We are pleased to announce the signing of Melanie Denholme to the West Coast Merch and Celebrity Swag Roster. Melanie Denholme is an award winning actress, producer and director with experience on screen and on stage. Melanie has just finished filming several new films: Scream Queen Killer, Dark Satanic Magick and Ancient Succubi. All are set for release later this year and early 2014. Her previous lead roles included Lady of the Dark, The Dark Watchers, Twisted and Others. West Coast Merch and Celebrity Swag will be creating a full line of merchandise for this rising film star. Items will include, cellphone cases, belt buckles, leather purses, watches, key chains, dog tags, playing cards and a full line of sexy flip top lighters.
“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
Yellowood
Why God
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 cosmic_doom_420@yahoo.com
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.
Dark Star Records recently released two music videos for the song Naked and Stoned by Slam Bang. The two music videos feature Ashley UWish Stewart in a sexy photo shoot and have been receiving a lot of press. Both videos can now be seen on the NME Magazine Website.
SGL Entertainment is pleased to announce the release of the new Jezebeth (Special Edition) DVD. This is the debut release of Jezebeth as a stand alone DVD. This Special Edition DVD, complete with a Motion Menu is loaded with Bonus Features like, a Video of Bree Michaels (Jezebeth) performing the Demonic Guitar Solo in her Panties and Bra, The Official Full Length Movie Trailer, and a Special Appearance and Autograph Signing by the Girls of Jezebeth at a Hot Topic Store. The DVD packaging and Artwork is Amazing including a Wicked Pentagram on the DVD Disc. This is a must have for Fans of the Jezebeth movie Franchise.
The movie Jezebeth has become a cult classic phenomenon since it’s debut release on a number of VOD services, including iTunes Movies, YouTube Rentals, Amazon Video On Demand and Google Play for which the movie ranked high on the charts. With all the press Jezebeth was getting, the movie was soon picked up by R-Squared Films and released on Blu-Ray as well as the leading film on a DVD 4 pack called “Super Pack Vampires” which includes four killer vampire movies. And coming soon from the movie franchise is Jezebeth 2 Hour of the Gun, Jezebeth 3 The Guns of El Diablo, and “Jezebeth” a Novel by SE Campbell. The Jezebeth movies are all Written, Directed and Produced by Damien Dante and Co Produced by Jeffrey A. Swanson. Damien Dante and Jeffrey A. Swanson are Creators and Partners in the Jezebeth Movie Franchise, and it looks as though there is no stopping Jezebeth’s Wicked Reign, Because, There Is No God, There Is Only Jezebeth.
The Conjuring Directed by James Wan and starring Vera Farmiga (Bates Motel), Patrick Wilson, Lili Taylor and Ron Livingston. Before there was Amityville, there was Harrisville. “The Conjuring” tells the true story of Ed and Lorraine Warren, world renowned paranormal investigators, who were called to help a family terrorized by a dark presence in a secluded farmhouse. Forced to confront a powerful demonic entity, the Warrens find themselves caught in the most horrifying case of their lives.
A Film Review by The Hollywood Reporter:
So-called Splat Pack filmmaker James Wan “Saw”, “Insidious” opts for old-school restraint over gore in The Conjuring, an involving and effective throwback to ’70s supernatural horror-thrillers. On the basis of through-the-roof reactions at test screenings, Warners and New Line moved the film’s release from January to the summer tentpole season, a decision that should pay off with sizzling summer receipts from young adults. But the handsomely shot, expertly button-pushing scare-fest, which opens on July 19 in North America with worldwide dates lined up through the season, has the polish and the cast to draw older audiences who grew up on shockers built from performances rather than CGI. Wan says he set out to make a “classic studio horror film,” and at that, he’s more than succeeded. With its minimal use of digital effects, its strong, sympathetic performances and ace design work, the pic harks back in themes and methods to The Exorcist and The Amityville Horror, not quite attaining the poignancy and depth of the former but far exceeding the latter in sheer cinematic beauty. The film doesn’t leave a deep, lasting chill, but it excels at putting a refining gloss on cheap shocks. Until a climactic sequence that pulls out all the stops, the director’s modulation teases out plenty of don’t-go-there moments, both formulaic and innovative, for all they’re worth. Based on a documented case from the files of demonologists Ed and Lorraine Warren — known for their investigative work for the Lutz family in Amityville, New York — the story opens as most haunted-house tales do: with a bright and chipper family moving into a huge old domicile, in this case a farmhouse in Harrisville, Rhode Island.
But before the main action begins, screenwriters Chad Hayes and Carey W. Hayes (The Reaping, Whiteout) provide a glimpse of an especially creepy past case of the Warrens’ involving that scariest of horror totems, a doll. Wan uses the cold opening to ratchet up the tension before the audience has a chance to get comfortable, and he weaves the doll into the central plot to excellent effect. Until bringing together the paranormal investigators and the terrorized family, the film alternates between the Connecticut-based Warrens (the exceptionally well-cast Vera Farmiga and Patrick Wilson) and the newly relocated Perrons: Carolyn and Roger (Lili Taylor and Ron Livingston) and their five daughters. The specifics remain undisclosed for much of the film, but it’s evident that the Warrens are recovering from an especially traumatic investigation. At the same time, the Perrons discover that their spacious home has plenty of hidden chambers and boarded-up corridors, and find themselves contending with awful odors, disturbing sounds and shocking visitations in the thick of night.
Wan’s decision to make the apparitions visible to only some of the characters at first, and not necessarily to the audience, is an ingeniously effective way to feed the mounting dread. In heart-stopping fashion, the demonic spirits that plague the farmhouse insinuate themselves into the Perrons’ daily life, most frighteningly in the family game of hide-and-clap, complete with blindfolds. Director of photography John R. Leonetti’s nimble camera follows the girls and their parents through the huge rooms, ever alert to danger, while editor Kirk Morri’s precise cuts deftly quicken the pulse. Still, the Hayes brothers’ screenplay doesn’t truly develop the Perron family as anything more than innocent victims. It pays more subtle and complex attention to character development in the Warrens, whose gently take-charge, DIY investigation, with its crucifixes and Super-8 movie cameras, is a comfort to the Perrons and the audience alike. As the clairvoyant Lorraine, Farmiga resonates an extraordinary sensitivity, conveying wordlessly that Lorraine knows the Perrons’ home is haunted the instant she walks through the front door. Upright, devout and compassionate, Farmiga’s Lorraine is a compelling and believable younger version of the octogenarian Lorraine seen in the recent documentary My Amityville Horror. Wilson, reteaming with Wan after Insidious, is compelling as a down-to-earth straight arrow who has seen the dark side.
The nature of the haunting is gradually revealed until, about halfway in, Lorraine delivers the goods in a breathless block of info that’s semi-comical in its thoroughness — a fact that the filmmakers seem to acknowledge. “Well,” Ed says in response to her research findings, “that explains a few things.” The mechanics of the storytelling are what matters here, and potentially intriguing themes — key among them the Warrens’ faith and fearlessness — are touched upon rather than satisfyingly explored. Among the four principals, Livingston has the least defined role but is effortlessly convincing as a working-class husband and father who finds himself in unspeakable circumstances. As a maternal figure who becomes the chief target of troubled spirits, Taylor gets to occupy a broader range, and does so with warmth and ferocity. The Perron girls are well differentiated, with especially impressive work from Joey King (Crazy, Stupid, Love) as middle daughter Christine, who’s the first to be tormented. From the re-creation of the Warrens’ collection of cursed items (glimpsed in My Amityville Horror) to the farmhouse’s cobwebby crawl spaces and an evocative antique jack-in-the-box, Julie Berghoff’s production design is nothing less than perfect.
Costumer Kristin M. Burke also delivers outstanding work, placing an accent on period-appropriate earth tones that provide a lived-in counterpoint to the story’s otherworldly elements. Heightening the mood throughout is the churn and squall of Joseph Bishara’s score (with featured vocals by avant-garde priestess Diamanda Galas), and the blood-chilling sound design, a dynamic orchestration of creaking doors and angry things that go bump in the night. ~The Hollywood Reporter
by Jeffrey A Swanson / Publisher / Editor / Writer
NOW AVAILABLE ON BLU-RAY “WORLD WAR Z” CLICK ON THE IMAGE BELOW TO BUY IT NOW
CLICK HERE TO BUY IT NOW !!!
NOW AVAILABLE ON BLU-RAY “JEZEBETH” CLICK ON THE IMAGE BELOW TO BUY IT NOW
CLICK HERE TO BUY IT NOW !!!
NOW AVAILABLE ON BLU-RAY “EVIL DEAD” CLICK ON THE IMAGE BELOW TO BUY IT NOW
CLICK HERE TO BUY IT NOW !!!
NOW AVAILABLE ON BLU-RAY “RETRIBUTION” CLICK ON THE IMAGE BELOW TO BUY IT NOW
We are pleased to announce the signing of Melanie Denholme to the West Coast Merch and Celebrity Swag Roster. Melanie Denholme is an award winning actress, producer and director with experience on screen and on stage. Melanie has just finished filming several new films: Scream Queen Killer, Dark Satanic Magick and Ancient Succubi. All are set for release later this year and early 2014. Her previous lead roles included Lady of the Dark, The Dark Watchers, Twisted and Others. West Coast Merch and Celebrity Swag will be creating a full line of merchandise for this rising film star. Items will include, cellphone cases, belt buckles, leather purses, watches, key chains, dog tags, playing cards and a full line of sexy flip top lighters. 
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