January 13, 2017
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GEP pal Glenn McQuaid releases YES, I DRINK BLOOD on Holy Mountain Press

 Friday the 13th: Holy Mountain Printing releases Glenn McQuaid (aka Witchboard)’s ode to 1980’s Goth music, Yes, I Drink Blood.

From McQuaid: “I’m obsessed with goth music of a certain period – early Cocteau Twins, Rozz Williams era Christian Death, Siouxsie and the Banshees and especially Tones on Tail. Witchboard is sort of an homage to those bands and that period of time when glam’s androgyny met up with dub, punk, shit drum-machines and black eyeliner.”

From Holy Mountain Press:


We are really excited to finally reveal the WITCHBOARD lathe cut 7″ record!  This project has been in the works for a very long time (too long) and we are so excited to finally make it available.  WITCHBOARD is the creation of Glenn McQuaid, the man responsible for the fantastic film I SELL THE DEAD.  This is a hand printed jacket and lathe cut record limited to 50 total pieces.  Give it a listen here: WITCHBOARD BANDCAMP and buy your copy here: WITCHBOARD OFFICIAL STORE

August 5, 2013
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The Outer Church Compilation Featuring Graham Reznick Track – Available Today

Glass Eye Pix collaborator and director of I CAN SEE YOU, Graham Reznick, has a track on The Outer Church compilation, available today.
You can check the album out and give some tracks a listen here.

From http://fandf.bandcamp.com:
The artists list in full: Embla Quickbeam / Grumbling Fur / Some Truths / Kemper Norton / Pye Corner Audio / Black Mountain Transmitter / Angkorwat / Position Normal / Ekoplekz / BrokenThree / Anna Meredith / Hong Kong In The 60s / Baron Mordant   Continue Reading »

June 19, 2013
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Film Music Mag on BENEATH Soundtrack

From FilmMusicMag.com:
Probably the wackiest, and perhaps creepiest musical-design treatment that a mega-piranha has yet gotten, “Beneath” uses teeth-scraping metallic effects and berserk buzzing, so much so that the score’s subject feels like it’s about a swarm of killer bees. There’s much cleverness to be had with a solitary rowboat of fresh young meat, from country-jazz to the real, chilling deal of a solo violin and off-kilter strings that capture the seemingly placid water. Sword’s score floats effectively on Graham Reznick’s   Continue Reading »