Just in case you missed it on the official Discover the Horror site, we now have official Discover the Horror T-Shirts for purchase! What better way to help us promote the podcast as well as show everyone that you are a dedicated student of horror! Huge shout-out to our friends at Pallbearer Press for helping us with these!
Shirts are available in sizes S to 3XL. S – XL are $15, 2XL are $17, and 3XL are $18. Plus $6 shipping. If you want to order multiple sizes or quantities, just email us for what the combined cost would be. If you want to order, just click HERE!
House on Haunted Hill (1959), The Tingler (1959), and Mr. Sardonicus (1961). In the world of ballyhoo, nobody comes close to being a master at it than producer/director William Castle. From giving insurance policies to filmgoers in case they die of fright, promising the horrors onscreen will come off the screen into the audiences, to even letting the audience decide the fate of one of the characters in the film, Castle was a master of it. He treated his fans with respect and wanted everyone to have a great time with his pictures. And they still are entertaining today.
In this episode we’re going to delve into 3 of Castle’s films, as well as the man himself. Joining us to talk all things Castle is superfan and collector (not to mention Regional Warrior for Severin Films) Matt Harding!
Horror movies and heavy metal music have almost gone hand in hand, since the real first heavy metal band, Black Sabbath- which was even named after a horror film! Horror films were a huge influence on the metal genre, from imagery on the album covers, to the lyrics, and even the sound and style of the music itself. And they continue to do so to this day.
To delve a little deeper into the connection between those two, we invited two members of Incantation, one of the oldest death metal bands out there, Kyle Severn and Chuck Sherwood. So, join us as we talk music, metal, and movies!
Corpse Mania (1981), Red Spell Spells Red (1983), The Rape After (1984)
Obviously, the title of our show, and its mission statement is about discovering new horror, In the past we’ve always brought films to the table that we already liked and wanted to discuss. But on this episode, we were given a unique opportunity. We were given a list of somewhat obscure Hong Kong-created black magic horror films which contained titles that none of us had seen, and it gave us an idea: maybe this time Aaron, Damien and Jon would be the ones who discover the horror! We each picked a film we’d never seen but sounded interesting, and on episode 45, we share our thoughts on these very unique films.
If you’ve not spent time in the utterly unhinged world of Hong Kong black magic horror, and are fond of the surreal, the impossible and the inexplicable, we think this show might just be for you. Scorpion attacks, maggoty necrophilia, rats leaping from the mouths of dead fathers… this episode has it all.
To join us, we invited Ryan Smith, who made the list and has gathered probably the largest collection of Hong Kong cinema that we’ve ever heard of. Be careful- this is one where leaves can rip your face off!
El Vampiro (1957), The Black Pit of Dr. M (1959), and The Curse of the Crying Woman (1963). Any horror fan worth their weight in blood knows their fair share about the classic monster films from Universal from the 30s and 40s before they died a slow death. But do you know that in the late 50s and early 60s, there was a bunch of classical looking horror films made in Mexico? Looking a lot like their Universal brethren, these Mexican films cranked up the atmosphere (and the fog machines) to 11, using some of the traditional monsters, as well as developing some from their own heritage.
Mexican horror films from this era don’t seem to get the credit and notoriety that they should. We’re hoping to help change that by covering 3 that we think are pretty damn good. So, buckle up, get your pen and notepad ready and get ready to start down a very foggy path into a highly underrated sub-genre.
Back in ancient times, before Netflix and Amazon Prime, before Hulu and YouTube, even before DVDs and Blu-rays, if films weren’t available to you from either your local video stores, or if you wanted to see an uncut print of a movie, or even one that wasn’t released on VHS, the place you could find them would be in fuzzy gray market of the bootlegs.
These types of vendors were a staple to a lot of the early movie conventions, where fans could find titles that never even knew were out there. Some of us are old enough to remember being able to finally see the uncut full letterboxed version of Lucio Fulci’s The Beyond, after years of suffering though only being able to see the heavily edited Seven Doors of Death.
As your collection grew, you would usually start trading with others, increasing your collection even more, as well as helping to spread the love and passion of these amazing films. This is what we’re discussing in this episode, so sit back and either reminisce with us, or learn about the good old days, when we were happy for a 5th generation grainy print of Anthropophagus that had the infamous fetus scene!
Back in October of 2021, Aaron AuBuchon, Damien Glonek, and myself started the Discover the Horror podcast, with the goal of getting listeners to seek out other films that they hadn’t seen before, or taking another look at ones they had seen, maybe seeing it a little differently than before. I’d like to think we’ve consistently done that with each and every episode.
Well, it seems that last week, we hit 10,000 downloads! Now honestly, since I’m about as technical savvy as an abacus, I have no idea to what the magnitude of that number actually means, but it does tell me that people are listening to the shows and more importantly, coming back for more. We strive to create a show that hopefully sparks that passion inside the listener to take that extra step, or a bigger step, into the genre. As I’ve said before, as fans of the genre, this isn’t a race, but an incredible journey we’re all on together, all being on the same path, just at different points along the way.
Frankenstein (1931), The Bride of Frankenstein (1935), Son of Frankenstein (1939), and The Ghost of Frankenstein (1942).
Time to go back to the source! The films that started a mythology, created the stereotypes, and taught us everything we were going to need to know about the mad genius that created a “monster” and the innocent, child-like creature that would eventually be known by his creator’s own name. In this episode, we look back at the first four Universal Frankenstein films, before the monster-ramas, when the main point was the creature and his maker. While there is a lot of material to cover in only one episode, we cover as much as we can, trying to show you just how important, entertaining and well-made these films are after close to a century.
Devil Dog: Hound of Hell (1978), Vampire (1979), & Dark Night of the Scarecrow (1981). Back in Episode 11, we covered 3 Made-for-TV films that we felt were must see! And now we’re back again to go over another 3 titles that we think are well worth your time and attention. During the late ’70s and early ’80s was still a time of great films that were made to premiere on your television at home, decades before streaming services like Netflix and Amazon Prime were available. Thankfully, these three are available in a variety of formats, but you may have to do a little searching first. But that’s okay…the hunt is part of the fun!
So sit back, hit play, and listen to us ramble on about some really good films, with incredible casts, and some damn entertaining monsters!
Depending on when you not only grew up but grew up with the horror genre could define what films you like, and what you don’t like. But then there are other fans that open up the borders and search outside their comfort zone. In this episode, we discuss those ideas with our special guest, S.A. Bradley, author of Screaming for Pleasure: How Horror Makes You Happy and Healthy, as well as the host for the podcast Hellbent for Horror.
This isn’t an episode about specific films, though plenty are mentioned and discussed in great detail, but also on how they are received by the current audiences, as well as the older, and sometimes younger audiences, and what the differences are.
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