to know where this is going? THINK AGAIN.
teaser trailer for
the Magazine of Weird Erotica
“Think You’ve Seen Enough Hentai…?”
from Martian Migraine Press and the people who brought you Conqueror Womb: Lusty Tales of Shub-Niggurath as well as BLACKSTONE Erotica and Orgy in the Valley of the Lust Larvae comes NECRONOMICUM: The Magazine of Weird Erotica… think you’ve seen enough hentai to know where this is going? Think again.
“What’s the Frequency, Lovecraft?”: the Vibrational Horror of ‘YellowBrickRoad’ and ‘Banshee Chapter’1
I’m currently reading through the slush pile for RESONATOR: New Lovecraftian Tales From Beyond, up to my neck in stories of dread machines that tweak human perception just enough to allow other dimensions to be experienced. I mention this only to give you a sense of where my mind is at these days. Probably editing this book has tweaked me somewhat towards seeing what I’ve come to call “frequency” or “vibrational” horror in two recent movies that could, without too much conceptual massage, be seen as the grandchildren of Lovecraft’s tale From Beyond. The films in question are YellowBrickRoad (2010) and Banshee Chapter (2013), and both have as their central horror not physical monsters from this (or any other) world, monsters encountered by entering a physical space, but a kind of creeping psychedelic paranoia surrounding the idea that the monsters of other planes, coterminous with ours, are always here, in our space, waiting for us to see them. We need only adjust the frequency, and there they are, right over our shoulder, or already in our heads. Indeed, the second film I’ll be talking about, Banshee Chapter, makes specific in-media reference to Lovecraft’s story. Both films are highly effective mash-ups of traditional narrative and found-footage techniques.
written and directed by Jesse Holland and Andy Mitton
starring Clark and Cassidy Freeman, Anessa Ramsey, Laura Heisler
Not unlike its precursor, The Blair Witch Project, much of the initial horror in YellowBrickRoad arises from the fear of losing oneself in a wild place: being alone, and hurt, in the woods, with people you have learned not to trust. Anyone who has spent an unwanted emergency night in the forest will feel this film on that level. (I have, and did.) The plot: an obsessed filmmaker and his wife (and a standard-issue crew of photographers, cartographers, wilderness guides, a psychologist, an intern, and one townie keen to join the expedition for reasons of her own) set out to solve a 70-year old mystery that had been covered up by the military and recently declassified. In 1940, the population of an entire New Hampshire town dressed in their best duds and started a walk along a trail that led into the northern woods. Most vanished from the face of the earth, others were found horribly mutilated, and one resident managed to return, but died insane and rambling about music that only he could hear.
It’s this aspect to the story that moves YellowBrickRoad into “frequency horror” for me: the evil the film crew encounters on the trail is intangible, ever-present but non-local, and insidious. When, three days into their expedition, the crew begins to hear old-timey dance hall music, it comes from everywhere, and nowhere. The intern reports that her GPS is on the fritz: the device reports them as being in Guam in the morning, Paris by noon, Barcelona by evening. Similarly, the cartographers (a brother and sister team) begin to experience difficulty keeping their coordinates coordinated: the numbers work going up the trail, but are radically skewed on the return. “The land is like liquid,” the brother states.
Not only the land, but also time and their own internal psychic experiences become malleable. Personality flaws and grudges are blown into high relief, and under the influence of the music, cracks begin to appear in their minds. Memories are no longer reliable or even accessible, simple cognitive tasks (as tracked by the team psychologist) become increasingly difficult, frustration and anger and confusion build and build until someone snaps and the killings begin.
But even that is not the central horror. For a lesser flick, it might be. Kill-crazy madman with a machete stalking innocents through the bush is a standard trope. But in YellowBrickRoad, that madman, and all of his companions, know that something is terribly wrong. And by the time they get him secured and are preparing to save themselves, it is already too late. Whatever it is that is affecting them on the trail (cosmic radiation? geomagnetic fluctuations? ghosts of the dead townspeople? God? It is never explained, which is wonderful, a good nod to Lovecraft, and to the scriptwriters credit) turns up the volume and they are plunged into as disruptive and terrifying an alteration of reality as I have ever witnessed on screen.
Essentially, the terror of YellowBrickRoad is auditory in nature. Sound is the evil thing in the woods: monstrously loud, deafening, shake-you-to-your-knees, make-your-ears-bleed sound. It leaves no room in their heads for anything other than the desire to escape that hellish noise. And it is hellish: a thrumming, discordant, spiking roar that on a decent sound system or coming through good headphones will make you wince and feel sick with vertigo. (Big kudos to the sound design people on this film.) Nothing can stand against this aural assault, which seems malevolent and calculating. Imagine the BWAAAAAM noise from the film Inception, jacked-up on steroids and angel dust, just waiting for you to almost get your bearings before jumping you from behind. It’s like that. To borrow from another Lovecraftian narrative, imagine the Colour Out of Space as a sonic entity. Sanity and reason, relationships and ethics, everything breaks and dissolves beneath it. The group splits, and splits again. The madman breaks free and escapes, and begins to hunt them all down. The ones he can’t catch suicide by various gruesome methods. It all ends in awful, destructive noise and madness and death.
Now, there is a meta- aspect to the film as well, one that plays into the ending, which many have found disappointing. The title is meant as a clue: it is said that the original townsfolk, disillusioned by the Second Great War and wishing to escape into the fantasy of the films they watched religiously in the towns theatre (The Wizard of Oz being a favourite) were called into the northern woods by the evil force that resides there. In one of the opening scenes, the declassified coordinates for the mysterious trailhead take the confused team to that very same theatre, where they meet the townie girl who leads them to the actual trailhead and accompanies them up the trail. By the end, we’re left with the team’s leader, the filmmaker, following his obsession to the “end of the trail” and abandoning everything and everyone he ever valued along the way, only to find himself walking into that same theatre again, where he is presented with a horrific Silver Screen vision of the end of all things. It’s a weird Ouroborous of an off-note, and as mentioned, one that many viewers of the film found unsatisfactory, but at the end of the day I think what we’re looking at in the final scenes of YellowBrickRoad is the internal experience of a man finally losing everything, including himself, to utter horror.
Banshee Chapter (2013)
directed by Blair Erickson
starring Ted Levine, Katia Winter, and Michael McMillian
The horror of Banshee Chapter is less vague in its origins, and targets its victims more specifically. In the film, beings from another dimension have influenced military scientists to synthesize a version of DMT (which, in case you don’t know, is in its normal state already the most powerful psychedelic known to man, and endogenously produced in trace amounts by our pineal glands), which is then used in covert MKUltra-style research, administered to unsuspecting hippies and radicals and the like, with disastrous effects. A modern researcher into these experiments manages to procure a sample of the drug, takes it, and disappears, leaving only disturbing footage of his drug trip and notes toward a book on the subject, notes that reference mysterious “numbers stations” and broadcast relays in the desert. Not long after his disappearance, a journalist friend of his, obsessed with learning what’s happened to him, begins to put the pieces together.
Her journey takes her to his so-called “friends in Colorado” who provided him with the experimental drug. The second act takes place in the house of a Hunter S. Thompson-esque character (played with scenery chewing gusto by Ted Levine) and if you’ve ever been so unfortunate as to experience chemically altered states in strange environments with hostile people, then these scenes will certainly resonate with you. (I have, and it did.) The paranoia ramps up considerably here, with double-crossings and betrayals and general drug-induced mind-fuckery weirdness, until the agenda of the other-dimensional beings becomes apparent: the DMT acts as a radio receiver for the beings from beyond, who then enter this reality and wear humans like suits. Again, the evil comes to us through a tweak in our perceptions, a change in the frequency of our being.
Much as with the creatures in Lovecraft’s From Beyond, seeing these beings means they can see you, and the third terrifying act is a mad and ultimately futile scramble in the desert to locate the secret government broadcasting station that allows the beings access to our world. The Thompson character even goes so far as to drop a complete synopsis of From Beyond on the journalist before a pivotal scene, which almost seems too meta to work, but it does, somehow. Banshee Chapter fulfils the early promise of Lovecraft’s story, and in the process treads some interesting ground rarely seen in current horror. Like YellowBrickRoad, there’s no way to actually escape this evil, since it is vibrational in nature… if you’ve ever been spooked by the idea that radio waves are in fact passing through you right now, loaded with music and information and god knows what else, then this film understands you. These things are everywhere, they are at your elbow even now… like the nameless protagonist in From Beyond, once you’ve seen them, you can’t unsee them. “It would help my shaky nerves if I could dismiss what I now have to think of the air and the sky about and above me.”
Personally, I’d like to see more treatments of this theme, as I think it’s a really effective way to “transmit” horror to the viewer. What are your favourite “frequency horror” films? Enjoy the trailers for YellowBrickRoad and Banshee Chapter below, leave your thoughts in the comments, and if you’re feeling suitably inspired, consider submitting a story to our RESONATOR: New Lovecraftian Tales From Beyond anthology!
Scott R Jones is the author of the short story collections Soft from All the Blood and The Ecdysiasts, as well as the non-fiction When the Stars Are Right: Towards An Authentic R’lyehian Spirituality. His poetry and prose have appeared in Innsmouth Magazine, Cthulhu Haiku II, Broken City Mag, and upcoming in both Summer of Lovecraft and Andromeda Spaceways Inflight Magazine.