“We are extremely pleased to announce that BLACKFINGER, featuring former TROUBLE vocalist Eric Wagner, has signed a worldwide deal with Germany’s prestigious Church Within Records. The mastered album is being delivered to Church Within as we speak, and the CD and Vinyl versions are expected out by the end of the year. An exact release date will be announced soon. A full tour in the support of the album is being discussed, and will be reported on as things fall into place. Until then, be sure to check out the new BLACKFINGER promo video from Kathy Reeves Productions below.”
As reported earlier, DARK STAR RECORDS will be handling the digital release of the BLACKFINGER debut, which will be available on the official release date of the CD/LP. The debut album, with its many peaks and valleys of heaviness and melancholy, along with Wagner’s signature vocals, will mark the singer’s first recorded output since Trouble’s 2007 release “Simple Mind Condition”.
The track listing of “Blackfinger” is as follows:
I Am Jon
On Tuesday Morning
As Long As I’m With You
Here Comes The Rain
My Many Colored Days
For One More Day
All The Leaves Are Brown
Til Death Do Us Part
Keep Fallin’ Down
For those interested in setting up e-mail or phone interviews for radio, websites, or print, please send a full contact name and e-mail address to Mercyful Mike Management & Productions at firstname.lastname@example.org
SGL Entertainment has just inked a deal to Re Release the Cult Classic Horror Film “Hellweek”. Eddie Lengyel’s twisted tale of horror “Hellweek” has made quite a name for itself. You may have seen the movie on Netflix, or picked up the DVD at Best Buy or Blockbuster Video. But there’s a whole new world of horror fans that may not have had the chance to be infected by this disturbing cult classic masterpiece. So, SGL Entertainment is looking to re release “Hellweek” to the ever growing digital marketplace. SGL Entertainment has had quite the success releasing films on platforms such as iTunes, Google Play, Amazon Prime, Big Star TV, iReel and many other platforms. “Horror films do very well in these markets, and Hellweek is primed for success.” quotes SGL Entertainment President Jeffrey A. Swanson. Hellweek is the tale of “Hazing Gone Bad”. Rush week turns unexpectedly hellish when a band of sadistic, masked, homicidal maniacs holed up in an abandoned warehouse wreak havoc on a bunch of not-so-innocent college kids. Wanting to ensure the new pledges prove they’re worthy, fraternity president J.J. sends them to a deserted warehouse rumored to be inhabited by demonic squatters. But the hazing takes on a sadistic tone when the tales turn out to be true. Now the pledges find themselves in a fight for their lives. Written, Directed and Produced by Eddie Lengyel, this gory spine-chiller stars Robyn Griggs, Brenna Lee Roth, Karen Fox, Rob Jaeger and Michael Reddy.
SGL Entertainment partners Damien Dante and Jeffrey A. Swanson are looking to unleash this classic tale of horror and gore with not only one, but two versions of the film. The original “Unrated” version and the “Grindhouse” Version. Look for “Hellweek” to be Available Everywhere around Halloween 2013.
Dark Star Records along with SGL Entertainment have created a new promo video for the third incarnation of the Indianapolis Metal Fest that will feature more than 50 bands including: INCANTATION, ACHERON, FUNERUS, BYZANTINE, TEMPLE OF BRUTALITY, ANGEL VIVALDI, THE CONVALESCENCE, SADGIQACEA, VICIOUS RUMORS, LEATHERWOLF, SEVEN WITCHES, SINGLE BULLET THEORY, MOBILE DEATHCAMP, SYSTEMS, EVOKED, FALL OF THE ALBATROSS, BURNING THE DAY, A FALL TO BREAK, ELCTRIKCHAIR, BEYOND AGONY, OF CREATIONS, EYES OF FIRE, CONQUEST, TWO TON ANVIL, LOW TWELVE, BLOODY MARY and Many More. The event kicks off Friday September 20th at Visions, 7411 Heathrow Way, Indianapolis, IN 46241 and then blows up on September 21st at the Old National Centre, 502 N New Jersey St, Indianapolis, Indiana 46204. Tickets are on sale now at Ticketmaster, Live Nation and the Old National Centre Box Office.
“Elysium” with Matt Damon and Jodie Foster could possibly be one of the biggest box office hits of the Summer. Director Neill Blomkamp known for his breakout film “District 9” has developed his own style of Sci-Fi that has gained quite a following. And with the star power of Matt Damon who is on the top of his game, Elyysium is set to deliver the goods. Below is a review from the Hollywood Reporter. And, remember, it’s only a review… “Make sure and see this film for yourself, I think you will be highly entertained”. ~Jeffrey A. Swanson
IN THEATERS AUGUST 9TH 2013
A Film Review by The Hollywood Reporter:
Matt Damon and Jodie Foster star in “District 9” director Neill Blomkamp’s latest politically tinged sci-fi feature, about a factory worker’s attempt to hijack his way onto a space station inhabited by the elite. A politically charged flight of speculative fiction makes an exciting launch, only to tailspin into an ungainly crash landing in Elysium. Coming in the wake of After Earth and White House Down, this marks Sony’s third big-budget disappointment of the summer, the problems this time stemming from deflating final-act script problems that one would think could have been easily identified. Like Neill Blomkamp’s out-of-nowhere sci-fi triumph with District 9 four years back, this one puts rugged action and convincing visual effects at the service of a sociologically pointed haves-and-have-nots storyline, but when the air goes out of this balloon, it goes fast. There will no doubt be partisans, but an embrace by the masses will elude it. Blomkamp gets the dystopian juices flowing with images of future sprawling slums and urban ruin that one might initially take to be Mexico City or Sao Paulo but are soon identified as belonging to Los Angeles in 2154.
Most of the beleaguered inhabitants seem to speak Spanish and perform menial labor if they do anything at all, while good health care is very difficult to come by. By contrast, hovering far above Earth and appearing like a five-spoked wheel in the sky is Elysium, an enormous space station where the rich live in a stress-free country-club environment enhanced by marvelous technology that can cure any ailment, meaning that life can theoretically go on indefinitely. A kind of United Nations council of international fat cats runs the place, and riffraff from the overpopulated and polluted planet visible beneath them is rigorously kept out, no matter how many desperate refugees dare the 19-minute dash in makeshift spacecrafts in order to get their illnesses treated. Liberals may embrace the film and conservatives might attack it strictly on the reductive basis of its obvious plea for universal health care. All the same, the growing contemporary disparity between the privileged classes and the poor in many parts of the world is plausibly extended for dramatic effect in Blomkamp’s script, which has the wretched Earth dwellers kept in line by robo-cops and where anyone who actually has a job is counted as lucky. Among these is former convict Max (Matt Damon), now holding down a lowly factory gig but maintaining ties with the criminal/revolutionary underworld, part of which is devoted to running “illegals” up to the spinning celestial orb. Much in the manner of District 9, but without the aliens, this early stretch creates a potently physical impression of a dangerous and destitute urban environment, one where immediate threats could lurk anywhere and a sense of one’s physical and societal inferiority can never be escaped; all one has to do is look up. With all this, Blomkamp sets several narrative pots to simmering, promising much in the way of eventual direct conflict and potential intellectual complexity.
Instead, the film narrows into a series of standard gun battles, explosions, mad dashes, close calls, tough-guy fisticuffs, ridiculously fast downloading of massive computer files under maximum duress and, in the end, mawkish sentimentality. All the interest and goodwill built up by the sharply conceived preliminaries is washed away in a succession of scenes that feel crushingly routine and generic, not to mention guided by ideological urges. Contaminated in the workplace by radioactivity that leaves him with five days to live, Max is convinced by his insurrectionist gangland pal Spider (Wagner Moura) to be painfully fitted with a metal exoskeleton that will turn him into a veritable robo-rebel, an abundantly armed knight of the righteous. In an unusually contemporaneous twist, they intend to capture Elysian pioneer (William Fichtner) and transfer the central organizational file from his head into Max’s, which they believe will open up the Elysian gates to the masses. Trying to orchestrate a coup for her own interests is Armani-clad regime iron lady Delacourt (Jodie Foster), who has an Earthbound stealth agent, Kruger (Sharlto Copley), to do her dirty work. Unfortunately, Kruger all but hijacks the film in the late-going with his irrational behavior and cackling his sword-twirling villainy comes off as something more appropriate for a live-action cartoon bad guy, or an enemy in a 300-like bloodbath. Not helping is Copley’s unsoftened South African accent, which makes much of his dialogue very difficult to decipher, even if the character’s intent remains unmistakable. Max’s transformation into a part-metal fighting machine may have been conceived as a noble act of self-sacrifice, an existential act or both, but dramatically it has a highly constricting effect on his behavior, as well as on the viewer’s ability or desire to relate to him. Bereft of full mobility and reduced, in effect, to a simple fighting machine, the character loses his unpredictability along with much of his appeal. Had the climactic action been pitched in a less ordinary way, Max could have emerged as a genuine tragic hero, but the character’s full potential is missed by a long shot.
Conceptually as well, Blomkamp has failed to take the extra step with both the ruling class and the denizens of the lower depths; despite the fact that the action is set 131 years hence, both look exactly as they do now. The fancy mansions of Elysium and their inhabitants’ wardrobes are exactly what you’d find in Malibu or Miami today, while the rough-hewn down-and-outers sport tats and attitude and would look right at home in a Fast and Furious film. With his noggin shaved, Damon comes off credibly as a ticking time bomb early on but becomes unduly constrained by his metal apparatus later. Foster is all official business and ambition as the devious politician, often speaking French to her colleagues and then English in a firm international accent of sorts. Alice Braga plays for empathy as a single mother with a leukemia-stricken little daughter for whom a trip to Elysium represents the final hope. As in District 9, the excellent effects and location work (Mexico City stood in for Los Angeles, while Vancouver represented aspects of Elysium) make for a vivid, convincing backdrop.
~The Hollywood Reporter
by Jeffrey A Swanson / Publisher / Editor / Writer
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We are pleased to announce the world premiere video release of “Ballbreaker” from metal trio Two Ton Anvil. The band has been on a non stop rollercoaster ride for this last year, touring non stop in support of their sophomore release “Coming Home” now available worldwide on Dark Star Records and Sony Music Entertainment… The video was directed and produced by Mario Salazar who also directed Two Ton Anvil’s two previous videos “Corruption” and “Victims”… The song Ballbreaker will also be featured in the movie Jezebeth 2 Hour of the Gun, Directed by Damien Dante and starring Ana Santos.
We are pleased to announce that “Cosmic Fury” the new Supergroup featuring Matt Mercado “Mindbomb” has inked a deal with Dark Star Records. Cosmic Fury has a history. Maybe not compared to the 13.77 billion years that the universe has been around, but the members of this Chicago power quartet have been writing, performing, rehearsing and recording for several decades and the supergroup label is definitely well applied here. The band features former members of Daisy Chain, Mindbomb, Bunker Hill, Pivot Man, Supermercado, Roller and Zoetrope. Band leader and singer, Matt Mercado and bassist, Danny Vega, played together in the 90s band Mindbomb. Mindbomb signed to Mercury Records which gave Mercado and Vega the chance to tour around the world with rock gods like KISS, Rob Halford, Jackyl and Mötley Crüe. Mindbomb songs were also featured in two major motion pictures: Kalifornia starring Brad Pitt and Cliffhanger starring Sylvester Stallone. After Mindbomb, Vega went on to play with drummer, Frank Iffland, in the popular local outfit, Bunker Hill, while Mercado launched Supermercado with guitarist and Zoetrope alumnus, Michael Ray Garret. That band’s single “Ditch Kitty” was featured on the Gold selling soundtrack for “FlatOut: Ultimate Carnage,” the demolition racing game released for the Xbox 360. The band will be releasing their 6 song debut Album on the Dark Star Records Label in Association with Sony Music Entertainment. The Album was produced by Matt Mercado at Sonic Palace Studios and mastered by Roger Lian who has worked with Mushroomhead, Slayer, Overkill, Stained and The White Stripes. Look for the Album titled “Cyber Dust” to be available Worldwide in the Fall of 2013 along with some “Out of this World” music videos.