Composers Danny Bensi and Saunder Jurriaans will see their soundtrack to the 2016 horror film The Autopsy of Jane Doe released on vinyl with sales opening up on Mondo this Wednesday. While the music is already well worth the price, the packaging elevates this release to a whole new level. Both the Mondo exclusive and the retail versions will come housed in a, “…triple gatefold sleeve and complete with a body bag.” But that’s not all! The triple gatefold itself opens up as though you are opening the chest of Jane Doe herself, the vinyl housed amidst her ribs. It’s seriously one of the coolest vinyl packages I’ve seen and I’m absolutely blown away by the cleverness and design of it all!
“We fell in love with this film (and score) when we saw it at Fantastic Fest in 2016, and we just knew we had to release the score to what is one of our favourite horror films of the last 10 years,” said Spencer Hickman, Mondo Head of Music. “We asked [artist] Jay Shaw to design the packaging and after spending a month or so bouncing ideas off each other we came up with the most fitting (and grotesque) package that we could for the film.”
Cheers to the folk over at Slash Film for the premiere.
Before The Possession of Hannah Grace there was André Øvredal’s excellent morgue-set horror film The Autopsy of Jane Doe, and the standout 2016 flick’s soundtrack is now coming to vinyl courtesy of Mondo. Detailed today, the release’s packaging is incredibly cool, tasking you with performing a little surgery of your own before you’re able to start enjoying it.
Mondo explains, “If you haven’t seen The Autopsy of Jane Doe, please rectify that immediately, it’s available on Blu-ray from our good friends at Shout Factory. It’s a genuinely chilling tale of a father and son mortuary team who get a body delivered that is unlike any they have ever examined – an unidentified female ‘Jane Doe’. As they begin to perform the autopsy in the dead of night, they begin to uncover the story of the corpse and slow creeping dread turns to all out horror masterfully directed by André Øvredal this is essential viewing for any horror fan.”
“The score by Danny Bensi and Saunder Jurriaans is tense, brooding and a genuinely scary listen (not recommended for late nights if you want to sleep)! It’s pitch perfect in creating mood and atmosphere one minute and letting loose into complete madness the next. The package was designed by Jay Shaw and we wanted to really give you a sense of the movie when you open it. The record is clear with blue and red veins swirling round Jane Doe’s heart and is housed in a triple foldout gatefold that requires you to perform some surgery to get to the vinyl. The whole package is rounded out in a body bag! Strictly limited to 700 copies – one copy per person.”
These will be on sale Wednesday 12/19 on Mondo’s site ($32), shipping January 2019.
The Christmas demon known as Krampus has been growing in popularity with each passing year, and Michael Dougherty’s 2015 film no doubt played a huge part in bringing him to the forefront. At this point, the beastly “Anti-Claus” has become the holiday icon he was perhaps always destined to be, and you’ll find all sorts of fun Krampus products out there.
Part of the company’s Mondo Tee-kis line, the 16oz mug was designed by artist Florian Bertmer, and the pre-order version featuring a white glaze with wiped dark red finish will be available through Dec. 24th at 12PM (CT). The ceramic mugs measure approx 7″ in height.
Selling for $30, they’re expected to ship in the 2nd Quarter of 2019.
If you’re looking for cool and geeky gifts for yourself or a friend/loved one this year, Mondo probably has a little something for everyone. We recently spotlighted their high quality Freddy Krueger sweater, which is screen accurate to the 1984 original classic, and over in their online shop you’ll also find a few enamel pins in tribute to another ’80s classic.
If you’re a fan of Castlevania, or know someone who is, Mondo sure has got ya covered this holiday season. Currently available in their shop, you can grab the Original Video Game soundtrack on vinyl for just $20, in celebration of the game’s 30th anniversary. Yes, we’re talking the original soudntrack to the 1986 Famicom/NES classic that started it all.
“Featuring all 12 BMG tracks from the game, journey through the darkness of Dracula’s castle, from tower to tower fighting, facing the nightmares within.”
Additionally, we’re excited to exclusively let you know today, Mondo is releasing a 1,000 piece Castlevania puzzle next week, featuring art by Becky Cloonan and also selling for $20.
The premium art puzzle will be Mondo’s very first puzzle!
If you’re looking to pick up the ultimate Freddy Krueger sweater for yourself or a friend this holiday season (hey, it does double for a Christmas sweater!), you’ll certainly find no shortage of them out there on the internet. Many are terrible quality and hardly screen-accurate, which is probably why Mondo stepped in to finally perfect the art of the Freddy sweater.
A collaboration between Mondo and Middle of Beyond, the “Version 1” knit sweater is the absolute perfect gift for the Nightmare on Elm Street fan, as it’s an exact replica of the sweater Freddy Krueger wears in the *original* Elm Street. As hardcore fans are aware, it wasn’t actually until the sequels that green stripes were added to the sweater’s sleeves.
Of course, the fully striped sweater is the most iconic look for Freddy (that’s why most replicas are based on the sequels), but damn is it nice to see one that’s ’84 authentic.
The 100% acrylic heavy knit sweaters run from sizes XS through 3XL.
Artist Sara Deck has fast become one of our favorites here in 2018, and we’re very happy to see that she’s re-teamed with Mondo for another Suspiria 2018 limited edition piece.
An edition of just 325, this particular 24″ x 36″ screen print will be going up for grabs on Friday, October 26, and it can be yours (if you act fast, that is) for $50.
“I was absolutely mesmerized by Suzy’s unshakeable pursuit of her dream to become a professional dancer, and at her eagerness to entwine herself completely with Madame Blanc’s vision for the dance. With this second poster, I wanted to convey her passion and willingness to let every bit of in,” Deck said in a statement today.
We recently gave our readers an exclusive sneak peek at Gary Pullin’s limited edition Halloween poster that he created for last weekend’s 40 Years of Terror Convention in Pasadena. It was just a piece of a longer interview we conducted with the legendary horror artist. Our conversation spanned the entirety of his storied career, from his beginnings at Rue Morgue Magazine to his recent work with Fangoria and Mad Magazine.
The interview includes some important advice for up and coming genre artists, along with his thoughts on modern horror and where he’d like to go next. Give it a read and let us know what you think in the Comments section, or on Facebook, Twitter, and/or Instagram!
Dread Central: Do you have any fine arts training?
Gary Pullin: Yeah, I do. Basically, I went to an art school in London, Ontario where I grew up. It was for grades 13 and 14 but for all art. It was cool, because we did a little bit of painting, a little bit of drawing, a little bit of printmaking—you name it. Anything creative; they had courses in animation and photography. I did that for 2 years. Then I went to Conestoga College in Kitchener; I moved out of the city and lived there. I took graphics design and advertising courses. They didn’t really teach illustration or how to drawn, so you had to have the basic know-how already. It was a 3-year program and, after that, I went to Toronto and got a job at a graphics design and packaging firm doing labels for beer and cereal boxes and stuff like that; commercial design packaging.
DC: You think it’s important for today’s up and coming artists to have some sort of fine arts training and, if so, what would you recommend for folks who don’t have access to colleges and universities or institutions where they can take classes?
GP: You can teach yourself by observing others and taking online tutorials; if you have a natural ability, you’ll stick with it. It’s playing guitar: You practice and learn the tools and if you have a passion, you’ll stick with it an excel. I do think it’s important, though. Courses will sharpen you up for sure and I’m glad I did it. There was a time before college where I thought, “Do I really need to spend all this money?” But I’m glad I did. It focused my talent and opened my eyes to the jobs available to me. Even beer labels today are frameable. And I like to find ways to sneak my horror elements into commercial design; my love of horror was always seeping into it. I’d be like, “Can I do monster eyes for this chocolate bar?” and “Can I do the artwork for Halloween boxes?”
DC: Since you brought it up, let’s talk about your love of horror and how you became immersed in the genre.
GP: It came from watching Godzilla as a kid and reading Fangoria in the 1980s; I was mesmerized by VHS cover art. And I really liked heavy metal music. I was like one of TheMusters; I just had a love for everything creepy as a kid. I loved Famous Monsters of Filmland and Deep Red Magazine. All these things were around me growing up. And I had a friend in college and we used to watch a bunch of movies in his basement while literally trying to scare the shit out of each other. And everyone knew I loved horror because I was always wearing creepy t-shirts and stuff.
Before your next question, I just want to add that working for Rue Morgue for 15 years was a huge part of my training as an artist and where I got a lot of my passion. When I got the job, I was still at that design firm doing packaging artwork. I met them at a film festival and knew I had to get involved. Before I knew it, I was I was their art director and, before I knew it the magazine took off and I was on their covers; and then, before I knew it I quit to start [my company] Ghoulish. It’s been insane but awesome. It’s been a crazy ride! And I still write my column for Rue Morgue but now I’m working for Fangoria as well. As a horror fan, I really couldn’t be happier. You know what it’s like to contribute to the things that you love, right?
DC: Absolutely, man. I feel like I’m living the dream!
GP: And I love going to conventions and meeting people, too; people who I can just talk about old VHS covers with, you know?
DC: One of the best parts of the job is being able to meet and interact with fans.
GP: Absolutely. I love to travel and see North American; I get to exhibit my work and meet my idols and I get to work with them sometimes. Like, I can’t even believe I’m talking to Dread Central right now.
DC: We’re honored to be talking to you! Tell our readers about your column at Rue Morgue and what, specifically, you’re doing for Fango?
GP: I do an art column for Rue Morgue where every month I feature a new artist. It’s always good to give up and comers a spotlight and I feature established artists too. For Fangoria, they’ve hired me to do illustrations and I did two big illustrations for their new issue and I’m really excited to be a part of that.
DC: It’s currently hitting mailboxes worldwide. I’m waiting for mine to arrive.
GP: I’m waiting for mine too. I saw the “unboxing” on Shockwaves and it was really exciting. I was like, “Wow this is really cool!” So, hopefully, I’ll be contributing more work for future issues. It’s been great, you know, getting that email asking me to be a part of the relaunch. It’s crazy and it’s been really good to see that happen. It’s just a really good time for horror right now, not just in films, but in music as well. Just look at John Carpenter: He’s not directing right now but he’s performing; he’s up there on stage—he’s a fucking rock star! We saw the Toronto show; it was like a family reunion, kind of, with half the horror fans in Canada in attendance. We’re all walking out of the show and everybody was just floating. That’s exciting considering his age. And he’s doing the new Halloween and it’s supposedly really good. And if you’re a filmmaker or a writer or an artist, it’s a great time to be in horror too, because the horror genre is supporting it. It feels like things are growing and getting better.
DC: I want to give you props for another recent achievement: Your cover of Mad Magazine’s recent Halloween issue. How’d you get that gig?
GP: Yeah. I just got an email and there it was! They had an idea for the cover, Alfred E. Newman as the twins from The Shining, and they wanted to see what I could do with that. So, we just went from there. If you look closely, the tongue on the Converse say “Room 237” and “Redrum”. It’s so cool to be working for a magazine that I grew up with. It’s like playing baseball as a kid and growing up to play for the Yankees when you grow up. It’s such a trip! I’d love to do another cover.
DC: I wanted to get your opinion on enamel pins since they’re really popular right now. Is that something you do as well?
GP: They’re fun to do. It’s not the focus of what I’m doing but I like doing them. It’s like wearing a little piece of artwork. They’re clever and cool and the demand is insane. I try to do ones that are different, totally original pins. People want pins and posters and soundtrack artwork and I’m happy to do it all. I even enjoy stepping out of the horror genre from time to time; I’ve done posters for comedies and documentaries as well.
DC: Just don’t step outside the horror genre for too long. You’re a treasure of our community and we love you!
GP: I’m just so happy being part of the horror genre. There are so many amazing artists right now, I’m just happy to be on the field with them.
DC: Since you brought it up, who are some artists who you appreciate or are inspired by?
GP: Oh man, as far as contemporary artists, there Jason Edmiston, Phantom City Creative, a lot of the screen-print artists are awesome. I also love Alex Pardee, I love Joe Coleman, Charles Burns (Black Hole)—and all these artists are still working today.
DC: Some good names for our readers to check out if they aren’t already familiar with them. One of the companies you’re most associated with is Mondo. You’ve been doing amazing work with them for a while and I’m curious if those limited-edition prints are becoming valuable?
GP: Yeah, they do. It’s created a whole collector’s market. Some people buy them to display and exhibit, but others buy them just to flip them. I make artwork for walls; I want people to want to hang them, but if they want to flip them, there’s nothing I can do and they end up on eBay. With Mondo, those posters are inducted into the Motion Picture Association of America as official historical prints, which is pretty amazing. Mondo has obviously helped my career a lot too; art director Rob Jones and Mitch Putnam—I love those guys. Rob Jones wrote the forward in my book. Then there’s Larry Fessenden who also did a forward and introduction in Ghoulish. It’s awesome hearing them talk about my contributions to horror.
DC: Yeah, talk about some serious validation!
GP: It is, and it’s crazy to think about! Back in the Rue Morgue days, I got a letter form Chas Balun, who was the editor of Deep Red back then and he also wrote for Gorezone and Fangoria. He’s passed on, but he sent me an awesome letter telling me that he really loved my artwork. I was like, “Wow, this guy has his finger on the pulse of horror and he likes my work!” It blew me away. Another time I was at a Chiller convention in New Jersey maybe 20 years ago and Forrest Ackerman was sitting in the lobby. I nervously went up to him and told him I was a big fan and he was like, “Oh you work at Rue Morgue? What a fantastic looking magazine!” I was just like, “Whoa!” I walked away from that meeting feeling like I was really going places.
DC: You’re clearly in love with genre films of the 1980s and with so many reissues and re-releases coming out these days, you get to revisit them fairly often. But how do you feel about modern horror films? Do you have the same love for genre movies being produced today?
GP: Absolutely. Certain ones, for sure. Like Martyrs and The Decent and Get Out are all great. I still watch horror movies and often think I’d like to do posters for them as well, like Hereditary or something. If it’s a strong film, it will stand on its own. A lot of people say horror’s making a comeback, but for me, it’s never gone away.
DC: Don’t call it a comeback! You mentioned that you would have liked to have done a poster for Hereditary. What are some other films that you would have loved to do artwork for, but never got the opportunity or couldn’t get the rights?
GP: The Texas Chainsaw Massacre; that would be great! Anything by Quentin Tarantino would be awesome too. Jaws, even though that’s a tough one. I have to consider if I can bring something new to the property too. Sometimes, it can be hard to reinvent the same things over and over again.
DC: You’ve built an incredible, immense body of work over your career. What are some of your personal favorites from your own library?
GP: What does Freddy Say? “You’re all my children now!” I don’t know, it’s hard to pick favorites. I did a Psycho print for a gallery in 1988; my Mondo Vertigo; Re-Animator, My Bloody Valentine, and Creepshow for Waxwork; The Monster Squad soundtrack is right up there!
DC: Since it’s been about a year since you released Ghoulish, let’s talk about your book for a bit. How has it performed and do you have plans for a follow-up?
GP: The book’s been great. It met my expectations and then some! We were looking into the possibility of special editions, and my publisher asked me for my wish-list of album covers I’d like to do the artwork for. I was like, Alice Cooper, Goblin, John Carpenter, and The Misfits. We reached out to all these guys and Goblin bit back! So, we used these live tracks from Austin, and I’d already done the merch and gig posters for the band. So, I did that and it was really cool; we released a special edition with Goblin. I also did some exclusives for Amazon that came with 3D glasses and they sold out.
DC: What are you working on next? Anything especially titillating?
GP: Nothing I can really talk about, but more stuff with Mondo and Waxwork. I’m just doing cool posters including a documentary poster. And I’d love to do some more covers, so we’ll see!
Mondo continues rolling out Halloween franchise soundtrack reissues on the road to the new movie’s release, with their re-issue of the soundtrack to 1981’s Halloween II, complete with stunning new artwork from Paul Mann, going up for grabs tomorrow, September 19.
“Death Waltz Recording Co., is proud to present the return of one of horror’s scariest boogeymen – as well as one of the genre’s most iconic themes – with John Carpenter and Alan Howarth’s score to HALLOWEEN II. Set directly after the events of the first film, Rick Rosenthal’s sequel sets itself up as the slasher equivalent of THE EMPIRE STRIKES BACK, making a family connection between Laurie Strode and Michael Myers while getting some good kills in at the same time. Carpenter and Howarth’s score is beefier and more intense than before, using layers of electronics to drive the audience to madness.
As before, Myers aka “The Shape” is propelled by that theme, souped up with a new and more powerful arrangement from Carpenter and Howarth. HALLOWEEN II is more overtly synth – and is perhaps less focused – than the original score, although that certainly means it’s nastier and more schizophrenic. The score also brings back the evocative “Laurie’s Theme,” incorporating into a score full of harrowing musical effect; its synthesized howls and wails pierce your ears, so that by the time ‘Mr. Sandman’ comes around, you’ll feel just like the final girl – delirious at having survived the aural ordeal. And that’s just when “The Shape” wakes up.”
There’s a Webstore Exclusive, pressed on 180 Gram Red, Orange and Blue vinyl, and a 180 Gram Orange vinyl version. They’re expected to ship in September, selling for $32 each.
As usual, new releases go on sale Wednesdays at NOON (CT) via mondotees.com.