I only just noticed these today, tucked away on a remote island at my local grocery store. I knew Carmella was coming, but I was puzzled by the Monster Mash. Thank you for saving me from the monstrous proposition of finishing an entire box of either of these otherwise compellingly spooky cereals.
I will forever be haunted by my childhood memories of when the monster cereals were actually GOOD, and I would desperately inhale bowl after bowl of Chocula (always Chocula first) so I could convince Mom to buy a different flavor before they left stores.
Meg And Dia - Monster Remix Mp3 Download
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My wife bought 4 boxes of Carmella Creeper. We both tried it and would give it a 1 star out of 5. It was sickly sweet and we could not taste any caramel flavor at all. Kudos for GM trying. Just bring back the oat pieces for the original versions.
Every time you write a new cereal review or put out a new Empty Bowl ep it always makes me smile. Will definitely grab some of this if for no other reason than to boost the female mascot approval numbers
For my last release of 2023, I give y'all my remix of 'Monster' by Slander & NGHTMRE. Shout out to the homies for having me on their remix album!Lastly, thank you all so much for all your support this year with every release. I'm beyond thankful and so excited to share what's in store for 2024. Keep your eyes peeled and your ears open. All the love, Bully ?
How nuts is it that once upon a time a track like Hocus Pocus' Here's Johnny was like a massive commercial success on Australian radio? It's an almost-five minute relentless gabba stomper that is just super intense from start to finish. A YouTube commentor on the track (so, totally reliable) pointed out it knocked Celine Dion off #1 on the Aussie charts back in the mid-90s. For whatever reason, the Dutch group's song really connected in Australia.
And now you'll be able to reconnect with it courtesy of a huge new remix from Australian newcomer Hotcaller. We were quite enamoured with his take, and so sent him a few questions to find out a little more ahead of what looks to be a busy release slate - check it all out below:
Hi, I'm Mark, up until recently I produced and released music under a different name for years (RIP) but now I'm Hotcaller. Weirdly, it was the name of my local go-to Chinese takeaway for late night studio sessions. They're outta business now (also, RIP), but the name
kinda stuck with me. Basically, writing music was becoming more like work so at the end of last year I sat down and gave myself some time to just make something without an agenda, genre or an objective and see where it went. A year later I'm here with a three-track EP, a bunch of sick collabs with some artists I love and renewed excitement for what I'm doing. It's left me physically and mentally husked out but happier than ever.
If I had to pick some genres I'd say midtempo electro revival and bass music with a metal influence. I'm calling that hot mess "Nosebleed Electro" for short, and right now the tracks I'm putting out are pretty heavy. Next year I'll have some of my more melodically driven tracks going out so I'm excited because I still feel like there's so much more to the project that I've not even got close to sharing yet.
When I start, I'm think about the end result and about how I'd want people to respond at a live performance and I guess it turns out I mostly want people to make a circle of death. Then on top of that, I'd say my bipolar plays a big part. It was shit at first but now I try not to think of it as good or bad, it's just how it is. It's relevant to my process because at first it totally stopped my process, and now it's become the process. I go from loving the track to hating the track real quick. That back-and-forth is probably not unique, I think the bipolar just blows it way out of proportion. The highs are short and then the lows can go for weeks. I'll usually quit music for life and promise to never write again at least 10 times per song. I know that doesn't sound productive, but a big part of what's made Hotcaller a different experience for me - and I think a different result creatively - was learning to accept the shitty headspace and work with it. When I'm hating everything, I try to use that negative energy as a reason to work harder and push myself to improve, which is a bit brutal sometimes but it gets results. Eventually I'll push through and finish the track which is such an addictively dope moodlet that it keeps me going and inspires me to write the next track.
I've got at least two more tracks due out before the new year, and then I'll be kicking off with some singles, an EP and a few of the collabs as well. There are no set dates but there's so much to get through, so I won't be keeping you waiting.
Universal's infamous legacy of horror comes to life in an all-new terrifying experience that re-envisions the classic horror icons for the 21st century and immerses you in modern horror inspired music. Venture through the rotting remains of an ancient castle -- if you thought you were alone, think again. Follow the trail of corpses through pitch-black passageways as you find yourself in a crypt of bloodthirsty creatures. There's no turning back! Try to escape the clutches of the monsters that started it all and watch your step-it may be your last.
This is it, fans of transgressive transgender madness, the moment you've all been waiting for. The debauched gods of literature have heard your prayers and your RLE (Remix-Less Existence) is about to come to an end. That's because this month sees the release of a radically refashioned 'director's cut' of one of your favorite Chuck Palahniuk novels.
Jump to Tom Spanbauer's writers workshop, in which Chuck wrote his first novel, If You Lived Here, You'd Be Home Already. The 700-page monster was his attempt at emulating Stephen King, and was rejected by publishers across the board. Unfazed, Chuck decided to dabble in even darker material. The result was Manifesto, a story about a model with a shot-off face which would go on to become Invisible Monsters.[1]
The story would not unspool as a continuous linear series of "and then, and then, and then's..." At the end of the first chapter, the reader would be directed to jump to, for example, Chapter Thirty. At the end of Chapter Thirty, she'd be told to jump to Chapter Sixteen. Following the plot would mean paging forward and backward, and you'd never know where the story might end.
As with If You Lived Here, agents just couldn't embrace the dark tone in Chuck's work, and while his voice as a writer got some recognition, nobody was willing to take a chance on him or his crazy book. [1]
That's when he wrote Fight Club, his two-handed, Twin Tower flip-off to the publishing industry. The rest, as they say, is dollar signs and history. Ka-ching! After the success of Fight Club and its follow-up, Survivor, Invisible Monsters was a no-brainer. It was released as Palahniuk's third novel, in paperback only, although by that time the chapter-jumping nature of the original had been (reluctantly) abandoned.
The book quickly became a fan favorite, and those fans have been clamoring for a hardcover edition ever since. Jump to twelve years later, and they are finally getting their wish. But in typical Palahniuk fashion, there's a twist.
So what's new (old?) and different? According to the PR copy, Remix is injected with new material and special design elements that fulfill Chuck's original vision for the novel. Laced in are new chapters of memoir and further scenes with the book's characters. Color me intrigued, which is probably some shade of Plumbago blue. It had been a while since I'd visited Ms. Daisy in the hospital, so I cracked the spine of Invisible Monsters for the first time in over ten years and then cued up the Reeeeeeeee-mix!
Chuck originally intended for Invisible Monsters to be something you could get lost in, like a fashion magazine or casino floor or the Sears catalog. Constantly jumping from chapter to chapter, never knowing how many pages you had left to read. And Remix does achieve the desired effect. Even having just re-read the original, it added a looseness to the narrative flow that I imagine would be disorienting for the first-timer. It's an interesting choice that adds another temporal layer to an already non-linear story. At the end of the preface, you are politely asked to jump to chapter forty-one, after which you are sent all the way back to chapter one, which is technically the second chapter of the original book. You then proceed to ping-pong back and forth between front and back, alternately ascending and descending a chapter at a time until you wind up smack dab in the middle with a gaping shotgun wound. Along the way you get tantalizing glimpses of new material, fueling your anticipation as you wonder how those chapters will be incorporated into the story.
Turns out, they never are. I made it through the entire book without so much as a revised sentence. It was like a typographical Waiting For Godot. I thought back to the preface, in which Chuck wrote, you might mark every page with a little X, like leaving a trail of breadcrumbs, to make sure you read them all. I should have realized that was a hint. So I started from the top and followed all the 'Jump To's', making a note of every chapter I'd read. When I reached the end of the book on page 133 and looked at my list, I had found the missing chapters.
It was at this point I noted that Invisible Monsters Remix is like the Navidson house in House of Leaves: It's bigger on the inside than it is on the outside. The original printing of Invisible Monsters is 297 pages long. Remix is only 301 pages, yet it has a brand new introduction and ten chapters worth of new material. What gives?
I compared chapters, pages, font size, line spacing- even kerning. Turns out, Invisible Monsters is actually only 286 pages long, because the book proper starts on page eleven. Remix is 301 pages, and the preface isn't included in that count, so that leaves us with fifteen pages of new material spread over ten chapters. Those chapters fall into three categories: misremembrances of the characters' favorite movies, anecdotes from Chuck on the writing of Invisible Monsters, and 'where are they now' coda scenes featuring Daisy St. Patience, AKA Shannon McFarland. Each of these chapters are scattered throughout the rest of the book, and each grouping is a self-contained Ouroboros with no definitive beginning or end. 152ee80cbc
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