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Though I had heard of Spawn of Possession of quite some time before the release of this album, they hadn't really struck to me. Noctambulant was a solid release, albeit a fairly repetitive one.

Fast-forward to the year 2012, where I decided to check the album out to see if I would be impressed, and oh man, was I in a surprise. Incurso is very technical, even by TDM standards. One of the strong points of this album is far more memorable and varying: The main issue that I had with Noctambulant was that the songs meshed together a little too well.

Now I can't say anything for Cabinet, but this was a drawback for that album. This one, on the other hand, has more variety in songs due to more tempo changes and different atmospheres in each song. The bass is relevant as well, thanks to the superb work of Erland Caspersen, the increase of lead bass work is increased. A problem with many bassists these days is the lack of credit that they get, generally being the sidekick to the guitarist. Such an example of said bass lead is in the beginning of Servitude of Souls.

It's brutal, yet atmospheric: From the dark riffs to Rondum's Motor Mouth that are also deep enough, on top of insanely fast music that also has atmosphere, they also focus on capturing a sense of unease through countless amounts of riffs. The one drawback to this album, I'd say would be shiny production: Now I'm not one for gritty production nor am I one who gets disgusted by clean production, but man is this slick, even for tech death standards.

Now I understand that technical death metal needs some good production, but this is pretty much overkill on that part. But despite the personal con, I thoroughly enjoyed this album, and it is, for a lack of better term, an almost flawless masterpiece. We're slightly halfway into the 2010-2019 era, and I feel that this will be the death metal album of the decade. When I got this album back in 2012, that was my opinion back then.

It's been 5 years and only a few albums since then have came close No album is perfect, but this comes close. Grab if you love some tech-death, and even if it's not your cup of tea. They show that even 'wank-masters' can show a sign of emotion and/or atmosphere. Originally written for TVTropes, rewritten to meet standards. Since we last saw Spawn of Possession in 2006 with Noctambulant, the landscape of death metal has seen a drastic change. Let's step into the Way-Back Machine, to a different era with a different sound. It's not quite the TARDIS, but it will do.

When Spawn of Possession were in their heyday during the early part of the century, death metal was a genre where pushing the limits of speed, technicality and tempo were the standard, not the exception. Bands like Necrophagist, Augury, Lykathea Aflame and Anata were the modern Titans, and most death metal fans (at least the ones I knew) worshiped at the altars of Suffocation, Gorguts, Atheist and Cryptopsy. Death metal didn't just flirt with jazz and classical music, they were starting to become attached at the hip. Rampant experimentation was commonplace, and the sheer technical prowess of the musicians in these bands rivaled musicians in any genre.

Death metal was becoming a bit of a thinking man's genre, much to the chagrin of old-school purists, who quickly and loudly decried the end of death metal. But the times have changed, or perhaps more accurately reverted. Those temples to the likes of Suffocation and Gorguts have long been sacked and torn asunder. Now the land is once again filled with monuments to Incantation, Angelcorpse and Entombed, and death metal has largely returned to the sounds of the late 80's and early 90's. Experimentation still exists, but even these bands have roots in classic, well worn sounds long ago established by a group of aging musicians, whose bands now seem to be reforming left and right (Purtenance, Dominus Xul and Uncanny have all returned from the grave very recently).

Now, I'm not going to argue about whether this is a good or a bad thing (in this writers opinion, it's both), but it is the reality of the current death metal scene. And needless to say, it's strange timing for Spawn of Possession to return with their first new material in six long years. It begs the question: does anyone care anymore? Recent forays by many current technical death metal band closer to the sound Spawn of Possession helped establish have been at best sub-par. Artists like Obscura, Anomalous and Archspire have not done much to help set up Spawn of Possession's glorious return to the realm, and with Old-School death metal now so trendy, how could these members of the Old-New-Guard do much to make an impact? Incurso does make and impact though.

Boy does it ever, mostly by reminding everyone that the 'death metal' part is still more important than the 'technical' part, no matter how brain-meltingly technical an album is. And trust me, Incurso is just that: inhumanly precise, jazzy and wonderfully complex.

Tempos and riffs shift at light-speed, tearing across a galaxy of immeasurable complexity, eviscerating quasars and spewing their luminescence across the galactic horizon. The bass work is, as to be expected, is beyond compare: Erland Caspersen dominates this record, and the intro to 'Spiritual Deception' is just incredibly awesome thanks to his effortlessly technical style.

The rest of the instruments follow suit, and there is little doubt that the members of Spawn of Possession are some of the finest musicians on the planet. Still, there are a lot of amazing musicians out there, and just because you can play doesn't mean you can write.

But it's the writing on Incurso that makes stand head and shoulders above many of the bands modern contemporaries within this style of Death Metal. For starters, Incurso stays brutal, heavy and aggressive through-out. Sure, things get jazzy and melodic, but the album never stops being heavy and nasty from a song-writing perspective. Spawn of Possession also find a way to keep things drenched in a layer of atmosphere, effectively using dissonance, melody and even the rare electronic or keyboard segment to give the entire album an air of cosmic creepiness.

'Apparition' makes the most effective use of these elements, and it proves to be one of the most atmospheric and creepy songs on the album, evoking a chorus of alien horrors in a chapel made from the dead husks of ancient moons. From a technical and song-writing perspective, Incurso delivers where releases from bands like Obscura and Fleshgod Apocalypse have failed miserably. The same issue I had with the unquestionably brilliant Noctambulant rears it's head once again on Incurso however: an obnoxiously clean guitar sound that takes more from the album than it gives back. I understand why this happens: if you work this hard and this long on writing some of the most complex riffs in existence, you want people to able to make out each note without losing any in a sea of reverb or distortion. But some of the very best technical death metal albums in history, if not the best, featured a filthy and nasty production sound: Nespithe, None So Vile, Effigy of the Forgotten, Onset of Putrefaction.

Even Spawn of Possession's first full length album Cabinet was no where near so clean or sterile sounding. Thankfully, Incurso is not quite as slick sounding as Noctambulant and the drum triggers are far less obnoxious, but Incurso is clean enough to be occasionally annoying That said, beyond the guitar sound and the ugly cover art (I really cannot stand these Dan Seagrave-inspired covers so many tech death and brutal death metal bands use), Incurso is a wonderful return to form for Spawn of Possession. Death metal as a scene has no doubt changed since they left, but quality death metal will always be the rule that we all go. Without a doubt, Incurso is an album of unquestionable quality, brutality and complexity. Rating: 9/10 originally posted at http://curseofthegreatwhiteelephant.blogspot.com/. I always liked Spawn of Possession. Really good band.

Good technical death metal. This is not that band. Good bands go south; bands disappoint. Sometimes not so good bands get a bit better.

But here, you have a rare thing: a really good band, getting a lot better. In fact, I don't know that I've ever been this blind-sided by a band's overwhelming skill and artistic prowess.

To get the mandatory description out of the way: strangely understandable vocals with awesomely demented lyrics; tight, technical drumming; dark, grand classical-inspired riffs, great basslines. The most technically demanding technical death metal you will ever hear. That says little about why I love this album so much. One reason is that it feels fresh although it draws heavily from a style of music that is hundreds of years old: classical music. Allow me to be a music snob for a second: In the modern vernacular of uneducated persons talking about music, 'neo-classical' generally means a rock or heavy metal framework with fast guitar work favoring the harmonic minor scale. This is a misnomer, as in almost any regard this music bares little resemblance to classical music, save for some aspects of the tonality of baroque music.End snobbery.

Having said that, what this album is, is truly the reincarnation of classical music. When most people think of classical music, aside from the above, they think of the instrumentation (violins, timpani, flute, etc.). Neither is it's defining feature. What makes classical what it is, is every part of the music moving together and yet in it's own direction. That there are many ideas, many things being said all at once, while the greater idea is kept in tact.

That, is what this album is. Complex harmonies, multiple rhythms occuring at once, ideas manifesting in many ways. All while painting a broader picture.

That is classical music, and that is this album. The darkness, the uniqueness, of this album, are also place it very high up to me. It's something hard to define. I've listened to a great deal of dark music in my life, but it is rare to come across an album so profoundly dark, it just fucking oozes atmosphere. For all it's insane technicality to still have so much emotional depth?

That is truly a feat unmatched. Because of the mind-numbing complexity of the music, it allows for extremely high number of listens. It's difficult to get worn out on a song, when you hear something new every time you listen to it. Which again, is something I normally only experience with classical music. Other than the renowned technical death metal guitarist Christian Munzner joining the band, I'm not sure how they managed to ascend to such a height. In order for music to remain alive, it must be pushed into new directions, and that is why this album is needed.

Maybe it's just me personally, but it sure feels like music as a whole needed this album to be made. I could go on, and on, about how this music is more like classical than anything, about how richly complex it is, about everything that makes it special and remarkable, etc., but I really don't want to gush - I legitimately have more to say, but I'll keep it short, because I know these words are lost on countless idiots who will never be able to appreciate more advanced music - and leave with this: This is the highest form of music being produced today, the only music truly pushing into any new territory. A masterpiece.

Spawn of Possession were already quite revered in the tech death underground for their innovative releases Cabinet and Noctambulant, incredibly strong albums that somehow failed to net them the attention of larger international markets. This is all about to change, however, with the release of Incurso.

I will not beat around the bush here: You have never experienced technical death metal of this nature. And with the addition of Obscura riff-crafter Christian Munzner on guitars, the lips and pants of the tech faithful are sure to be dripping with appreciative hunger. Well fear not, as the Spawn have not only blasted their previous efforts straight off the planet with the force of an 8 Megaton nuclear missile, but crafted an immensely creepy, satisfying, and musically mind-blowing album that practically rewrites the playbook for what is expected of a technical death metal band. While at first the unrepentantly flippant, twiddling nature of Incurso might not seem so far outside the proverbial bag of severed extremities, I urge you with excitement and severity to dig deeper, as the decrepit treasures buried within this richly layered madhouse are some of the tastiest you’re likely to find this year; and beyond that, in the entire tech death lexicon. Incurso starts innocently enough, inoculating your feeble mind with a fragile, creeping precursor of what’s to come with the short, calm Abodement, before ripping right into your torso with the archangelic bonesaw of Where Angels Go, Demons Follow.

It’s at this point I must humbly decree that the accompaniment of lyrics is of the utmost importance to gaining the full experience from Incurso, as even though the brunt of the musical force is in its own way spectacular, the evolution of seemingly erratic riffing is a perfect companion to these stories of gripping darkness and psychotic, spiritual sickness. Every track tells its own abominable tale, every spidery riff or hostile harmony driving the force of the tale in question deeper into your dark, dusty little heart. Bodiless Sleeper is a depraved, spiraling psychotic jaunt through the machinations of decapitation and madness. Evangelist is disturbing and dissonant, a truly unsettling tale of incestuous evil slathered in foul priestly semen and bountiful leads. By far the longest song on the album, at nearly 10 minutes, it’s also thoroughly engaging in its musical and lyrical narrative, a hideous mutation of the concept of goodliness and godliness.

The cosmic spider web of needling leads and warm, bulbous bass lines creep into the brain and splatter this sickening story with forceful precision right into your memory. Servitude of souls is a serial killer manifesto, one of the more overtly traditional death metal numbers, though it becomes aroused by its murderous tendencies about halfway through and starts dancing and slicing through a technical madhouse of twirling melodics like a homicidal robotic knife-fighter. Deus Avertat is an acrobatic, bloody story of possession that whirls along with epileptic fury and near classical grace as it stop-starts its way through about 1,000 different tempos and riffing patterns, never relenting its twiddling, burly, needle-gun ferocity for a moment. Spiritual Deception, a crack-addled revenge opera, is my favorite track on the record due to the pure, unbridled glory of the dueling lead guitars as they spiral out, spitting, dancing, and intertwining like cosmic, plasmatic snakes, deftly maneuvering through hostile, terrifying cosmos. No Light Spared is one of the most frantic tracks, starting off like a blinding wintry gale, then descending deeper and deeper into a ruinous, filthy hole full of unspeakable horrors.

As the lyrics wind their way, the music keeps perfect pace to craft the most tangibly dark, inhospitable atmosphere possible, the audible approximation of suffocating fear. The closer, Apparition is a demented carnival of suspense and classical pomp, utilizing tasteful keys to create a beautifully alien atmosphere, as if you’re summoning the unfeasible entity from the cover art, every needling lead a bolt of lightning slicing out of this savage cosmic storm. It goes without saying that all the musicians are in top form, but it bears mentioning. It often seems like the band succumb to the tech death wormhole of style over substance, which I admittedly thought was the case at first, but after a number of listens with the lyrics on hand, its true nature gradually dawned on me, and each seemingly random, ridiculous note took its place in this grand, brutal puzzle. Guitarists Bryssling and Munzner cut and buzz around each other like laser-wielding hornets, whirling through passages of choppy aggression and classical grace with practiced ease, while the rhythm section brings you to your knees in envy.

Drummer Henrik probably isn’t human, such is his level of stamina and creativity, and though I don’t know what kind of bass Caspersen uses, the tone reminds me heavily of Obscura, very warm and full, playing its own distinct patterns while still serving the song. In fact, the overall result is very redolent of Obscura, if even more frenzied and decrepit. More technical, and less progressive, if you will, though both elements certainly prevail. Make no mistake, this is technical death metal, overtly and unrepentantly so. Every single note progression is a dexterous and impressive musical flourish, with often jarring, discordant change-ups and winding, challenging passages abound. What sets Incurso apart from the immense tech death flock, however, is the atmosphere is conjures so naturally and beautifully. To put it bluntly, this album has fucking soul, and even though it unashamedly wanks off virtually the entire time, there is a legitimate, tangible feeling of evil here; a decrepit, overwhelmingly unsettling feeling conjured through the interplay of composition and lyrics that is the hallmark of the very best death metal.

Tech death records almost never feel like truly emotional, volatile works, but Incurso is the exception to the rule, without a doubt one of the most interesting releases this year. At first the sheer compositional madness is a bit much to take in, and though it impresses, it will certainly take some time to get accustomed to, and there aren’t so many individual passages that are instantly memorable. Also, in truth, even after a number of listens I have trouble recalling all but the most impressive moments, but this is more a comment on the pure density of the record than the quality of the riffing itself. The songwriting is incredibly strong and engaging, but due to the complexity, I wouldn’t call them memorable, if that makes sense. Truly, though, if you have the patience, Incurso is one of the most rewarding death metal albums in recent history, with a mind-blowing array of virulent songs, stuffed to bursting with talent, ideas, and straight up heart.

These guys fucking love metal, and Incurso is a grandiose labor of love.Left Hand of Dog http://reaperdivision.blogspot.com/. I always find the demise of a trend-sending faction at the hands of one of their pupils to be an interesting phenomena.

Germany's Necrophagist instituted a very appealing approach to technical death metal back when the band was shuffling out one whole release per decade, and lots of folks were running into the streets naked, screaming about the glories of Necrophagist. Personally, I hated the fuss and hype, but soon, groups started popping up that did exactly what Necrophagist was doing, yet infinitely better than Necrophagist; spacey shredders Obscura in particular served them an epitaph of their own recipe with a slew of cool records, hence I dub the proper term being 'Obscuraed.' Aren't I the cleverest ass you ever did see? Fellow algorithmic hackers Spawn of Possession fall into this native jigsaw because they too are among a plethora of projects going above and beyond the standards of pedestrian-level technical death metal which has unfortunately become an acceptable status for production. Like Obscura and other mechanics of their kin, 'Incurso' follows the scientific, space-like montage of a thousand guitar parts stitched together with quick precision and pinpoint execution; also joining frantic bass work which probably grinded Erlend Caspersen's fingers down to stubs, and percussion chugging at an equally rhythmic rate of blasphemy as the remaining instruments. One could look at the band and yelp, 'Jesus tap-dancing Christ, they're just like the other brain-melting groups I listen to!'

Dub In The Roots Tradition

Good observation Watson, but that's no cause for concern because 'Incurso' is equally thrilling and algebraic no matter how you dice it. You pretty much get nine tracks of totally insane, mathematical death metal sliding between musical dimensions as if Spawn of Possession found the remains of the Event Horizon and applied its gift to their slaughtering sound. The way these dudes showcase technical death metal is technical (obviously) and maddening, but not without sense or a tint of clarity. Nope, 'Incurso' boasts an infinite array of nifty riffs and patterns around every corner, almost to the point of insanity. In fact, there's so much displayed that a few of the tracks run fairly close to the ten-minute mark, and the album could've reached an hour in length quite easily—they have a lot to say and, more importantly, know how to say it.

My favorite song is 'The Evangelist,' which roils on for nearly ten minutes and leaves nothing left to mutilate after its intergalactic cyclone allows its nihilistic offspring to devour the holy. 'No Light Spared' produces a fair amount of fantastic guitar work, and the ending 'Apparition' fornicates with strange keyboard notes and orchestral elements, creating something totally idiosyncratic and it makes for a prime conclusion to an exquisitely volatile release. Spawn of Possession avoids falling into a pit of typecasting based on their specific abilities to forge substantial anthems and makes their listeners absolutely stunned at the overall product, yet without losing sight of coherent, flexible songwriting. Coming from a critic of most technical death metal, that should mean at least an ounce of credibility. Fans of the technical death metal sub-genre will undoubtedly love this album to the grave, as will the average metal fan looking to be perplexed by this boat-rocking group debatably at the top of their habitual hill. This review was written for: www.Thrashpit.com.

Spawn of Possession.what can I say? They're one of those genre-defining bands that does a good job in being unique and having their own sound. This point is made no more clear than with their new album, Incurso. I myself like to describe this album as having 'the song composition of Noctambulant with the brutality of Cabinet'; all the songs are fairly complex, as per usual with SOP, but unlike their second album, the production and the phrasing does not detract from the heaviness of the music. Instead, I like to compare it to Obscura's Omnivium album by saying by saying the brutality and the technicality of the music both coexist, mutually benefiting each other in a way that amplifies both aspects of the music. In the beginning, we're greeted with an eerie sounding instrumental intro track, in accord to SOP tradition.

This time, however, it serves as a nice prelude to the ensuing madness. In songs like 'Where Angels Go Demons Follow' and 'The Evangelist', we're greeted with extremely brutal riffs akin to SOP's trademark style of riffage, loaded with all sorts of avante-garde, classical-inspired guitar melodies. The vocals are also some of the best ever put out by SOP, with Dennis Rondum doing a wonderful combination of growls and scream/growl harmonies that sound more brutal than ever. The drums sound nice and punchy, and often vary from being ridiculously fast blast beats (The Evangelist, Deus Avertat, No Light Spared) to simple and catchy grooves (Servitude of Souls). The instrument section is stronger than ever before on this album. With new bassist Erlend Caspersen, the bass has a much larger presence than on previous albums, made possible by Caspersen's strong finger-picking style and the utilization of both 5 string-fretted and 6 string-fretless bass.

The bass lines also vary more than simple isolated bass riffs, so the bass actually stands out in a creative way ('Spiritual Deception' is a superb example of this) that doesn't sound forced just for the sake of having the bass be noticed. The guitar work is also catchy, as usual, and even does a few creative things here and there. For example, 'Deus Avertat' includes a djent-style riff, which is accompanied by single-note arpeggios to accompany the chug riffing. Even better, the closing track 'Apparition' includes a symphonic-sounding synthesizer that sounds very akin to something like Born of Osiris.

And how could I ever forget Christian Muenzner, who is very easily this album's best feature? Although he only recorded guitar solos on this album, they blend wonderfully with the SOP universe. With all sorts of melodic lines in songs like 'Deus Avertat' and 'Where Angels Go Demons Follow', and of course a boatload of awesome shredding, his guitar work is the cherry on the sundae.

Without him, this album would not have the definitive, badass sound it does. Favorite song: Where Angels Go Demons Follow Other favorites: All of them! For most brutal death metal folks, Spawn of Possession's Incurso is a highly-anticipated release.

And it's with good reason. Fans have been waiting nearly six years for a follow-up to Spawn of Possession's last technical death metal opus, Noctambulant. To top it all off, drastic lineup shifts made me concerned that the new album might not sound much like the Spawn of Possession of old. The drummer / vocalist, Dennis Rondum, has shifted to full-time frontman duties.

So of course a new skin basher has taken over the drum throne. The band has also added a new bassist and a new second guitarist (none other than Obscura's Christian Muenzener). Luckily, the only two remaining original members are the principal songwriters and the core of the band (guitarist Jonas Bryssling and the previously mentioned Rondum). Since the 'main constants' remain intact, Incurso sounds like Noctambulant with all of its best features magnified. Also, there's just enough new blood to make the band feel revitalized and fresh. Thanks to this combination, Spawn of Possession sounds like the same band, only better. On Incurso, Spawn of Possession uses the same framework it has in the past.

The songs are still a mish-mash of dense, choppy ADHD riffs that are sure to cause anxiety in any household pets within earshot. The songs do open up and breathe upon occasion like during the slow semi-clean ending of 'The Evangelist' or the more straight-forward tune, 'Deus Avertat.' (Take note that the term 'straight-forward' is relative.) Besides the trademark spastic guitars, there are some new tools at work as well. Spawn of Possession now has both a sense of melody and guitar solos that are reminiscent of Obscura. One can only assume that this is due to Muenzener's presence.

The guitars are also peppered with some eerie clean parts, volume swells, and occasional natural harmonics. These are a nice addition to the band's already broad pallet.

Plus, Erlend Caspersen's bass guitar is a fairly dominant presence. There's tons of chunky bass parts and fretboard noodling throughout the album. The bass on Incurso definitely plays more than a supporting role. As with past Spawn of Possession albums, the drums stop on a dime and shift constantly. Henrik Schonstrom fills the drummer position nicely. With all of these instruments fighting for attention, Incurso is controlled chaos. The only respite for the listener comes in the form of the aforementioned 'Deus Avertat' and a few brief chunky grooves in other songs like 'Bodiless Sleeper' and 'The Evangelist.'

Incurso is loaded with hyper energy, sweet harmonies, and unsettling dissonance that should please any fan of Spawn of Possession or technical death metal in general. The only major curve ball on Incurso is the album's final track, 'Apparition.' The song has a dense orchestral feel and is loaded down with horror movie keyboards. This tune is out of character for the band and is all the more awesome for it. It makes for an epic album closer.

However, it's a good thing that Spawn of Possession only tried this experiment on one track. It makes for an interesting anomaly in the band's catalog, but it certainly wouldn't be an advisable new direction for the band. With Incurso, Spawn of Possession has basically recorded a new and improved version of the jaw-dropping Noctambulant. The songs are just as complicated, but they are much more memorable and have more character. Even the band's album artwork has improved. (Check out the sinister Lovecraftian worm writhing forth from realms unknown.) Many people might just hear a big mess when they listen to this album. For technical death metal fans, Incurso will be a masterpiece.

I sure hope we don't have to wait six years for another one of these. Originally written for http://www.metalpsalter.com.

There's been a few mentions of Godzilla films, but no dedicated thread since Godzilla Final Wars came out a few years back, so I thought I'd rectify that! Judging by rmoxon's avatar and some of Prinny's movie night updates, I'm guessing I'm not the only person who'd rather watch a man in a rubber suit trampling on a scale model of Tokyo than some cgi cheating. Thought I'd make a place for you to list your top 3 or 5 films/shows and discuss which films you like and why. I got into them when I was at school and a kid in the year above said to check out the crazy films on Channel 4 after Vic Reeves' Big Night Out. This was their 'Creature Feature' season, back when Channel 4 used to show cult stuff like Jackie Chan films and not Big Brother ad nauseum.

Thought I'd get the ball rolling: 1. This is the first Godzilla film I saw and it got me hooked. It's regarded as one of the worst Godzilla films, but I love it! It's got a crazy 70's J-Funk soundtrack, an inventor, giant monster tag-team fighting and the amazing Jet Jaguar. I really liked the story too. Terror of Mechagodzilla It starts with a re-cap of Godzilla's first encounter with his mecha counterpart and soon turns into pure melodrama as shamed scientist, Shinz? Mafune is forced to control Titanosaurus by a mysterious organisation keeping his daughter alive.

What's not to love about a battle with a robot Godzilla? Gigan Espionage, Godzilla Tower, monsters talking, hold-ups with sweetcorn and escape plans while giant monsters battle in the background. I only saw the original Godzilla when it was recently re-released and I saw it at the IMAX! It was an amzing night and the film is a lot darker than some of the later films. Any other fans on here?

Ah, the thread of kings (Ghidorah, probably. Or maybe Caesar). Of the kaiju films I've seen so far, I'd have to say these are my favourites - (In no order) Godzilla vs Monster Zero One of the first Godzillas I saw, this has a good balance of action and story. The aliens are hilarious, but it's quite a lavish production really. The Highland Fling bit is.

Forgivably entertaining. Always been a fan of King Ghidorah and the mad noises he makes. Giant Monsters All Out Attack I watched this with the missus and she actually enjoyed it! Baragon is 'cute' apparently. It was nice to see Godzilla as the bad guy for a change, and the effects were pretty good for such a traditional mash-up. Frankenstein Conquers the World A massive surprise this one, it had me gripped throughout.

The gradual scaling up of effects as the monster gets bigger and bigger is fantastic, and at last the version out there on dvd includes the climatic battle against the octopus. Good performances throughout, and a totally different effort to the norm. There's loads of others I really like; Destroy All Monsters, Gamera the Invincible, King Kong Escapes and Godzilla 2000 are just a few.

There's also the shelf full of dvds yet to be watched that I've tracked down over the years - Mothra, War of the Gargantuas, Yongary, The X From Outer Space, Gorath, Daimajin Trilogy, Pulgasari, 1990s Gameras, and Gappa. I have a soft spot for Western monster movies too - Them! And Gorgo are particular faves, and I'd like to track down stuff like Roger Corman's Attack of the Crab Monsters. I'm really curious about Pulgasari because its background story is so surreal. North Korean leader, Kim Jong-il (he's so ronery), kidnapped South Korean director Shin Sang-ok and his actress wife, Choi Eun-hee, because he's a big film fan (and wanted to start the North Korean movie industry. Judging by the clips I've seen online, I can see why he's not cleaned up at the Oscars! I might check out some of the later Gamera flicks as they look pretty sweet.

I love the earliest Gamera films. The US version of Gammera the Invincible is a really nice watch - loads of grainy black and white footage of mock interviews with experts and meetings in the UN (I think) spliced into the original film. Then filming style itself is quite downbeat and underplayed, and the whole thing has this wonderful grittiness about it, in stark contrast to the kiddie-comedy antics of early 70s Gamera fims. There's some tremendous effects work in those later 90s Gameras, I haven't watched the whole films, just bits and bobs.

I got Pulgasari off yesasia and haven't watched it yet, but the noise the big monster makes when it fires a bolt from its mouth just cracked me up. The Daimajin films have tremendous effects, btw, and have a really unique setting for that stye of film. Ok i'm here:D So yeah got into Godzilla myself with Channel 4's 'Creature Feature' which ran iirc Invasion of the Astro Monster all the way up to Terror of Mecha Godzilla, so the camp, cheesey Godzilla is what i was bought up on. And then later on in the 90's around 95 - 96 was it Manga Released Godzilla vs King Ghidorah and Vs Mothra and i was like where the hell did these come from, they look modern and cool.Well M11 in GvsKG isnt cool.HES.ING INSANELY COOL lol So coming to 2000 - 2001 i see on amazon in the US VHS's of Destroyah, Biollante, Space Godzilla so i order them up ( at the time i had just had a put of money left me ) and get myself a VHS player that plays NTSC.and thats it the sickness started. Now i own every Godzilla movie on DVD, mainly so i can watch them in Japanese now ( although i can still watch the dubs of the ones i watched as a kid lol ) plus other Toho classics like Atragon, Space Ameoba, Baragon, the Mothra Trilogy etc and of course all of the Gamera movies, and if you have seen my Collection (i moved into Toys and Statues. So my top 5 Godzilla. I'm gonna split this down because i dont think you can compare the 60/70's ones to the newer ones as they offer such different tones.

So Old Skool Showa top 5! 5.Son of Godzilla I know its so stupid but i love little Minilla and the scenes of him training are so good, its the best sort of cheese. 4.Godzilla vs Ebirah I think this one is all nostalgia, again its pretty bad, but seeing G fight the worst Vulture puppet EVER made is a pure joy. Also gets extra points for G ripping off Ebirah's claw and open and closing it lol 3.

Godzilla vs Megalon I know alot of fans dont like this, it is a pretty terrible movie but there hasnt been a day where i haven't shouted out loud megalon, MEGALON MEEGALON!!! Also i love Megalons Design, Jet Jaguar is both amazing and terrible all in the same space, Gigans in it ffs!! It is a classic, i might even argue its one of the greatest comedies ever made lol 2. Destroy all Monsters Godzilla, Minilla, Gorosaurus, Kumonga, Anguirus, Baragon, Varan, Mothra, Rodan and Manda. Then throw in King Ghidorah.

I love this film in everyway, its the purest form of Godzilla imo, The Aliens, The monsters, the story line.all perfect. It should be first but. Godzilla Vs Gigan Gigan. My fave Kaiju ever just such a fantastic design, i love how hes fierce yet cowardly, if this film had anyone else in it wouldnt be my number one. As for the rest of the movie, its a joy it really is, i actually like the plot.Giant Beetle men building a fun park to take over the world.now thats a.ing plot! I like the fact the fat guy makes a guy faint with a corn on the cob, i like th fact they put a stupid drawing up in the lift and to then top it all off with Godzilla & Anguirus vs Gigan and Ghidorah.oh man and then throw in more BLOOD than you ever seen in a Godzilla movie lol its just so good!!

Also godzilla and Anguirus have a chat lol. So now Heisei and Millenium 89 - 2004 top 5 ( ok 6)! G vs Biollante Not the most action packed movie but i think this one out of all the Heisei Series had the perfect Godzilla Suit before he went waaay too bulky, also i think Biollante is just so well designed and a fresh twist on the creation of a monster then add to that some very impressive wide shots of Godzilla fighting Biollante ( she just looks so HUGE!!

) and you have a nice serious, atmospheric addition to the series. G vs Megaguirus I loved the G2K suit, it was a fantastic suit imo but the Movie was terrible, where as this i really liked, it had a bit of an 'Alien' vibe to it and the special effects were getting better and better. G VS King Ghidorah M11. Need i say more? Probably the greatest android in anything ever! Mecha King Ghidorah was pretty cool too:p 3. G Vs Destoryah This had to be in there, again a bt of an 'Alien' vibe to it, but it all comes down to that final scene and the credit roll, you can't call yourself a Godzilla fan if you dont get shivers when you see that.

Tokyo SOS It was just really really enjoyable and a lot better than G vs Mechagodzilla before it, plenty of action, everything looks great.its just a great movie Godzilla or not. GMK Now when i read that the Director who did the 90's Gamera Trilogy was doing the next Godzilla film i was over joyed and boy did he deliver. This movie is nigh on Godzilla perfection, i just love the fact that Godzilla is a Menace and that Ghidorah is the Hero this time, couple that with a fantastic pace and amazing special effects and you have my fave ( Seirous ) Godzilla movie hands down. If you havent seen this BUY IT NOW! Awesome stuff! I can't believe you watched the same stuff as me growing up!

I used to talk to a kid on the bus to school about Vic Reeves' Big Night Out and he asked if I watched some of the crazy Godzilla films afterwards and I should check 'em out. I think the first one I saw (and still have on video!) was Godzilla Vs. Megalon and so it's one of, if not the favourite Big G film for me.

I've seen it so many times I can even remember the voice-over lady before it: '.and now on 4, a lesson to us all about what happens when you set off nuclear devices where you shouldn't':lol: I'd definitely go to Monster Land if there was a Godzilla tower there. How aces is it when he sees the tower for the first time and can't believe what he's seeing so bangs his head?

New Godzilla film coming out (I'll put money on it that it'll be in 3D. EDIT: I'd have won that money (Some inspiring news out of the 3DNext Summit in Culver City this past Monday as The Wrap is reporting that Godzilla 3D (producer Brian Rogers stepped up and made the following statement: ' 'Clash of the Titans' is important here.because it made the industry realize that you cannot do substandard 3D and charge full pricing.' He also noted how well Clash did at the box office, but it's nice to know that some people are more focused on providing a quality product.

Being produced by Legendary Pictures, the big green monster is still quite a ways a way from arriving in theaters as a writer hasn't even been hired. By the time this gets off the ground 3-D will either be dead or (hopefully) completely awesome. Yonggary is pretty bad, both of them, i remember buying the newer one on VCD around 98 - 99(?) because they were saying 'better than Godzilla' which of course the US Godzilla had just come out. And it wasn't. It isn't terrible but Korea have put out much better stuff since like The Host.

Also check out Pulgasari which is another Korean Kaiju movie which isnt bad, i have a boot leg DVD of it and on the back it has a full picture of Kim Jong Il. Taken from Wiki: Pulgasari is a North Korean-Japanese co-produced feature film produced in 1985, a giant-monster film similar to the Japanese Godzilla series. It was produced by South Korean director Shin Sang-ok, who had been kidnapped in 1978 by North Korean intelligence on the orders of Kim Jong-il, son of the then-ruling Kim Il-sung. Also on the US Godzilla i did like the design of him so much, yes its not Godzilla at all but i liked the design its just the film that was trash, if you've watched the Animated series you know that he is a pretty cool monster when alls said and done, its just he was in a. movie. While i'm here and i had the camera out.my godzilla posters, the japanese ones are all original and the Poster of GINO(Zilla) is sooo cool how can you not like that design?!

And i thought i'd see if anyone wanted any of these since i dont need them anymore, so we have: US NTSC Mothra 1 Mothra 2 G vs Biollante G vs Space Godzilla G vs Mechagodzilla II Pal G vs King Ghidorah G vs Mothra Destroy all Monsters War of the Monsters - This is actually Godzilla vs Gigan iirc. So yeah as long as you want them to watch you can take em for Postage ( or more iff you wish:) lol ) http://myweb.tiscali.co.uk/neodragon/godzilla/vids.jpg. Lovely posters. Well, aside from that US one that would remind me of that godawful piece of cack. I adore the Godzilla classics, mostly because I saw loads of them as a teen and I have fond memories of them. But my favourite is Giant Monsters All Out Attack. I saw that a few years ago and it was a real surprise.

A very different take on the whole Godzilla mythos and one that I absolutely loved. It felt like a bigger movie, a more serious movie and yet one where the monsters were represented in a way that carried that seriousness rather than playing against it (leaving out the likes of Jet Jaguar was a help there, I guess).

I'm pretty sure there are still a bunch I haven't seen though, mainly the ones that were out around the '90s. Is there no complete collection on DVD? No collection:( My Godzilla set is crabbed from a variety of distributors of region 1 films, an Australian copy of Godzilla vs Megalon, and HK copies of Godzilla 1984 and Godzilla vs Biollante. Also grabbed a bootleg of the Mothra film from Warlock video, who are now defunct it seems. Giant Monsters is my modern fave too. Godzilla as a bad guy, amazing scenes. Even the missus liked that one.

Mr NeoDragon, I think you should send me one of those posters. They're too good to be all blending each other out. Pulgasari, ahhh. I've got a japanese release with no English dub or subs. I've got a sub file, though, so over the summer I'm going to try an rip the dvd and incorporate the sub file somehow, and create a new disc. Can't believe none of you guys have mentioned the Daimajin trilogy yet!

Those boys have a style all of their own. The resurrection of this thread got me looking through some of my stuff. I've got this lovely book that chronicles all the movies and has lots of behind the scenes photos: Godzilla Movie Chronicle 1954-2004 (Flicking through it last night made me realise how many I've still not seen! Most of the latter films of the Millennium series and some of the Heisei era.

Need to sort that out! I also had a look and dug out Gamera 2 on VCD (XBox 360 won't play it, but will try the DVD player) and Godzilla: Final Wars, which I started watching again last night. I've got a couple of tiny SD figures I picked up once, but the only statue I have is this one from Godzilla Vs.

Space Godzilla because it reminds me of my visit to Fukuoka Tower! As for your films, NeoDragoN, I've got the majority of the films you've got there, the exact same ones too! The only one I've not got is Godzilla Vs.

Destroyah ('It's a Major Monster Meltdown!' ), but I don't have a video player any more and was recently asked by my wife if I really need so many videos when we don't have a player!

I've always thought those Japanese posters were brilliant. The Heisei era ones are so dramatic and are really well composed. Check this out you guys: A hyper rare from Taiwan, a kaiju/kung fu hybrid. Young Flying Hero (1970) aka Return of the Magic Serpent Someone has even found a copy and put up a video of it (with horrible quality, but good enough to get an idea.) It looks terrible and brilliant. Monsters and martial arts. If the protagonist was fighting because somebody fizzed up the sediment in his beer and there was a porn scene at the end, this would be your perfect film, Prin!:lol: I re-watched Godzilla: Final Wars, but struggled to get into it.

Most of the stuff has been done before in other films (Matrix, Equilibrium, Kamen Rider, Invasion of the Astro Monster) and wasn't particularly exciting, truth be told. I liked the upgraded Gigan and King Ghidorah, but kept falling asleep in the rest! I think I prefer the ones where Godzilla's the good guy in the 70s films.

Big Kaiju/Toku fan here:) Seen all the Godzilla films and a few Gamera ones. Worth noting that the early Gamera flicks are being released on DVD in the US at the mo. The original is out and the second came out on Tuesday with the resy scheduled for September release:) Love Sentai, Kamen Rider and Ultraman too, favs would be Kamen Rider V3, Dairanger and Ultra Seven. Couldn't pick a fav Goji film as they're all excellent:thumb: OP mentioned channel 4, worth noting that my first experience of the Japanese Godzilla films was in 1999 when channel 4 had a Japan season and showed some of the original films. Still have them taped on VHS somewhere:P.

OP mentioned channel 4, worth noting that my first experience of the Japanese Godzilla films was in 1999 when channel 4 had a Japan season and showed some of the original films. Still have them taped on VHS somewhere Hey Johnny! Are you talking about Vidz? They did a season of showing some of the uncut films along with a short preview. LZ0shbDdkBc Man, I remember when Channel 4 used to be ace and show awesome late night stuff like 4 Later.

Over the years, they've shown Jackie Chan films, anime, gore, Godzilla films and comedy. It used to be my favourite channel, but just take a look (at today's telly on there: The Hoobs (repeat); Frasier (repeat); Deal or No Deal (repeat); Friends double bill (repeat); Everybody Loves Raymond (repeat); Relocation, Relocation (repeat); Countdown (repeated later); The Simpsons (repeat) (11 years old episode); Hollyoaks; Skins; Sex Education shows; Big Brother (aaaall through the night and 3 times during the day).:(. I stumbled across some Godzilla stuff in my house at the weekend including Japan's Favorite Mon-star: The Unauthorized Biography of 'The Big G' (It's a bit of a mixed bag, really because the book itself is packed with features, articles and interviews and clearly took a lot of research, but the author's reviews of the films never seem particularly glowing apart from the original Gojira, which gets 5 out of 5. No other film scores higher than a 3.5 out of 5! He quite likes the early Showa films from the 60s, but his chapter on the 70s films is entitled 'Dark Days'! He scores: Godzilla Vs.

Megalon 1 out of 5 Godzilla Vs. Mechagodzilla 2 out of 5 Terror of Mechagodzilla 2 1/2 out of 5 Those are some of my fave ones!

I just found it hard to understand how somebody could write such a lengthy, well-informed and excellently researched book, but apparently not really enjoy the films! I particularly enjoyed the interview with the guy who played the leader of the Seatopians in Godzilla Vs. Megalon.:) I also stumbled across a Microman Megalon Vs. Jet Jaguar (set that I picked up not long before moving and forgot I had. Basically, you get two highly articulated Microman figures and a 'monster suit' for each of them to wear. It took me ages to actually get them into their suits as they're really tight! Once they're on, they're not particularly poseable, but they're very detailed, including the flaps that covered the zips on the actual costumes.

They are now up on the shelf, but the wife's spotted them already!:lol: http://www.microforever.com/images/Microman2004/KMSP02Walter-2.jpghttp://www.microforever.com/images/Microman2004/KMSP02Kim-1.jpg. I've been thinking of getting that book for a while, QC.

Are you saying it's a cusser? The best two books I have are: and The first one is fascinating and quite warm-hearted, but sometimes takes the criticism too far, which has upset some inbred reviewers on amazon.com. The second is a weird selection of interviews with various people, then a detailed filmography of many kaiju eiga films, comprising of a load of mini reviews. I'm interested in these too: Although the latter seems a missed opportunity, apparently only concentrating on ten films.:s On another note, check out this dvd: Those films are very hard to find - I've not seen H-Man on dvd, and Mothra hasn't had a western dvd release before (I think). Battle in Outer Space I seem to remember is tough to get too. I've just seen my first bit of Ultraman! I watched Mega Monster Battle Ultra Galaxy Legend: The Movie.

It's directed by Koichi Sakamoto, who was the action director on the brilliant Drive with Mark Dacascos, and has directed loads of Power Rangers and Kamen Rider episodes and it's a very similar vibe to those shows because of the rubber-suited heroes. The basic plot is Ultraman and his comrades from M-78 (including a new Ultraman, Zero) join forces with other allies to fight a massive army of giant monsters led by the evil Ultraman Belial. Belial is a great baddie who kicks pretty much every Ultra hero's ass and it takes a new Ultraman and a half-human with monster-controlling powers to attempt to take him down. He looks like a cross between Ultraman and Venom/Carnage: It's a great place for newcomers to the Ultra series as it explains the background of the heroes, but also has pretty much all of them from over the decades making an appearance for the long-term fans.

I really enjoyed it as it rattled along at a fair old pace, was pretty cheesy instead of taking itself serious like a lot of the latter po-faced Godzilla films and had plenty of action. The finale was great! The only downsides to it were that Ultraman Leo never popped his nunchuks and that the whole film was made using greenscreen. It's all very convincing and the CGI is very good, but part of the charm of giant rubber monster movies is to see the bad guys stomping all over Tokyo and other cities represented in model form. A few more films I've discovered looking around various sites. So rare, some of them aren't on imdb. Most feature video clips, well worth a watch for the lolz.

Flyer of Young Prodigal ((1978) Thrilling Sword ((1981) The Boy and a Magic Box ((1975) The Merciful Buddha ((1979) Legend of Mother Goddess ((1975) War God ((1976) Got this thanks to Shinobi! The Fairy and the Devil ((1982) which reuses some footage from Tsu Hong Wu ((1971) Long extract of it (More footage (Gxc) Sea Gods and Ghosts ((1977) Silver Maid ((1970) The Demons In The Flame Mountain ((1978) (From the Sea (1974) - is on hkmdb, but it won't link. Devil Fighter ((1969) The Saviour Monk (1975) - is on hkmdb, but it won't link. And more about Young Flying Hero ((1970).

Pulgasari (1985) After my efforts last weekend subbing this bad boy up, we decided to watch it. It's a weird monster movie. I'd actually say that the monster isn't even the focal point. It's a story about oppression in a medieval society, which could have went in another direction without Pulgasari. It was interesting to see the monster adding to, and directing, the story; rather than a story entirely based around a monster. I'll break down the various parts: Story - A warlord king is seizing the iron of the kingdom, to gain absolute strength.

A village tries to resist as they need the metal for farming and survival, and the blacksmith is thrown in prison. His nephew (?iirc?) is a freedom fighter/bandit type. The blacksmith fashions a small figure out of rice before he dies, and prays for the mythical Pulgasari to save the nation. His daughter cuts her figure and blood drops onto the figure, bringing it to life.

It starts off small, but as it eats metal it grows rapidly. Eventually, it is huge, and leads a rebellion against the king and his bad uns. The coda brings the story full circle. It's an interesting set-up, easy to understand and reasonably well paced. Amongst the tragedy there's the odd bit of comedy, too. Epic Monster Scale - Obviously, Pulgasari starts off small and grows to be huge.

It certainly stomps through the countryside and smashes places up. No complaints there. There's also huge shots of thousands of extras, either fleeing from, or charging with, the monster. There's a lot of cannon explosions and burning balls catapulted around. It is an impressive sight for such an obscure film. Production values - The costumes are bright and lively, with ridiculous hats. Amusing stuff.

The thousands of extras were supposedly real soldiers. The monster suit isn't half bad - big daft eyes and layered armoured plating. There's a few scenes where actors are standing beside part of a huge foot or leg, and they work reasonably well. The model work is excellent - Toho people were shipped in and created the miniature buildings, cannons, landscapes (and the suit - one of the Godzilla actors played the monster). There's some excellent detail in this work, with buildings collapsing in dust, smoke and fragments, which looks convincing. The scale shots of the little Pulgasari are fine, too, for the period.

The matte shots of Pulgasari walking in the background as soldiers run in front are a bit chod, the prints look very different. The scenery is frequently lovely, but there's some unpleasant dead animal scenes featured that add nothing to the film and leave a sour taste. Unnecessary trash, and the one feature about Eastern cinema that I truly despise. Richard Harrison made some observations about animal treatment on Godfrey Ho's sets that truly disgusted him, and a lack of care and respect for animals in Asian film of this period was all too common. The music is a bit Italian-esque, with synths.

Notes - We've heard about the director being a South Korean, who was kidnapped by the leader of North Korea, imprisoned for years, before being personally invited to direct this tale of workers rising against corrupt leaders. What I didn't know was the Toho connection, the fact that the director escaped from North Korea before this could be finished, and the fact that he remade the story over a decade later in the film The Adventures Of Galgameth.

The trailer is practically identical, but has this cheesy kiddiness to it, that makes it look like an annoying version of Pulgasari's largely straight-laced effort: I liked Pulgasari. It was better than I expected, and played out differently to a lot of kaiju films.

The production values were mostly very good, and served to add a lot of charm to the film. The first teaser trailer for the new Godzilla film was shown at the San Diego Comic Con (and the Springfield Bi-Mon Sci-Fi Con). Showing scenes of a dusty metropolis crushed into a pile of rubble complete with hollowed-out buildings, the less-than-a-minute clip’s voiceover — by J. Robert Oppenheimer (— intoned, “We knew the world would not be the same. A few people cried. Most people were silent.

I remembered the line from the Hindu scripture. Vishnu takes on his multi-armed form and says, ‘Now, I am become death, destroyer of worlds.’” Once the line was completed, the screen flashed to a brief look at a terrifying-looking Godzilla in profile. Here's Gareth Edwards being interviewed at SDCC. For some inexplicable reason the video cuts out just before the teaser. BREAKING: Warner Bros (Legendary Pictures (have set their reboot on the Godzilla (franchise for May 16, 2014. And it will be in 3D.

The move was made by studio domestic distribution president Dan Fellman international distribution president Veronika Kwan Vandenberg, along with Legendary Pictures. The film got a rousing reception at Comic-Con in San Diego over the summer. The Gareth Edwards-directed film is being made in partnership with rights owner Toho. Godzilla has appeared in more than 25 films, multiple television programs, video games and book series. Legendary, which has been developing the project, and its partner Warner Bros. Will return the character to its epic roots with a gritty, realistic actioner.

The project will fall under Legendary’s overall agreement with Warner Bros. Warner Bros will release it worldwide except in Japan, where Toho will release it. Edwards previously directed Monsters, and here will be helming a script by David Callaham (The Expendables films), David S.

Goyer (the Dark Knight trilogy) and Max Borenstein (The Seventh Son). Legendary’s Thomas Tull and Jon Jashni will produce, along with Roy Lee, Dan Lin and Brian Rogers. Alex Garcia and Patricia Whitcher will serve as executive producers alongside Doug Davison, Yoshimitsu Banno and Kenji Okuhira. Three high school students are forced to make up a chemistry test during after school detention.

Over the course of the afternoon, they discover that their Chemistry teacher, Eugene Yamamoto, has been leading a secret double life as a crime-fighting Power Ranger. When an escaped mutant lobster shows up in the hallways seeking revenge for his arrest at the hands of Mr.

Yamamoto, they must use the science principles from the test that they failed to help him defeat it. A hybrid throwback to the educational after school specials of the 90s and the Japanese Tokusatsu genre. All that VR talk about Oculus Rift and Morpheus made me wonder what those Android headsets are like so I borrowed one off a guy at work. There's some fun stuff, but one of my favourites was Kaiju Fury (It's a short film made by the Stan Winston School of Character Arts which follows one character in a tower block besieged by giant monsters and another on the street as they attack. The whole thing is filmed in 360 degrees and you can turn your head to see the giant monsters stomping around you.

It's really ropey and the effects are laughable, but it's a great experience and you get to be in one of those miniature cites that get stomped by the monsters! If you have an Android VR set, this is a must-see!