“The Walking Dead” returns to AMC on February 9th with it’s Greg Nicotero directed ninth episode.
AMC shared with Bloody Disgusting a brand new trailer that sneaks the second half of the fourth season.
Here’s the accompanying synopsis: “Following the devastating events of the mid-season finale, Rick and the group are still reeling from the loss of their home, family, and friends. With the destruction of the prison, we see the group of survivors broken apart and sent on divergent paths, unsure of everyone else’s fate. What was a challenging life behind fences and walls grows that much more perilous and precious as they are exposed to new dangers, new enemies, and heartbreaking choices. They will have their faith thoroughly tested — a faith that breaks some of them and redeems others.”
Check it out below!
Created & curated by Robert Rodriguez and his collective, El Rey Network shared this fun Valentine’s Day promo that teases their network debuts of Bram Stoker’s Dracula and Tom Holland’s original Fright Night.
They’re in production on the “Dusk ‘Till Dawn” television series as we speak. We’ll be the judge when that airs.
El Rey Network, launching December 2013, is a new 24-hour English-language network founded by maverick filmmaker Robert Rodriguez. The network’s action-packed content is anchored by original signature dramas, feature films, grindhouse genre, cult classic action, horror/sci-fi and next-generation sports. Curated by Rodriguez and his artistic collective, it will serve as a platform for diverse and riveting storytelling. El Rey Network awakens the renegade in everyone and has been created for viewers who won’t check a box.
It’s one thing to have superlatively high expectations before delving into an eagerly anticipated series written by the fantastic Rick Remender. But it’s something else when those expectations are exceeded at every turn by the sheer force of talent and passion behind the project. Boasting an exceptionally skilled artistic team comprised of Wesley Craig and Lee Loughridge, Image Comics’ “Deadly Class” hits all the marks with dead-on precision.
WRITTEN BY: Rick Remender
ART BY: Wes Craig
PUBLISHER: Image Comics
RELEASE: January 22, 2014
Like excerpts from deeply personal journal entries, set against a backdrop of violence and dark themes, “Deadly Class” tells a compelling tale of strife and survival through the troubled eyes of 14-year-old street kid, Marcus Lopez. Our journey begins in 1987, as the author unceremoniously drops us head-first into Marcus’ arduous life on the streets of San Francisco. Reagan’s controversial reign as POTUS is nearing its end, and true to the consequences of his politics, Remender paints a bleak and angry picture of a time plagued by the disenfranchisement of the mentally ill and violent-prone youth.
He writes an exceedingly captivating tale made totally accessible by creating such a raw portrait of a damaged kid, but it isn’t long before the narrative kicks into high-gear with a brilliant show of epic action. Once introducing the mysterious Saya and her eclectic cohorts, Marcus — who is tortured by a cataclysmically devastating event from his past and struggling through the hopelessness of his present — is finally given a sense of direction and belonging in the form of “Kings Dominion School of the Deadly Arts”.
Being a sucker for any works of fiction involving elaborate ‘Extranormal Institutes’ of learning — whether good or evil — my inclination to read Remender’s take on a similar trope had been remarkably strong. And with very little still known about the assassin training academy, my interest is only heightened to an embarrassing degree. There’s something to be said for the author’s ability to keep the mystery alive, while solidifying reader interest for the next issue.
The amazing artwork is a huge selling point for the series. Far be it for me to fully recognize the punk/skate subculture and setting of an 80s era San Francisco, but Wes Craig and Lee Loughridge’s collaborative work allows for a sense of ambience and style that really seems to suit said period in time. Craig’s brilliant pencils and Loughridge’s understated colours provide a thoroughly engaging visual experience from start to finish. It’ll prove quite difficult not to be completely submerged in the illustrated action that effortlessly flows from page-to-page. There’s nothing stiff or unyielding about their impressive knack for depicting high-octane movement. And it’s made entirely effective thanks to the wicked panel layouts that add a sense of exhilarating urgency to Remender’s accelerated narrative. This creative team is a force to be reckoned with, and “Deadly Class” proves to be just as powerful.
Review by – ShadowJayd
When “Bedlam” first came onto the scene I was a big fan of the direction of the book. It was a fresh take on the psychotic serial killer persona and the horror elements within it were well mixed with mystery and suspense. Unfortunately I feel as though Nick Spencer has really lost his way with this book and has completely 180’d the story from its first arc.
WRITTEN BY: Nick Spencer
ART BY: Ryan Browne
PUBLISHER: Image Comics
RELEASE DATE: January 22
Formerly known as Madder Red, the insane serial killer, Fillmore has made an effort to become a rational and helpful man. Working with police the suspect of being a mastermind behind a brainwashing epidemic has been tracked to a school. Now with everything out in the open and a final confrontation underway Fillmore needs to choose between his present self and his supressed past.
Though the writing itself is well done the story has lost a lot of its spark that was prevalent in the first story arc, this whole brainwashing premise that Spencer is shoving down the readers throat just doesn’t compare to his first story line or the history of Madder Red. The most enjoyable part of these books are the flash backs that lead off each issue giving us more insight on Madder Red and his nemesis The First. The presence of the man with pixilated face that even Fillmore can’t distinguish is a great idea but just doesn’t resonate with me personally.
When it comes to the art, the effort put forth by Ryan Browne is commendable. It’s an incredibly sketchy style that, mixed with a less realistic look. The man is talented, there is no doubt there, but sometimes the sketchiness gets a tad excessive and takes away from the illustrations. The colouring by Jean-Paul Csuka is awesome. An incredible array of colours within the same panel that is juxtaposed with other panels which only have one colour throughout it.
“Bedlam” has slowly gone from the top of my reading list to the bottom. Hopefully the ship will be find its course again so I can jump back on the boat.
Reviewed by – GreenBasterd
Another crossover? It’s only January and we’re starting another line-wide crossover? “The X-Files / Ghostbusters: Conspiracy” #1 thankfully bucks the trend of underwhelming chapters and delivers a solid chapter in what looks like a fun multi-title event from IDW Publishing. Bigger and more prominent publishing companies should take note of how to do these types of stories effectively.
WRITTEN BY: Erik Burnham
ART BY: Salvador Navarro
PUBLISHER: IDW Publishing
RELEASE: 22 January 2014
The Lone Gunmen from “X-Files” lore are on an urban myth road trip after getting ominous orders from Mulder and Scully. Their first stop is to debunk some con artists claiming to have a service to get rid of ghosts. We all know and love them as The Ghostbusters! Writer Erik Burnham lets the voices of all of these characters ring true to what fans know and love. There’s bickering, teasing, paranoia chit-chatting and all the other beats we expect to hear from both sets of characters bumping into each other here.
Artist Salvador Navarro shows some ability to stretch with the two worlds colliding here. The Lone Gunmen seem more realistically drawn and maybe a little photo-reference stiff for my taste. By contrast, The Ghostbusters, Slimer, and the guys seem more natural. Maybe it’s because the two series are decades apart so artists can have more creative flexibility when showing us the gang with the proton packs and the ghosts and ghouls they deal with. Maybe realism is required more for “The X-Files” realm than it is when you show men shooting lightning at ghosts and shoving them into shoe boxes.
Once again, I’m pleasantly surprised to discover something new and fun in comics shops this week. “The X-Files / Ghostbusters: Conspiracy” #1 has definitely got me interested to see how this road trip across the IDW world plays out. It’s exactly the kind of event book I think (and hope) people enjoy more and more. It’s got familiar characters mixing it up, the artwork is pretty spot on, and the thread linking them all together is simple yet effective. I imagine this being an enjoyable tale which everyone can hop onto and follow wherever this conspiracy takes us readers.
Reviewed by – Your Friendly Neighborhood Brady
A darkly vibrant crime thriller, “Dead Body Road” #2 layers the mystery with hard-hitting twists and slick humor. You’ll be quoting the tough guy dialogue by the time you’re through with the issue. The “Dead Body Road” series is a hot dose of adrenaline to the system.
WRITTEN BY: Justin Jordan
ART BY: Matteo Scalera
PUBLISHER: Image Comics
RELEASE: Jan. 22, 2013
Tired and frightened, Rachel is on the run from two well-armed hired goons, who are having second thoughts about keeping her alive The hired goons have trapped Rachel in the corner of a nearly empty diner. With no weapon in hand, Rachel sits trapped in a small booth with the two thugs. who have their guns pointed right at her. Rachel keeps her mouth shut as she hides something valuable from the two. What none of them realize is that someone else is directly on the way to the diner. Cage is seeking revenge against the men who killed his beloved Anna. No one will be spared alive when Cage is through with all of them.
Writer Justin Jordan mixes the high octane drama with his own brand of pulpy humor. Though the hired goons may sound like two ordinary dumb thugs, their eagerness for violence makes them deadly. The two goons are just itching for Rachel to make a mistake, so they can pull out their guns and start shooting at her. They are willing to murder the waitress working at the diner, even though she is an innocent bystander.
What I really enjoy about Jordan’s narrative is how the suspense is built around one single location. Jordan has to keep the tension flowing and escalating at the right pace as Rachel sits confined in a booth with the two goons. How is Rachel going to get out of the room alive when she is completely surrounded? One of the goons even reminds Rachel that there will be no cavalry rushing in to save her. Rachel may look like a damsel-in-distress but Jordon has a neat little twist waiting for readers.
I particularly liked Matteo Scalera’s character design for Rachel. If you notice, the colors to her shoes match with her striped shirt. With the aid of Moreno Dinisio’s color scheme, Rachel looks the part of a blonde bombshell, but she has actually lived in the seedy underbelly for far too long. In order to appear tough, Rachel wears a leather jacket and has piercings near the top of her nose, between her eyes.
Through wide shots, Scalera’s depicts the western landscape with a vast desert, where the sun is always scorching. The isolated diner sits out in the middle of nowhere, by the side of a lonely road. Scalera hits the reader hard with his portrayal of graphic violence, especially when guns are drawn. Towards the climax, there is a Mexican standoff that will get the heart racing as every major character starts blasting away.
Making great use of its location and gritty characterizations, “Dead Body Road” #2 flows with pulsating energy in just about every page. I can’t wait to see how Cage continues his wrath as the “Dead Body Road” continues.
Reviewed by Jorge Solis
As part of CNNs ongoing “Faces of Faith” programming, the news station is welcoming the writer of “Escape From Jesus Island”, Shawn French, as a featured guest this Sunday. He will be discussing his Jesus-cloning horror comic book, and I imagine things will get pretty weird. So make sure to tune in to CNN this Sunday at 8:00 AM EST.
Head to the Facebook event page for all the details.
An attempt to clone Jesus eventually succeeds, but in the process creates scores of hideously deformed freaks and a twin brother, Damien, who has all of Christ’s powers and a very different agenda. When the Vatican hears of Christ’s return and sends in an extraction team, all Hell breaks loose.
I, Frankenstein is the worst theatrically released film I have seen in three years. As random as that three year metric might seem, that’s about how long it’s been since it became my job to watch and review films and conduct interviews around them. This is the only measurement I can use because if I ever started watching a film as bad as this before then, I almost surely turned it off.
I’m not trying to be hurtful or snarky when I come at the film this negatively. If there were some redeeming qualities to it, perhaps I could be more playful. But I’m going to have to give this film such a low score that I want to be clear that there’s no sport involved here. I don’t have a vendetta against it and I don’t wish any harm to its makers, but I can’t think of a single person who might enjoy this movie. I’m not even sure who it’s for. It’s rated PG-13 but I can’t think of a single 13 year old who could buy into the mythology presented here. I can’t think of a single 13 year old who wouldn’t get tired of almost every passionless frame.
I, Frankenstein begins with the demise of Victor Frankenstein, who freezes to death trying to hunt and kill his abominable monster, Adam (Aaron Eckhart). Adam feels compelled to give Frankenstein a proper burial and he travels back home in order to do so, at which point he (and Frankenstein’s reanimation sketch book) becomes embroiled in a war between Gargoyles (who are essentially Angels) and Demons. He’s taken by force to the Gargoyle castle by Gideon (Jai Courtney) and they all pretty much decide he should be destroyed. That’s when the Gargoyle Queen (Miranda Otto) steps in, sees something worth saving in Adam’s soulless eyes and decides to release him.
Adam spends 200 years practicing martial arts in the mountains before he is thrust back into the whole Gargoyle vs. Demon thing in the present day. There’s a Demon Prince named Naberius (played by Bill Nighy – the only person in the movie who seems vaguely alive) who is also the CEO of a company that’s trying to perfect reanimation via electricity in order to bring an army of the dead to life so the Demons can possess them because they have no souls. The beautiful Terra (Yvonne Strahovski) is the innocent electrophysiologist tasked with making this happen. It turns out that either Adam or Frankenstein’s journal (it doesn’t much matter which) would be pretty helpful in making this happen. You know what happens from here.
What you don’t yet know is that there isn’t a single commendable decision in the entire film. Sure they hired a bunch of good-to-great actors, but they’re wasted. Eckhart is a hugely charismatic performer but the role is hellbent on draining all of that away in service of proving his character doesn’t have a soul, a somewhat successful gambit until you realize it leaves the film without one as well. The CGI is far from convincing or even being aesthetically pleasing, serving only to hammer home the video game trappings this movie has no intention of escaping. When a good die guys, there’s a flash of blue light as he ascends to heaven. Bad guy? Red light as he descends to hell. It’s a cool bit of shorthand that’s quickly beaten to death, littering every “epic” battle scene with cheap flashes of light intended to serve as a meter of who’s winning the thing as opposed to establishing any sort of memorable action sequence. The dialogue is just brutally bad exposition getting us from scene to scene without a hint of anything idiosyncratic or unique that might threaten to bring these characters to life.
I think the true issue with this movie, what makes it so profoundly unengaging, can be found in its contentedness to simply ape the Underworld movies. It’s the exact same thing. Two sets of clashing creatures. A supernatural protagonist caught in the middle. A war that has raged on into the present day (unbeknownst to humanity). A lot of blue color grading. But here’s the thing – the Underworld movies aspired to be more. They weren’t great, but they tried. There was some sort of gothic Shakespearean goal they were grabbing at and, no matter how badly their reach exceeded their grasp, the fact that they were reaching at all made some of them almost watchable. I, Frankenstein doesn’t have that ambition. It reaches only to be an Underworld movie and as a result falls far short of even that modest goal.
Much like its central monster I, Frankenstein is stitched together, less than the sum of its parts and has no soul. Let’s not revive him for a sequel.
Now on all VOD platforms is Magnet Releasing’s crazy awesome Big Bad Wolves, which Quentin Tarantino called one of his films of the year.
From Israeli writer-directing pair Aharon Keshales and Navot Papushado, known for Rabies, this movie is absolutely incredible. Check out a handful of clips below to see if it’s up your alley for this coming weekend…
One of the most intense films of the year is about “A vigilante cop and a vengeful father capture and interrogate an accused serial killer. Aharon Keshales and Navot Papushado’s brutal follow-up to Rabies examines a horror that most would not want to imagine: what would you do if someone hurt the one you loved most? A revenge thriller with teeth, Big Bad Wolves delivers on its raw tension and operatic drama.“
That hideous Jonah Hex continues his romp in the modern DC Universe next week with “All-Star Western” #27. This is a pretty insane chapter in Hex’s life and it’s clear that all creators involved are having an absolute blast doing it. I mean, who doesn’t want to see the Jonah Hex confront the Man of Steel? Check out our exclusive preview below.
WRITTEN BY: Justin Gray, Jimmy Palmiotti
ART BY: Moritat
PUBLISHER: DC Comics
RELEASE: January 29, 2014
Hex’s journey through the modern age continues! Guess whose attention Hex attracts as he makes his way to Metropolis!
Deadline reports that, looking to build on the success of its TNT drama “Falling Skies,” Amblin TV is teeing off another alien drama, which just received a pilot order at ABC.
Titled “The Visitors,” the project is based on a Ray Bradbury short story called “Zero Hour.”
“‘The Visitors’ chronicles the race against the clock to defeat an unseen alien enemy out to destroy the world using our most precious resource against us.”
Amblin TV is co-producing with Dawn Olmstead’s Grady Girl. Olmstead found the short story and brought it to Amblin TV, which Dawn Parouse Olmsteaddeveloped it with writer Soo Hugh, who has worked on Amblin’s “The River” and “Under The Dome.”
Deadline reports that Mike Newell (Four Weddings And A Funeral, Donnie Brasco, Harry Potter And The Goblet Of Fire) has been set to helm The Day Of The Triffids, the adaptation of the classic sci-fi book by John Wyndham that was scripted by Neil Cross for Ghost House Pictures.
In the new version, “After a comet shower blinds most of the world’s population, those with sight must battle alien plants, known as triffids, bent on destroying mankind.“
The film’s being produced by Ghost House, Mark Gordon, Don Murphy, and Michael Preger, and Murphy’s Angry Films partner Susan Montford will be executive producer.
The book was previously turned into a 1962 film and most recently a 2009 miniseries that starred Dougray Scott and Joely Richardson.
Driving anywhere can be a real pain in the ass. There are so many things you have to be on the lookout for... a hopped up Justin Bieber, maniacal bike messengers who travel at speeds in excess of Mach 3, and now? Well, now you can throw man-eating creatures into the mix.
According to The Wrap, Envision Media Arts has secured the rights to Keith Ray Putman’s action-horror spec script Red Ice, which follows a trucker hauling emergency supplies across the frozen waterways of arctic Canada who must survive an onslaught of mysterious, man-eating creatures.
“The ice roads have always been an intriguing, dangerous setting,” said EMA president David Buelow. “Keith’s script puts a very visceral, smart spin on the genre.”
Stay tuned for more on this one as it slides in!
As promised when we shared a sneak peek clip from next Monday night's Episode 3.16 of "Teen Wolf," entitled "Illumination," an extended preview has arrived from MTV, which of course you can see right here.
"Teen Wolf" stars Tyler Posey as Scott McCall, Crystal Reed as Allison Argent, Dylan O'Brien as Stiles, Tyler Hoechlin as Derek Hale, Holland Roden as Lydia Martin, Daniel Sharman as Isaac Lahey, and Ian Bohen as Peter Hale. Season 3B guest stars include Arden Cho and Shelley Hennig.
"Teen Wolf" Episode 3.16 - "Illuminated" (air date 1/27/14):
Beacon Hills is under curfew from the power outage; the teens throw a blacklight Halloween party; Scott (Posey) tries to earn Kira’s (Cho) trust.
XYZ Films (The Raid, The Raid 2, Killers) has partnered with Demarest Films and A24 on Kevin Smith’s epic new horror film, Tusk, coming aboard to handle all international sales rights, Bloody Disgusting has learned.
The film, also written by Smith and born out of one of his immensely popular SModcasts, stars Justin Long, Haley Joel Osment, Genesis Rodriguez and Michael Parks. Demarest (Machete Kills) financed and produced Tusk in partnership with New York-based distributor A24 (Spring Breakers), who will release it wide in the third quarter of 2014. XYZ will be introducing the project, currently in production, to international buyers at the European Film Market in February.
“Tusk is a modern-day monster movie that follows a journalist named Wallace (Long) who finds the story of a lifetime in Mr. Howe (Parks), a worldwide adventurer with amazing tales and a curious penchant for walruses.”
Tusk was produced by Sam Englebardt, William D. Johnson, and David Greathouse for Demarest Films and Shannon McIntosh for Smith’s SModcast Pictures banner. Jennifer Schwalbach is executive producer.
Still reeling from the twists and turns of the "Sleepy Hollow" Season 1 finale, Episodes #1.12 "The Indispensable Man"/#1.13 "Bad Blood"? We sure are, and here to help put things in perspective are a pair of behind-the-scenes videos.
"Sleepy Hollow" Episodes 1.12/1.13 - "The Indispensable Man/Bad Blood" Season Finale (aired 1/20/14)
Ichabod and Abbie discover a dark secret buried within the pages of George Washington’s Bible and unearth the shocking true nature of the founding father's death.
Meanwhile, Capt. Irving makes a near-impossible decision for the sake of his beloved family that drastically changes his future. Then, the battle between good and evil comes to an explosive head.
Sacrifices must be made, worlds collide, loyalties are tested, and the town of Sleepy Hollow will never be the same.
"The Following" returns with Episode 2.02, "For Joe," on January 27th; and to make sure the momentum that began when Season 2 kicked off continues, here's star Kevin Bacon divulging a few details about Ryan Hardy's secret room devoted to his obsession with Joe Carroll.
If you missed Episode 2.01, "Resurrection," it's airing again immediately before "For Joe," from 8-9PM.
One year after Ryan Hardy’s pursuit of serial killer Joe Carroll, a healthy and healed Ryan is living in New York City.
On the surface it appears Ryan’s gotten his life back together, but deep down his obsession with Joe continues to grow. Then, on the anniversary of Joe’s death, a new murderous rampage leaves everyone shocked and determined to discover the truth.
"The Following" Episode 2.02 - "For Joe" (1/27/14; 9-10PM)
RYAN IS HAUNTED BY NEW THREATS - After the tragic subway killings, Ryan’s obsession with the case becomes stronger than ever. Soon, mysterious phone calls bring him face-to-face with what may be his biggest threat yet.
Meanwhile, revelations surrounding Joe’s new life are brought to the surface.
Cast: Kevin Bacon as Ryan Hardy; James Purefoy as Joe Carroll; Shawn Ashmore as Agent Mike Weston; Valorie Curry as Emma Hill; Connie Nielsen as Lily Gray; Sam Underwood as Luke; Jessica Stroup as Max Hardy; Tiffany Boone as Mandy Lang.
Guest Cast: Valerie Cruz as Agent Gina Mendez; C.J. Wilson as Reverend Glenn; JD Williams as Carlos; Keith Carradine as Barry; Camille De Pazzis as Giselle; James McDaniel as Agent Phillips; Carrie Preston as Judy; James McCaffrey as David.
We've been talking about a new version of the sci-fi classic The Day of the Triffids for some time now, and it finally sounds as if it's gonna happen. At least we hope. We've been fond of the Triffids for a really long time now, and they're definitely overdue for their due.
Deadline reports that Mike Newell (Four Weddings and a Funeral, Donnie Brasco, Harry Potter and the Goblet of Fire, Great Expectations) has been set to helm The Day of the Triffids, the adaptation of the classic sci-fi book by John Wyndham that was scripted by Neil Cross for Ghost House Pictures.
DC readers should certainly know the logline: After a comet shower blinds most of the world’s population, those with sight must battle alien plants, known as triffids, bent on destroying mankind.
The film’s being produced by Ghost House Pictures, Mark Gordon, Don Murphy, and Michael Preger; and Murphy’s Angry Films partner Susan Montford will be executive producer.
Look for more soon!
Interview done by Lauren Rae
If there’s one thing that hard rock outfit Alter Bridge is internationally known for, it’s their penchant for yearly music festivals. In the 9 years that they’ve been on the scene, they’ve practically become veterans of the summer festival circuit, both nationally and abroad. One may even be able to go as far as to say they’re on their way to becoming the kings.
This year looks to be no exception as the season of the festival lineup releases has begun. Hot on the heels of their announcement of playing this year’s Rock on the Range (an excellent lineup, to be sure), as well as some long-awaited U.S. tour dates in support of their latest album, Fortress, we bring to you today a short-but-sweet exclusive interview with lead singer Myles Kennedy, expressing his thoughts on just what it took to bring forth their latest creation.
Make sure to check out our review of Fortress here.
Bloody-Disgusting: To start, where exactly did you guys get the idea for the name for the album itself?
Myles Kennedy: Well, it’s actually interesting in a sense. The word ‘fortress’ is a very strong word; it kind of evokes this like very steadfast, invincible structure that is constructed to keep people safe, and that can apply to so many different things in life. You can look at your governments, religions, relationships, marriages, et cetera. And the thing is that you discover as time goes on, so many of those things are not permanent or invincible. It deals with emotions that coincide with those things breaking down around you and the feelings of disillusion that stem from it at that particular time.
BD: Did you guys as a whole have any initials goals or ideas going into the production of the album or any specific feelings when you first embarked on this – from emotions you sought to convey to the album artwork and the photo shoots?
MK: I think the most paramount concern to us was that we musically push ourselves further than we had in the past and not be afraid to try new things. As far as overall themes and vibes for the record, we definitely wanted to keep it at a certain intensity, and…I don’t want to really use this term, but people keep saying ‘heavy’ and this definitely turned out to be our heaviest record. We just wanted to keep it intense. So when it came to the artwork and all that it made sense to go with a very dark theme. And actually a lot of our work has been pretty dark. We’re certainly not the kind of band that has unicorns and butterflies on our albums! But we definitely wanted to keep it intense for the fans.
BD: This is definitely the heaviest one by far. I did notice that both AB III and Fortress are aggressive, yet the latter is more uplifting than the former. Was that intentional or just a natural result of the creative process?
MK: That’s true. AB III’s subject matter was dealing with someone who was lost; who’s lost faith essentially, and was dealing with the emotions that go along with that and was feeling detached. Where as with this record, there are some optimistic moments, like in the song “All Ends Well”. There’s an uplifting vibe but then there are a lot of songs that are very…not angry per say, but there’s a certain amount of angst. I think the emotions on this record are a probably little more extreme as far as how far they will swing. I don’t know if that was necessarily something we were completely aware of as we were recording it. I think it was just how the songs turned out and it was just part of the license we gave ourselves to make a very dynamic record and not keep it all the same – the same emotions, the same tempo, the same key for that matter. We really wanted to stretch it in many different directions.
BD: You had your project with Slash last year. The other guys, they had the Creed tours. And then Mark [Tremonti, guitarist] had his album drop. And it sounds like there are definitely some subtle influences from all those. Do you think that might have had an influence over how you guys put together the album?
MK: I think that when you’re writing with other people and doing different projects, they’re definitely going to find their way into your future work and you might not even be aware of it. It’s funny because I hadn’t even thought about the “Cry of Achilles” intro being somewhat reminiscent of “Anastasia” off the Slash record until someone just recently brought that up. And I was like, “Oh of course, because there’s a nylon string intro!” But when it was all going down, it doesn’t really register at first, you kind of just go with the flow. And so I think that we were definitely influenced by that – not just by what you choose to do but who you’re playing with and who you’re touring with, the songs you’re playing night after night. It’ll kind of find its way into what you do later.
BD: A key difference in Fortress in comparison to the rest of your releases is Mark taking the vocal reigns for “Waters Rising”. I noticed this was huge amongst the fan base. How different was it to take a step back?
MK: Well, it’s actually great for me! The way I look at it, I’ve been playing more and Mark’s always been cool about having me play guitar solos on songs, and that’s been going on since Blackbird. It just seems logical – why not bring Mark in as lead vocals as well since I’m playing the guitar here and there. I think that a lot of fans didn’t know how well he could sing until he put out the Tremonti record, so that was another reason to do it. And you know, there are so many bands that I’ve enjoyed listening to over the years who have integrated their vocalists, via Deep Purple, with Glenn Hughes and David Coverdale, or Alice in Chains, as another example. I think it makes it very interesting for the listener to have those different voices express the songs. And the beauty of that is that Mark and I have very different voices. So you’re gonna definitely know that Mark is singing and you’re gonna know when Myles is singing. And hopefully we’ll get more of that in the future.
BD: While this is the band’s fourth album, it’s not the fourth album as a whole for the individual members. How do you feel this sets you apart from other bands who when they put out their fourth album, that’s it and they’re only as good as their entire catalog, instead of just entire plus combined from other bands they were involved with?
MK: As time goes on, you learn more and more about yourself with the more records you make, and that’s something that I’m grateful for. I couldn’t even count how many records I’ve been a part of at this point in my career. But what I know is that I’ve taken away from each one of them what to do and what not to do. And I think that it’s just helps you kind of evolve. So that’s the beauty of being in the business as long as we have and getting to make records; it’s about trial and error and just learning how to craft better songs.
Alter Bridge tour dates:
Apr 14 – Dallas, TX – House Of Blues
Apr 15 – Houston, TX – House Of Blues
Apr 19 – Atlanta, GA – Tabernacle
Apr 21 – Baltimore, MD – Rams Head Live
Apr 22 – Boston, MA – Royale Boston
Apr 24 – New York, NY – Best Buy Theater
Apr 28 – Chicago, IL – House Of Blues
May 01 – Minneapolis, MN – First Avenue
May 02 – Kansas City, MO – The Arvest Bank Theatre
May 16th-18th – Columbus, OH – Rock On The Range
Envision Media Arts has secured the rights to Keith Ray Putnam’s action-horror spec script Red Ice, TheWrap reports.
“Red Ice follows a trucker hauling emergency supplies across the frozen waterways of arctic Canada who must survive an onslaught of mysterious, man-eating creatures.”
A graduate of the USC School of Cinematic Arts, Putman has worked as writer and director on independent films, industrials and web commercials. His award-winning short, “double,” began its festival run at Cannes and finished at the Newport Beach Film Festival. “Red Ice” is his first spec to be picked up by a studio-based production company.
Putman also recently completed Malicious, a haunted house movie for the digital age that is in development at Sycamore Pictures.