Shredding in the Tomb of the Pharaohs: An Interview with Bonno Stobart of Tyrannos

I frst met Bonno Stobart a handful of years ago when he was just starting to pick up a guitar and read Lovecraftian horror. I probably shouldn’t even tell some of this, but being the horrible person that I am, I’m going to anyway. ๐Ÿ™‚ He and I (and Victoria Snaith) had a brief chat…

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Female Driven, Female Written: Victoria Snaith of Dread Falls Theatre Talks about Creating Lovecraft Inspired Father Dagon

As most of you know, I’ve been working with Victoria Snaith and Dread Falls Theatre to create what I feel is a fantastic podcast inspired by Weird Fiction author H. P. Lovecraft (who else? You are on Seesar’s website, after all! ๐Ÿ™‚ ) One of the recurring comments/compliments I’ve received or seen that Victoria has…

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Superheroes, Alternate History, and a Splash of Lovecraftian Fun: An Interview with Jay Sandlin on Outbreak Mutiny

Anyone who knows me (even remotely) knows I’m obsessed with Lovecraft. What fewerย  folks know is I’m also obsessed with a few other things – wrestling, martial arts movies from the 1950s-80s, Godzilla, Cryptozoology/Fortean Studies, and the big one: comics. I used to have a massive hard copy collection that sadly was stolen from me…

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Sounds, Sound Effects, and Noise: Creating the Soundtrack for Dread Falls Theatre’s Lovecraftian Podcast Father Dagon

Dread Falls Theatre presents Father Dagon

After director Victoria Snaith and her drama company Dread Falls Theatre had a successful run with their immersive Lovecraft-inspired performance Father Dagon, Victoria made the decision to take the live performance to a digital media and created Father Dagon, the podcast. The actors for the live show had been given backstories for each of their…

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Opening the 13 Gates of the Necronomicon: Math Punk meets Lovecraftian Dark Ambient Futurist Soundscapes

In February, 2017, I responded to a call for tracks from the illustrious Sombre Soniks to submit music for their thirteenth dark ambient compilation. It was an interesting call; the constraints for the submission included that the track had to be thirteen minutes long, deal with the number thirteen on some level, and include thirteen…

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