The History of Metal and Horror Review!

Horror and metal. It’s been in the making long before anyone realised, I suppose. The Crazy World of Arthur Brown introduced a heavy music with rather disturbing images. As did, of course, Alice Cooper, Coven (see review here), etcetera, whom took the ball and threw it at faces before Black Sabbath raised their doom laden heads and created a sound that powers through even today.

It was the eighties, the birth of MTV especially, that I reckon gave the hybrid a shot in the arm. Everything became faster, more effects, and what better than to back it all with a power cord soundtrack? The eighties happened to be the era that birthed many a metal fan, even into the ‘90s as they viewed those horrors from years gone by. My Partner in Gore was one such person, as towards the late ‘90s she watched the Nightmare on Elm Street flicks and rock ‘n’ chiller classic, Trick or Treat, as a little girl. From there burst forth her obsession with loud guitars and gore. For me, I had no chance in life, my childhood was watching (what was soon to be) video nasties with my parents and hearing classic rock gems like Deep Purple and Hawkwind blasting out.

With all of that in mind, imagine just how excited we were to have the opportunity to review this important documentary, The History of Metal and Horror. What is unexpected and rather cute is the fact this doc has a wraparound story. The tale of the last human on earth, a planet ravaged by plague. His lonely scavenger excursions are broken one day against a ruined landscape, by the discovery of a box marked ‘History’. Within is a pile of VHS tapes. Next to the box is an electric guitar. We are accompanied by a throbbing old school moody electronic score as he returns to his hideaway, unloading cans, various objects, and then comes the tapes.         

Sitting enthusiastic and almost happy, he plays the first one — a history of gardening. Not really of interest. Next one is a military history. Again, no point. He pauses as he loads the next choice, it’s about heavy metal. It doesn’t play properly. Fair enough, leaving it in, he chooses a history of horror tape for the second machine. Up comes Michael Berryman, staring at him. He’s our introduction. Throughout the film, we cut back to this set piece and Michael begins to address our survivor directly. What’s cool about the wraparound is it could have been easily cheesy or silly, but the creative mind behind it has avoided such a trap. There’s a point to it all. Anyway, onto the documentary…      

The first chapter is the dark history of horror. Beginning with the earliest tales of monsters, we go way back to early civilisation, then through Greek mythology, tragedies, Roman melodrama, into the Victorian era, and so forth. This is a talking heads thing, but fast edited intercutting with pictures, clips, and additional information. The History of Metal and Horror starts to become highly effective and addictive in this form.      

The classic silent film years arrive, Germany of course have the greatest share of the segment. People like Rob Zombie and Lon Chaney’s great grandson speak with mass enthusiasm. Rob points out that the key was art direction, it was outstanding. Into the Universal times plus everything of note around, we go. Bela’s son, Karloff’s granddaughter, and Kirk Hammett of Metallica are the main talkers for now. Neither me nor Willow knew just how deep a horror hound Kirk is. Hell, he’s oozing love for the genre and has given back so much, as we discovered later. The Universal movement is highlighted and praised, rightfully so. This leads to John Carpenter, Gunnar Hanson, Tom Savini, John 5, and others explaining some of their early introductions to horror. Doug Bradley comes over, like Kirk, is amazingly enthusiastic about the whole thing.        

Godzilla, Hammer Horror, Psycho, then the ultimate game changer, Night of the Living Dead, jumps up. Rob Zombie explodes. “Holy fuck! It’s right in your face!” Everyone’s favourite NOTLD milker, John Russo, has a brief chat, then we are in the new gorier more real and raw era as the ‘70s have come. Hugely an offspring of the Vietnam War, how society was able to witness so many graphic images, the birth of the extreme had arrived. “Leatherface is an apocalyptic character,” says Gunnar, “and heavy metal is apocalyptic!”       

The Exorcist, Dawn of the Dead, Phantasm… Twiggy Ramirez shares an amusing childhood story about when he first saw Phantasm and became afraid of shitting himself after death. This documentary is insanely beautiful, enthralling, and fast-paced. Everything flashes by but with enough info and time to have its effect. Advances in FX, plus the new minds working makes the ‘80s stand out so far in the timeline, at least for the use of this documentary. Music becomes a focal point with the release of loud soundtracks alongside the movies.  Meanwhile, Corey (Slipknot) Taylor goes deep about The Shining, with an interview courtesy of the now grown up, Danny Lloyd. 

Big necked, George (Cannibal Corpse) Fisher rears up, he’s the boss level of head bangers. Man, he’s also wearing a Bodycount t-shirt. Wrestler and actor, Chris Jericho became the ultimate surprise here. Avid horror fanatic, and one of his favs is Basket Case. Meanwhile, Linnea Quigley discusses the slasher genre, then Alice Cooper, and John Carpenter go into the genesis of how Alice got the infamous role in Prince of Darkness. It’s relentless and a fan dream — Rob Zombie explains how he turned to making films, Bill Moseley and Sid Haig wax lyrical about the appeal of Captain Spaulding plus the horror ‘n’ metal connection.

Chapter 2 goes further into how everybody in metal featured in this got into horror. Chris Jericho touches on horror mags, Famous Monsters, etcetera. Cable TV, old theatre shows, it’s all nostalgia and lovingly discussed. Jonathan Davis, of Korn, as a kid (like me) went into the deep end with Faces of Death and such. 

So, then we plunge into the origins of metal, starting with rock, which spawned from the blues. The ‘60s and ‘70s are covered until, of course, Black Sabbath are named the definitive originals of the actual sound termed heavy metal. As Corey says, “Anyone who says Black Sabbath didn’t invent heavy metal is a fuckin’ idiot! Should shut their mouth!” The band fused elements of horror with their sound and of course the name, taken from the Bava movie. We breeze through Judas Priest, Iron Maiden, thrash metal, the subgenres which emerged, but as for the actual appearance of horror in the music and performances, back in time we go to Screamin’ Jay Hawkins, and then the other screamer, Lord Sutch. The outstanding showman of shock, Arthur Brown, and his first Top of the Pops appearance draws us to Alice Cooper. Both he and Arthur discuss one another’s careers. Alice is the man who did it to perfection, the combination and fusion of both genres, with his sounds and stage shows. There’s footage of his early Grand Guignol style live murders and suicides. 

Rob Zombie (who’s a good friend of Alice’s) took the blood-soaked ball and ran hard. Horror entertainment. Anthrax songs that were built from Stephen King books, The Ramones borrowed from The Texas Chainsaw Massacre, then we have Doug Bradley’s long association with Cradle of Filth. There’s so much happening, Kane Hodder uses metal to hype himself before kill scenes, John Carpenter loves Metallica, Lucio Fulci classics make an appearance – YES! Oh yeah, Doug Bradley has been kissed by Marilyn Manson.

It’s a who’s who of horror metal. We have King Diamond, Sepultura, Gwar, Cannibal Corpse, Death, Slipknot, all this and more! Side note about Gwar: they are total dickheads in this, who are trying to be comical (we think) but shouldn’t have been allowed on the mics in front of the cameras, adding nothing but looking, and sounding, like idiots.

For the rest we get the cover artworks (Ozzy, Cannibal Corpse, Iron Maiden — as is stated, they act like film posters) plus a really brilliant part about conventions. Welcome back, Kirk, and his marvellous, Fear Festevil, an outstanding high budget mesh of movies and music. Worth noting that every week of the year you can travel and go to a horror con somewhere. You can’t do that for romance films, not even Star Wars. This chapter is warm and cosy. 

Where does it all lead? The why! Why do the two go hand in hand? Michael Berryman takes Christopher (the survivor’s name) down the dark path, concentrating on 1986’s Trick or Treat and a description of the main character, “That’s my childhood in a nutshell.” mused Willow. 

The History of Metal and Horror is a glorious (goryous) achievement. Mike Schiff has worked his balls off over several years to build this one. It was so nice to see those who are no longer here this side of the curtains like Sid Haig and Gunnar Hanson speak again with great glee and a twinkle in their eyes. It feels shorter than it is because of the pace, like an out-of-control train about to collide with what is classed as ‘normal’ life. This is 100000000% a labour of pure love. Mike’s adoration and interest in the topics shows throughout. 

A point being the knowledge available. Mostly it’s what’s known to those in the circles, but believe me, there’s things in here you may not have realised before watching this, so imagine the curious wandering in and being converted to the army. Horror and metal, like this documentary is adrenalin and excitement, a release of emotions. 

The History of Metal and Horror is absolutely essential. Here’s a link that will change your world: M.A.S. Productions Inc.

Directed by: Mike Schiff
Written by: Mike Schiff
Produced by: Mike Schiff, Robert L. Lucas
Cinematography by: Mike Schiff
Editing by: Mike Schiff
Music by: Jimmy Urine
Special Effects by: Mike Schiff
Cast: Michael Berryman, Alex Rafala, Rob Zombie, Alice Cooper, Scott Ian, John 5, John Carpenter, Gunnar Hanson, Linnea Quigley, Sid Haig, Kirk Hammett, Jonathan Davis, Chris Jericho, Phil Anselmo, Arthur Brown, Marky Ramone, Doug Bradley, Dani Filth, Dave Mustaine, Nick Castle, Wednesday 13, Bill Moseley, Tom Savini, Sara Karloff, Bela Lugosi Jnr, Derrick Green, Kane Hodder, Ron Chaney
Year: 2022
Country: USA
Language: English
Colour: Colour
Runtime: 1h 40min

Studio: M.A.S. Productions