'Tales of Unease' was a short lived series of supernatural tales based on stories from the horror anthologies of the same(ish) name compiled by John Burke (the second of which is probably best known for it's supremely creepy cover photo) screened in 1970. To the best of my knowledge much of the series has been lost but one of the few remaining episodes is the first - 'Ride, Ride'.
Myles Reithermann stars as 'Arth' an art student who meets a mysterious young woman (Susan George) at a party who begs him to give her a lift home before suddenly disappearing along the way.
Story wise it's a bit on the slight side with Reithermann seeming a tad out of his depth as the lead and George has little to do except look ethereal. There's some strong support from Janet Lees Price and 'The Omega Factor's' James Hazeldine but the half hour run time means they're both underused. It is though an interesting little take on a fairly well used ghost story trope that does what it does well enough without overstaying it's welcome.
This is his first short story collection for five years and offers
twelve previously uncollected stories and an unpublished journal of
story ideas and reading notes. His fiction ranges from the Triple Headed
King of Sancreed, Cornwall to the unknown god of Palmyra, from a
Venusian commodore to the lost composer of Stonehenge, and takes us on a
search for the cockatrice and a quest for books not found in any
All of the stories suggest that other dimensions may be encountered in
the most unexpected ways, whether through the hymn-singing of an old
tramp, or as part of a Shakespeare play. And in the previously
unpublished ‘Notes on the Border’, Valentine explores bookshops, old
churches, folklore and the uncanny, with insights into stories as yet
This newest collection of shorts from Mark Valentine finds him exploring ephemeral landscapes of the unknowable and the inimitable. Mark tells stories of the borderlands, of the thin places where glimpses are caught of the otherwheres or where the truly (un)lucky get to tread on soil unused to human feet. He tells stories of those liminal places where a travellers only map would be the tales told of them.
In these handsomely presented pages - this is my first taste of Zagava's fare and huge kudos to them for producing a thing of real craft - we are introduced to faded gods and fading con-men ('To the Eternal One'), to musicians ('Listening to Stonehenge'), to artists ('As Blank as the Days Yet to Be') and to their devotees ('Goat Songs') who through their particular ways can open pathways to places and experiences beyond the mundane. We are allowed a peek behind masks, both literal and figurative, of actors and audience alike as characters and character blur ('In Cypress Shades'), behind the mask of reality itself to worlds beyond ('The Uncertainty of All Earthly Things') and indeed behind the mask of the author as we are treated to extracts from Mark's diaries that reveal the genesis of some of his stories including some of his wonderful Connoisseur tales.
As ever with Mark we are taken on journeys both sinister and beautiful (often simultaneously) to places terrifying and beguiling (often simultaneously) in the company of the lost, the curious, the brave and the foolish and in each we can see ourselves as they react to the outrageous in deeply human ways. It is this that for me is the true magic in Mark's writing in that as he conjures up the most deliciously unexpected experiences he presents them with such a beautifully real sense of humanity that they seem all the more genuine and all the more disturbing.
'The Uncertainty of All Earthly Things' is available in two limited editions from the publisher.
The numbered edition is available here and the (more expensive but extremely limited) lettered version is available here.
You can follow Mark's terrific Wormwoodiana blog here.
Just uploaded to YouTube by the good people at Resident Advisor is a brand new documentary on the sonic wizards of the BBC Radiophonic Workshop.
For long time fans there's not really anything new here but featuring brief soundbites from the various members of the current touring band - Paddy Kingsland, Roger Limb, Peter Howell, Dick Mills, Mark Ayres and Kieron Pepper - as they prep for a performance alongside archive footage of Delia Derbyshire and Daphne Oram it makes for an interesting snapshot of the continuing legacy of these unique musicians.
'A Woman Sobbing' was made for the 1972 BBC anthology series 'Dead of Night' and is one of only three episodes left out of the seven broadcast as part of the series.
Written by John Bowen (who had previously written the rural horror classic 'Robin Redbreast' and who would go on to script two episodes of 'A Ghost Story for Christmas') the story concerns bored and lonely housewife Jane (Anna Massey) who, frustrated by her quiet country life and annoyed by her brattish children, begins hearing the titular sounds coming from the attic. At first suspecting some elaborate plot on the part of her dull and aloof but essentially good natured husband (Ronald Hines) to drive her mad she soon starts to believe that the presence in the attic is of a more supernatural nature.
It is horrendously sexist in parts but also features a fantastically intense central performance from Massey who veers between vulnerable and vitriolic as the intensity of her experiences escalate and Hines who gives a sympathetic performance as a man out of his depth trying to help his wife through, what to him, appears to be depression or schizophrenia. It is in that ambiguity of whether Jane is under malign influence or becoming increasingly unwell or perhaps both that the episode handles particularly well. There is a fairly obvious interpretation of the story that can be made from the title and the location of the sobbing but director Paul Ciappessoni manages, with the exception of one slightly out of place and heavy-handed moment towards the end, to keep away from any overt statements and we are left very much to make up our own minds.
The untold story behind
Mega-City One's most famous telepath and Judge Dredd partner, Judge
Anderson, in her first year on the job! Mega-City One, 2100.
Cassandra Anderson is destined to become Psi-Division’s most famous
Judge, foiling supernatural threats and policing Mega-City One’s hearts
and souls. For now, she’s fresh out of Academy and Psi-Div themselves
are still finding their feet. Heartbreaker: After a string
of apparently random, deadly assaults by customers at a dating agency,
Anderson is convinced a telepathic killer is to blame. Putting her
career on the line, the newly-trained Psi-Judge goes undercover to bring
the romance-hating murderer to justice, with the big Valentine’s Day
parade coming up. The Abyss: Sent to interrogate Moriah
Blake, leader of the notorious terror group ‘Bedlam,’ Anderson gets just
one snippet of information – Bedlam’s planning on detonating a huge
bomb – before Blake’s followers take over the Block. It’s a race against
time, and Anderson’s on her own amongst the inmates. A Dream of the Nevertime: Anderson
– a rookie no more, with a year on the streets under her belt –
contracts what appears to be a deadly psychic virus, and must explore
the weirdest reaches of the Cursed Earth in search of a cure. She must
face mutants, mystics and all the strangeness the land can throw at her
as she wrestles weird forces.
I thoroughly enjoyed the couple of early Dredd books that have appeared over the last few years (see here & here) and so when I noticed this one I couldn't resist and jumped right in.
Leaving aside the very inaccurate cover art that has left Anderson's uniform bereft of shoulder eagle and chain this is a fairly accurate rendition of the Anderson that we all fell for in The Dark Judges storyline. She's irreverent and fearless but here is wracked with doubts over the judge system and beset by worries that she's not up to the job. It's not something I really buy into. the years at the academy would have weeded that out of her but it does add a dimension to her interior monologue that Dredd obviously lacks.
The 3 and a smidge stories collected here are solid action pieces with the psi judge taking down various rogue psychics, mutants and terrorists across Mega City One and the Cursed Earth. Worley has a fairly solid hand on the craziness of Dredd universe but has kept a fairly tight rein so the Valentine Parade feels suitable OTT rather than just silly and Marion the cow-bot is a sympathetic character behind the John Wayne-isms.
As I said I found the soul searching to be a little forced and given too central a place in the stories but other than that this proved to be another successful and very readable collection of stories allowing us a glimpse at the unreported years of some of 2000ADs finest.
Made in 1966, just two years before George Romero revolutionised the genre, Hammer Studios gave the world what is perhaps the last great entry in the voodoo zombie genre. 'Plague of the Zombies' is the story of a small Cornish mining town plagued by a number of unexpected deaths. To help him find the cause of this epidemic the doctor (Brook Williams) calls on the aid of his old tutor (Quatermass and the Pit's Andre Morell) who arrives to find a village in turmoil with even the Doctor's wife ('Servalan' herself Jacqueline Pearce) succumbing to the mystery affliction .
'Plague...' is in many ways fairly typical Hammer with it's period setting and it's backlot sets but behind this is a movie that is straining to break free of the confines of the studios reliance on the great monsters. Beyond the shuffling creatures we have a story about class conflict and economic exploitation as the arrogant upper class Squire (John Carson) exercises power of life and (un)death over the villagers exploiting their lives and labours for his own greed while the educated gentlemen doctors strive to cure the plague and free the village.
With the exception of one rather vicious dream sequence it lacks much of the gore laden sensibility that would come to characterise the zombie genre but what we do have is a sympathetic script anchored by top notch performances from the cast - Morrell was one of the studios best and Pearce always shines even when, like here, her appearance is fleeting. The end result is still very much a Hammer movie but one with an eye to
where horror scripts would be heading in the coming decades.
The debonair psychic
investigator Richard Jeperson is the Most Valued Member of the Diogenes
Club, the least-known and most essential branch of British Intelligence.
While foiling the plot of many a maniacal mastermind, he is chased by
sentient snowmen and Nazi zombies, investigates an unearthly murderer
stalking the sex shops of 1970s Soho, and battles a poltergeist to
prevent it triggering nuclear Armageddon. But as a new century dawns,
can he save the ailing Diogenes Club itself from a force more diabolical
still? Newman’s ten mischievous tales, with cameos from the
much-loved characters of the Anno Dracula universe, will entertain fans
and newcomers alike.
There was much to like in the first Anno Dracula book - and by much I mean loads - but the part that really resonated with me was the use of Arthur Conan Doyle's Diogenes Club as the base of the secret service under the guidance of Mycroft Holmes. A quick search showed me that Newman had written three books around this club and that they were now commanding eye-watering prices. Well, the first one has finally been reprinted and it was well worth the wait.
This first collection of Diogenes stories focuses on flamboyant psychic investigator Richard Jeperson as he rampages around 1970s and 1980s (and into the 90s) England battling zombie nazis, witches, golems, snowmen, ghost trains and evil geniuses. Jepperson is a pitch perfect amalgam of all your favourite spy-fi characters such as Jason King (who he looks like) and John Steed mixed with a healthy splash of the Jon Pertwee incarnation of the Doctor and a heritage of psychic detectives and adventurers such as Thomas Carnacki and Flaxman Low.
It's a glorious romp of a book and is tremendous fun throughout. It feels like an unapologetic return to the pulp horror supernatural shenanigans of the era of it's setting. There is so much fun to be had here cavorting around the last quarter of the 20th century and taking in the sites and sounds of the secret history of these decades and for those of you who weren't born or were elsewhere there's even a handy glossary of some of the more particular references although - and this is something mentioned in a story ('The Man Who Got Off the Ghost Train') but isn't featured in the glossary - as a Welshman and as a fan of the admittedly unattractive looking stuff I need to add that 'lava bread' (sic) is neither dry nor in fact bread but this is my tiny obligatory quibble with what is fantastic collection and a joyful mash up of all the best supernatural and sci-fi shenanigans of 60s and 70s British TV and is heartily and unreservedly recommended.