Metallus’ bitter comeuppance
Metallus’ bitter comeuppance
Metallus taunts Thor the Rock God!
Some craziness from John Cody Fasano’s Thor: The Rock Opera
We Live To Rock by Thor and The Tritonz
The best song (and maybe even scene) from The Edge of Hell is also perhaps Thor’s greatest song altogether, We Live To Rock.
Perfectly summarizing Thor’s rock-philosophy in a 4 word chorus, We Live To Rock is a metal anthem for the ages.
It hails from a time in metal when the greatest source of inspiration was one’s own devotion to, and level of – rocking. These were the good ole days; the days when all you had to do was talk about the manner in which you rocked, how much, and that you fully intended to continue rocking, to make a great song.
And a great song it is.
The end sample is from John Cody Fasano’s Thor: The Rock Opera. Taking place after the events of The Intercessor, the final installment in the Rock ‘N Roll Nightmare Trilogy finds Thor battling the evil snake god Jörmungandr and his evil karaoke henchman Metallus.
For everyone’s entertainment will be some forthcoming gifs from John Cody’s Rock Opera, starring my good pal Matt Mastrella.
The Black Roses performing a flame engulfed encore.
Me Against The World by Lizzy Borden
Heavy Metal contains a demonic power. It seems a sinister and subversive force seeking to set upon our children and corrupt them against ourselves, our religions and our very way of life.
In John Fasano’s Black Roses, the titular band takes this idea to its natural and literal end. They are demons in disguise; corrupting and possessing the children of Millbasin in an all-out-war of the night against the adults.
They become the black roses, soldiers of the night, and slowly begin killing their parents.
Fasano’s second roll ‘n rock horror odyssey plays almost like the antithesis to Edge of Hell. Where Thor’s metal works as a power of light to defeat the Devil, The Black Roses show us it can also have the power conspire with the old scratch and do his bidding.
Viewed as such, they make a nice double feature. Black Roses, however (for better or worse) is a much more polished work. In not serving as a vehicle for Jon-Mikl Thor’s ego and equally large wardrobe, the whole thing feels less like a glorified music video and more like a genuine film.
There’s definite production value increases; a larger cast, a more involved plot, multiple locations, a pretty legit looking concert opener, and an overall improvement on a special effects level.
I say for better or worse because all of this may or may not increase your enjoyment of Black Roses over Edge of Hell.
Gone is Thor’s over the top muscle-metal machismo. Gone are the truly silly effects. Gone is that absolutely ridiculous b-movie sensibility.
Now, if that’s the sort of thing you hate about Edge of Hell, then perhaps Black Roses will prove more enjoyable for you. However, if those are the very reasons you absolutely love it, then Black Roses will probably feel like a bit of a let down.
In other words, Black Roses in a much better film in the classical sense. However, if you’re the kind of viewer that likes their movies with a little extra cheese, Edge of Hell’s got it beat by a furlong.
Black Roses however has plenty of its own goodness to match that of its predecessor:
The opening sequence is really what The Shindig is all about, though. It kinda makes you wish the whole movie was nothing but, and wonder just what the hell happened when the Black Roses finally reveal their true selves again during the film’s climax. It’s anyone’s guess. I’ll have to ask John Cody. I imagine they just ran outta money. Oh well. Least we get some kick-ass gifs.
From that killer opening sequence, here’s Lizzy Borden playing Me Against The World, under (ironically) the guise of the demonic Black Roses.
Listen Bro, I don’t care how cool your Powerslave shirt is, you touch my Black Roses LP and you’re getting laid the fuck out.
Handling demons, John Macenroe style.
This is heavy…