My wife and I were married the year that The Woods was released. It was the final piece in a seven album run of pure excellence by Olympia, WA riot-grrrl act turned indie rock saviours Sleater-Kinney, and it was arguably their best work. It’s arguable only because the six albums that preceded it – including personal favourites Dig Me Out and All Hands On The Bad One – were largely masterpieces. So when the band went on hiatus in 2006 it was disappointing but perhaps not as disappointing as it could have been. Bands that have kept up the consistent level of quality that Sleater-Kinney managed are extremely rare in rock and roll history, and to expect the band to continue being awesome indefinitely was unfair. At the same time, it’s not like they broke up on bad terms. It was more in the way of an indefinite hiatus, and not the Soundgarden kind where the band actually hates each other but refuses to admit it. In fact, a recent NPR interview seems to indicate that getting them back together was as easy as hanging out watching unreleased Portlandia episodes with Fred Armisen and saying “gee, we should play more shows as Sleater-Kinney”.
There’s more to it than that, of course. The band has always been a seething base of operations for righteous feminism and anti-consumerism, a sort of less obnoxious Rage Against The Machine. The years since The Woods have been tumultuous; the near-total outreach of the internet in the Western world has brought even more odious ideas of racism and anti-feminism into full view. Movements like The Red Pill and GamerGate have gained popularity on the basis of ideals directly opposed to those that Sleater-Kinney – not to mention the entire feminist movement of the 20th Century – have stood for. For a band that spent so long codifing their rage into brilliant, complicated punk rock, it must have needled like nothing else. Eventually the slime creeping over the modern world becomes too much and something must be said. Hence No Cities To Love.
None of that would mean anything, of course, if the album itself was sub-par. Thankfully No Cities To Love is number eight in the band’s hot streak of great albums, a wonderfully knotty set of ten songs that abounds with righteous fury and great hooks. It’s heavy, scathing, and easily the equal of any rock album released by people less than half the age of the performers here. Corin Tucker’s strident voice has seemingly not aged a day, Janet Weiss’ drums still thunder like the gods, and Carrie Brownstein’s guitar still remains more complex and emotive than the next ten bands combined. It’s such a perfect Sleater-Kinney album that it melts away the ten years that preceded it as though they never occurred, and, again, such a feat in the history of rock and roll is extremely rare.
Some people – most people – imagined it would never happen. After suffering through crippling crack and heroin addictions, drug-fuelled home invasions, and Babyshambles, the Libertines have apparently made up and are going to be getting back together, at least on a temporary basis. On April 25th it was confirmed that yes, despite all indications to the contrary, it was happening. Now their Hyde Park show – slated for July 5th – is sold out and they will be playing their First Show Back to 65,000 people.
What’s the outcome here? Will they be as good as ever? Will Pete and Carl keep away from each other’s throats? Will Kate Moss come out on stage? Time will tell, I suppose. There is no indication that studio time has been booked for the band. Considering the sonic abortion that was eventually collected as Indie Cindy, perhaps its best if great bands of the past don’t go into the studio. Even Black Sabbath waited a million or so years to record 13, and even that effort was largely piss-poor. So, I’m going to continue crossing my fingers and hoping that they don’t leap into the studio right away, or at all.
Actually, considering the track record, Pete should run for Toronto mayor. I mean, if we’re going to be saddled with a crackhead, it should at least be the guy that wrote “What A Waster”.
Playing catch-up with the reviews, Consumer Guide style. Here’s everything I’ve listened to in 2014 thus far. As is my usual style, this list will likely expand quite a bit by the time mid-November rolls around. A couple of them (Here And Nowhere Else and St. Vincent) probably deserve the usual individual reviews but such is life.
Cloud Nothings – Here And Nowhere Else ★★★★★
The Cleveland band’s fourth album finds them scrubbing away a lot of the pop elements that Steve Albini had left on them during the process of their 2012 breakthrough Attack On Memory. It’s a triumph of 21st Century punk rock, eschewing the sunny California-inspired pop stuff that has mired the form for most of the last decade in favour of a hard-scoured feel-bad attack. The album also has the cojones to use the lead single/best song the band has recorded as the final track.
I still don’t get what people find so amazing about this album. I’ve enjoyed the Eighties retread/re-exploration we’ve been on since 2008/2009 as much as the next person but this isn’t doing anything radically different than the next band. I’ve heard better synth drones, I’ve heard craftier melodies, and the vocals remind me in a vague way of Xiu Xiu, and not in a good way.
Candy-coated riot grrl punk, like Sleater-Kinney-Lite, or maybe an alternate-history Josie and the Pussycats that has a bit of actual substance. Musically inoffensive and lyrically righteous, not a great album but certainly a good one. Nothing original but you can sing along.
The German band had a breakthrough back in the long-gone year of 2002 with Neon Golden and have consistently flown just under the radar with every subsequent release. Close To The Glass is not likely to change this particular fate but it, like the other albums, is a solid record of warm experimental pop music that balances melody with a mix of textures that change from song to song. Deserves more than it will end up getting.
Glacial, whispered art-folk, highly recommended to anyone who enjoyed Grouper’s Dragging A Dead Deer Up A Hill. Beautiful like a foggy frosty morning sigh.
Stooges drummer Scott Asheton has passed away at the age of 64.
The Stooges were perhaps the seminal proto-punk band, eschewing the peace-and-love ideal of the day in favour of the three Fs: feedback, fucking, and getting fucked up. In an era where rock ‘n’ roll had a tendency of being a bit fey and esoteric, the Stooges skewed in the opposite direction. They played like cavemen, bashing out howling songs of go-nowhere lives with a snarling abandon that wouldn’t fully come into vogue for a decade. Like primitive Sixties garage rock heroes like the Sonics, Monks, and Troggs, they banged out three-chord anthems to teenage wastelands built around brother Ron Asheton’s swirling feedback and the pound of Scott’s drums.
From 1967 to 1974 they prowled the United States, selling virtually no records and freaking people out with singer Iggy Pop’s wild onstage antics. After falling apart in an implosion of booze, heroin, and commercial failure, Asheton took over the drumset of Sonic’s Rendezvous Band, featuring garage-soul guru Scott Morgan and fellow Detroiter Fred “Sonic” Smith, formerly of the MC5. When Smith put the band on hiatus to marry another proto-punk (American poetess Patti Smith) in 1980 Asheton followed Morgan around through various projects including The Scott Morgan Band and Scott’s Pirates. In 2003 he joined up with the reunited Stooges to tour endlessly; in 2007 the band released a fourth album, The Weirdness. In 2009 his brother Ron died and in 2011 Scott suffered a stroke after a performance at a festival in France.
Iggy Pop had this to say about Asheton’s death:
“My dear friend Scott Asheton passed away last night. Scott was a great artist, I have never heard anyone play the drums with more meaning than Scott Asheton. He was like my brother. He and Ron have left a huge legacy to the world. The Ashetons have always been and continue to be a second family to me.
My thoughts are with his sister Kathy, his wife Liz and his daughter Leanna, who was the light of his life.
And here we are at the top 10. What a ride. Or something. This list will probably undergo some transformation before the end of the year, naturally, but it’s hard to say how radical that change will be. Especially the top 10, although I’m certain some of it will shift before we call it quits on 2013. And if you haven’t bought my book yet, you should do that before the end of 2013, too. Or, say, before the end of today. That would be nice too. HINT HINT: http://amzn.to/19HF1tc
#10: Baths – “Obsidian”
Cerulean was such an amazing debut that it was hard for me to imagine Will Wiesenfeld topping it. Yet, here we are, with the stellar sophomore album Obsidian. The terms are darker, this time around; the aching beauty is souring, turning in on itself, yet never once does it become a drag to listen to. It will leap out of your stereo and ask you to commiserate with it, and you will.
#09: FIDLAR – “FIDLAR”
Here we are, sweating through the summer of 2013, and to aid in this we have an album that breathes sweltering punk abandon, from the opening shots of “Cheap Beer” (I DRINK CHEAP BEER SO WHAT FUCK YOU) through each and every classic L.A. skater punk nugget. They win no points for originality, and they don’t need to: this is pure, raw rock ‘n’ roll, and if you need more than you should simply have another beer and repeat until you don’t care any more.
#08: Daft Punk – “Random Access Memories”
I heard “Get Lucky” on an Easy Rock format station the other day. That’s how ubiquitous this album is getting: your mom has heard it, your office secretary has heard it, the middle manager at your firm has heard it, all the kids in your class are blasting it from their bedroom windows. My neighbours are doing that, possibly right as we speak. It’s not the most pretentious or artsy funk album, but it’s certainly the most effective. Daft Punk Everywhere: that’s the Summer of 2013, folks. Now lose yourself to dance.
#07: Parquet Courts – “Light Up Gold”
Barely an album from 2013, but technicality is the soul of life, or something; regardless, the album counts (thank you mid-January re-release) and is top-to-bottom impressive. This is a album of poppy punk, but not pop-punk; it lacks the genre’s characteristically annoying adolescence and sk8r-boi mentality and substitutes smart melodic sense and a refreshingly full brevity. These songs will stick in your head and they will take up residence there.
#06: Foxygen – “We Are The 21st Century Ambassadors Of Peace And Magic”
There are albums that are derivative and this is a bad thing; they wear their influences like riot shields, proclaiming that they’re just like Band X in an attempt to woo people who are looking for bands just like Band X. Then, there are bands like Foxygen. Foxygen is not original. One listen to “No Destruction” will tell you immediately that they are heavily indebted to the magic of the Psychedelic Sixties. At the same time, it’s impossible to pinpoint exactly which bands they’re ripping off at any one given time. Instead, it’s safest to say that they’re ripping off the entire decade at once: We Are is a distillation of every great moment the decade produced, solidified into one hell of an homage.
#05: Boards Of Canada – “Tomorrow’s Harvest”
There are a number of bands releasing albums in 2013 that haven’t released albums in quite some time. It may not have been as long an interval from The Campfire Headphase as, say, Loveless, but it’s safe to say that, of all the classic bands, few have or will approach the level of quality offered up by this Scottish duo. That Campfire alienated a lot of long-time fans is a matter of public record; to the group’s credit, Tomorrow’s Harvest sounds like it takes up where the much better Geogaddi left off back in 2002.
#04: The National – “Trouble Will Find Me”
The band’s sixth album finds them settling into a serious groove, where the style is their very own and it’s done to perfection. It continues on perfectly in an evolution of sound from Alligator onward, mellowing out slightly from High Violet but retaining the crushing sense of sad-eyed aplomb. It’s hard to name a better pop band operating today.
#03: Deafheaven – “Sunbather”
An immediately gripping set that combines the best parts of black metal with the best movements of post-rock and creates something that may not be entirely wholly new but is definitely the most cohesive statement of such music ever made. The bleak, winter-driven howls and blur-of-shoegaze guitars are there, but the suite-sets and crescendo-patterns are pure post-rock; the result is something that is not black metal, but can be considered to be truly post-black metal. Definitely a junction-point in the fringe of music, and an album that will be pored over and discussed for years to come.
#02: Kanye West – “Yeezus”
The most divisive album of the year: those who like it, like it a lot, and vice versa. The distorted synths and electro drums gained fans and enemies in equal measure. The fact, however, is this: even when it was obsessive online haters trying to dominate the conversation, it still meant that people were talking about Kanye and only Kanye. The man is likely the premier artist of our musical times, a juggernaut that is helping to bring hip hop into its artistic phase, much as the Beatles helped usher in the artsy phase of rock ‘n’ roll. The album is a winner, though, repetitive internet shitposters be damned; it is a brutal blend of swag rap, pummeling post-OFWGKTA production, and trap music, touched off with a classic Kanye soul sample in the end.
UH HUH HONEY 😉
#01: Deerhunter – “Monomania”
Deerhunter have been the most consistently impressive rock band in recent memory; Cryptograms, Microcastle, and Halcyon Days are all stone cold classics, utilizing devastating rhythms, obscure vocals, and a deliciously smoky sense of haze to craft the very definition of cutting-edge indie rock. Monomania finds them stripping away a lot of that haze; the idea this time out seems to be to craft a much more stripped-down, straight-ahead version of Deerhunter, and the results are nothing short of stupendous. It’s a leather-jacket album, touching on garage, freewheeling spirits, and a newfound love of the Grateful Dead. For longtime fans of the band, this can be somewhat off-putting at first, until that first rhythmic groove kicks in; from then on, you realize it’s Deerhunter, larger than life and fifty times tougher. Much like Microcastle, it’s become my go-to album: when all else fails, I reach for Monomania, because I’m always in the mood for it.
Silent Shout was a glittering example of how effecting pop could be forged out of Eurotrance cheese. Shaking The Habitual is an example of how to advance social justice through pure dark noise. Less a darkwave/pop album than it is a black ambient record, the Foucault-referencing, hyper-radical tracks found on here seem at times to eat light. The perfect soundtrack for when your radical gender studies study group starts to get druggy.
#19: Nick Cave & The Bad Seeds – “Push The Sky Away”
If Dig Lazarus Dig!!! was the raucous, garage-blasting record that rejuvenated the Bad Seeds, Push The Sky Away is the contemplative record that digs through the ashes of that barnburner and finds peace, serenity, and further reasons to remain unsettled. There is a core of strength at the heart of all of these songs that sustains the listeners for long after the last notes of the hymn-like title track fade out.
#18: Oblivians – “Desperation”
Sixteen years after their last record, the legendary Memphis garage punks have put out an album that sounds like a direct evolution of the point that they left off at. The band slashes along with more verve and energy than a thousand younger bands. It’s funny, though, in an existential way, that the band couldn’t drop this album until well after the death of super-fan Jay Reatard; it sounds pretty much like an album that late juggernaut would have recorded, had he matured slightly before killing himself with coke.
#17: Savages – “Silence Yourself”
The hot buzz band to watch for the year, Savages take a, uh, savage look at the modern rock scene and ask you to despair. They then cobble together a mix of post-punk, electro-pop, and krautrock and ask you to drink of it. When you complain, meekly, that it tastes bitter, they tell you that the taste is merely your own tears. And you weep again.
#16: Var – “No One Dances Quite Like My Brothers”
The Copenhagen band does pretty much everything I just said about Savages, but does it slightly better. Also, can I take a moment here to express my undying love for whomever designs the LP covers for Sacred Bones? The unity of design makes me want to die of sheer happiness.
#15: Thee Oh Sees – “Floating Coffin”
The veteran garage band rolls on, crafting an album that is at once heavier and more cohesive than anything that they’ve released before. Don’t be fooled, though: the San Fransisco band still throws out moments of sheer psychedelic bliss , a skill with which they have no equal today.
#14: Kurt Vile – “Wakin’ On A Pretty Daze”
Kurt Vile makes gorgeous, sprawled-out stoner pop seem absolutely effortless. Even when the tracks stretch to the nine minute mark (as on the opener, for example) they don’t lose their way; the maintenance of cohesion is nothing short of amazing.
#13: Grouper – “The Man Who Died In His Boat”
Liz Harris’ newest album is, at it’s heart, merely tracks that were recorded during the sessions for 2008’s Dragging A Dead Deer Up The Hill. The trick, however, is that the album never once sounds like a collection of cast-offs or b-sides; it is a strong, shimmering, beautiful collection all on its own.
#12: Pissed Jeans – “Honeys”
Honeys is a motherfucker of an album, in a way that their previous effort, King Of Jeans, came close to but never quite achieved. I first caught this band on a Sub Pop sampler in 2009, and Honeys fulfills the sheer weight of smashing ambition that leapt out of that disc and tried to strangle me. Not for the faint of heart, or for anyone who dislikes crushingly heavy hardcore riffs.
#11: Jon Hopkins – “Immunity”
My wife keeps asking me why I’m listening to house music. Like the terrible music snob I am, I have to tell her two things: first, it’s ambient electronic, and second, it’s jaw-dropping. Jon Hopkins has been kicking around for a while; he’s collaborated with Imogen Heap, hooked up with Brian Eno, co-produced Viva La Vida (Or Death And All His Friends), and most recently teamed up with Scottish singer-songwriter King Creosote for 2010’s diamond-in-the-rough Diamond Mine, which is where he first caught my attention. Immunity is possibly the best ambient album released in a decade, without hyperbole. I literally cannot stop listening to it. Someone help me. Please?
As we rapidly hurtle towards the mid-day of 2013, we reflect on the greatness of the music that has, so far, been presented to us. We marvel in the past, present, and future of hip hop, and we witness the return of a powerhouse legend. We head on over to http://www.amazon.com/Disappearance-ebook/dp/B00DL123N2/ where we buy a copy of my book, because it’s a fun post-apocalyptic romp. We bear witness to the enduring strength and resilience of rock ‘n’ roll. Let us bow our heads.
#30: Ghostface Killah – “Twelve Reasons To Die”
With a production very similar to executive producer RZA, and the familiar flow and bite of the veteran MC, Twelve Reasons To Die pays dirty homage to the sound of the Nineties while offering up one compelling track after another. A concept album involving an Italian mobster resurrected as the Ghostface Killah, it’s both utterly unsurprising and stridently riveting.
#29: The Men – “New Moon”
“Maturity” can be such a dirty word, but in the case of Brooklyn’s The Men, it fits like a well-worn work glove. On their fourth album they balance the booming punk rock energy with a more contemplative, Neil Young-esque sense of style, and the results take their sound to a very heartfelt level.
#28: Camera Obscura – “Desire Lines”
Their best album since Underachievers Please Try Harder, the Scottish indie pop band crafts a delicate, wistful album of gently affecting music to listen to on a quiet night with good coffee. Any situation, really, where you can appreciate Tracyanne Campbell’s deliberate style of sighing, wink-and-nudge humour and devastating lyrical observations.
#27: Beach Fossils – “Clash The Truth”
Laid-back stoner pop that walks a fine line between trying and not trying. It has much more punch and energy than most albums that come out sounding like this, likely due to the band’s background in hardcore punk.
#26: Youth Lagoon – “Wondrous Bughouse”
Dreamy psychedelic noise, like a dark LSD trip converted into an album. Gorgeous, even when it might be trying to kill you.
#25: My Bloody Valentine – “m b v”
After 22 years, it could have been another classically tragic exercise in “why bother?”. Instead, it proved to be worthy of the MBV legacy, cranking the heavier end of shoegaze into high gear and making those melody-obscuring vacuums sound even more massively dreamy than they ever had been before.
#24: Milo – “Things That Happen At Day/Things That Happen At Night”
The lord and master of sensitive nerd-rappers, Milo presents here a double EP that manages to art up hip hop for the internet age, reworking the genre through the filter of ambient production and deadpan rhymes. This is not party rap, in the best possible sense.
#23: A$AP Rocky – “Long. Live. A$AP”
The swag rap present of hip hop, A$AP oozes confidence over a series of next-level productions, including some of the best stuff Clams Casino has come out with to date.
#22: Mount Kimbie – “Cold Spring Fault Less Youth”
Remember when dubstep was a British invention revolving around dub and 2-step garage? Burial? How did we get from there to Skrillex, again? Joel Zimmerman, is this your fault? Anyway, Cold Spring Fault Less Youth finds the British group throwing out post-dubstep in favour of cross-genre pollination with pop and rock, making for an album that feels as innovative as it does familiar.
#21: Mikal Cronin – “MCII”
Oh, what a shock: raw, punk-inflected garage rock has, once again, saved rock ‘n’ roll from irrelevancy. Another generation has decided to go dig up the corpse. The sometime Ty Segall collaborator’s first album for Merge has some real crossover appeal (sort of) with a heavy emphasis on Seventies power pop studded in amongst all that squalling amped-up stomp.
Once upon a time, years ago, I was listening to music in my room when my SIL’s friend came in to say hi. After handing me a Heineken he focused his ears wrinkled his nose, and asked “are you listening to pop punk?”. I glared at him over the lip of my beer and growled “no, I’m listening to the Thermals”. That was a hell of a long time ago – eight years gone or so – and that album was The Body, The Blood, The Machine, a tour-de-force of firebrand conceptual punk. As it turns out, it was also the band’s highwater mark; everything that came after got increasingly more muddled. Desperate Ground does not reverse this trend, rather it neatly encapsulates it. The album has one great track (the opener, “Born To Kill”) and the rest blend into each other with surface-level politics and same old-same old power chords that fall over each other in an effort to get to the end. After the last chord rings out you’ll be hard-pressed to separate it from any other three-chord radio-punk band you’ve heard in the last decade. I guess all heroes must fall eventually.
The Danish punk band’s second album is over in 28 minutes, which is four minutes longer than their 2011 debut. They still stand in the shadow of Joy Division and Rites of Spring, but a little less in the shadow of these bands than they did two years ago. It’s a much messier album, with passages that devolve into pure chaotic noise (for example, the album’s first two and a half minutes) and this too is at odds to their mostly-sort-of-ordered debut. Overall the impression is given that they are birthing a difficult adolescent album here; while there is challenging art to be found here, it’s on the whole too willing to become self-indulgent, to squall like Boris without really being able to fully commit to it.
Punk rock maturity can be a very iffy thing. For every artist like Bob Mould (whose transition from Husker Du to Sugar to solo work sounds like it was always meant to be) there are a thousand like NOFX, who keep playing like they’re 17 well into their 40s. It can be ugly, with a group of portly grey-hairs trying vainly to keep up with the galloping rhythms they gave themselves whiplash to twenty years before. Thankfully Brooklyn’s The Men avoid that pitfall, although a lot of that may have to do with the relatively young age at which the band has decided to add comfortable elements of classic rock into their sound. There are harmonicas on “Bird Song”, for Chrissakes, and a piano-driven riff that is strongly reminiscent of “Cripple Creek Ferry”. The ghosts of Neil Young’s Crazy Horse days are all over some of these tracks, such as the opener “Open Door” and “I Saw Her Face”, although the mid-album one-two punch of “The Brass” and “Electric” provide the counterbalance of driving punk rock, in the same yearning vein as last year’s Open Your Heart. What it comes off like is a punk rock version of Blue Rodeo, full of loud guitars, impassioned playing, and weepy, boozy feels. It injects a lot of character into the band’s sound, and they sound like they’re coming into their own, four albums in.
The instant USA Today bestseller by Chuck Tingle about what it takes to succeed in a world that wants you dead.
“Brilliantly bloody, wildly fun, and extremely scary, Bury Your Gays brings a sledgehammer down on tired tropes and makes a masterpiece of their guts.”―Rachel Harrison, national bestselling author of Black Sheep
Misha knows that chasing success in Hollywood can be hell.
But finally, after years of trying to make it, his big moment is here: an Oscar nomination. And the executives at the studio for his long-running streaming series know just the thing to kick his career to the next level: kill off the gay characters, “for the algorithm,” in the upcoming season finale.
Misha refuses, but he soon realizes that he’s just put a target on his back. And what’s worse, monsters from his horror movie days are stalking him and his friends through the hills above Los Angeles.
Haunted by his past, Misha must risk his entire future―before the horrors from the silver screen find a way to bury him for good.
One of the Best Horror Books of 2024 by Esquire!
One of the Best Books of Summer 2024 by Paste, HuffPost, Esquire, and Publishers Weekly!
Forgotten Sisters
Forgotten Sisters
Cynthia Pelayo (Thomas & Mercer)
A city’s haunted history and fairy-tale horrors converge for two women in an addictive novel of psychological suspense by a multiple Bram Stoker Award–nominated author.
Sisters Anna and Jennie live in a historic bungalow on the Chicago River. They’re tethered to a disquieting past, and with nowhere else to go, nothing can part them from their family home. Not the maddening creaks and disembodied voices that rattle the old walls. Not the inexplicable drownings in the area, or the increasing number of bodies that float by Anna’s window.
To stave off loneliness, Anna has a podcast, spinning ghostly tales of Chicago’s tragic history. But when Anna captures the attention of an ardent male listener, she awakens to the possibilities of a world outside.
As their relationship grows, so do Jennie’s fears. More and more people are going missing in the river. And then two detectives come calling.
They’re looking for a link between the mysteries of the river and what’s housed on the bank. Even Anna and Jennie don’t understand how dreadful it is―and still can be―when the truth about their unsettled lives begins to surface.
The instant USA Today bestseller from CJ Leede, author of Maeve Fly―a scorching and sweeping new novel about the end of the world as we know it.
One of Esquire and Vulture’s Best Horror Books of 2024 • A GoodReads and Publishers Weekly Editors’ Pick • An Indie Next Pick!
“A blistering, feverish ride through a uniquely American apocalypse.”―Chuck Wendig, New York Times bestselling author
A virus is spreading across America, transforming the infected and making them feral with lust.
Sophie, a good Catholic girl, must traverse the hellscape of the midwest to try to find her family while the world around her burns. Along the way she discovers there are far worse fates than dying a virgin…
“I’ve loved Maggie Thrash’s work for years, and Rainbow Black is going to set so many new hearts aflame—murder, intrigue, queer love, dark humor AND satanic panic? Welcome to the Maggie Thrash Fan Club, world!”—Emma Straub, New York Times bestselling author of This Time Tomorrow
For readers of Donna Tartt and Ottessa Moshfegh comes a brilliant, deliriously entertaining novel from the acclaimed author of Honor Girl. Rainbow Black is part murder mystery, part gay international fugitive love story—set against the ’90s Satanic Panic and spanning 20 years in the life of a young woman pulled into its undertow.
Lacey Bond is a 13-year-old girl in New Hampshire growing up in the tranquility of her hippie parents’ rural daycare center.
Then the Satanic Panic hits. It’s the summer of 1990 when Lacey ’s parents are handcuffed, flung into the county jail, and faced with a torrent of jaw-dropping accusations as part of a mass hysteria sweeping the nation. When a horrific murder brings Lacey to the breaking point, she makes a ruthless choice that will haunt her for decades.
As an adult, Lacey mimes a normal life as the law clerk of an illustrious judge. She has a beautiful girlfriend, a measure of security, and the world has mostly forgotten about her. But after a tiny misstep spirals into an uncontrolled legal disaster, the hysteria threatens to begin all over again.
Rainbow Black is an addictive, searing, high-octane triumph, an imaginative tour de force about one woman’s tireless desire to be free.
Twenty four years ago, Olive and Stacia went into the woods. Only Olive returned, with no memory of what happened. Now, Olive’s father has vanished, leaving behind research which indicates that he has found out what lives in the woods.
It wakes up every twelve years, taking only children. It has been doing so for at least two hundred years. And it is waking again.
Forced to return to her hometown, Olive finds her memories returning.
What she remembers from the days leading up to Stacia’s disappearance is magical, almost impossible to believe, but she knows that she must return to the woods–to face what lurks there, to save her father, and to find out what happened to Stacia.
“Beautiful, poetic, and gutting. Hollow Girls is a captivating novel that will lure you deep into the woods where magic and darkness entwine. There is so much heart to this story of friendship and blood where oaths and secrets continue to unravel until the very last page. Bring an offering to the Fae, and come along on this memorable journey.”
–Sara Tantlinger, Bram Stoker Award-winning author of The Devil’s Dreamland.
Winnie Campbell is sixteen and a burgeoning serial killer. Her father blames her for her mother’s death, dotes on her little sister, and executes increasingly cruel punishments meant to humiliate Winnie. As the punishments morph into torture, she begins fantasizing about regaining some semblance of power, eventually working through her rage by killing small animals.
When her violent games escalate and she accidentally kills an infant while babysitting, Winnie gets a taste of a power she doesn’t want to let go of. Her obsession with killing grows, and so does her fascination for Leigh, a girl that reminds her of her younger self.
Winnie wants to kill. She wants to die. She wants to be someone other than herself. And killing Leigh, a symbolic suicide, could be the key to her metamorphosis.
“A shocking and utterly harrowing examination of the creation of a murderer. Although Crushing Snails excels in many areas, this novel is perhaps most skillful at effectively illustrating the very human compulsion for violence and depravity. Murray’s excellent novel showcases the very human possibility of carnage—the horrifying prospect of brutality—when curiosity is sated and when we finally surrender to our most feral desires.”—Eric LaRocca, author of Things Have Gotten Worse Since We Last Spoke
“Masterfully executed and chilling to the core, Crushing Snails is a terrifying look into the darkest depths of the human mind and the ways in which monsters are formed. With the intensity level set to high, Murray draws you into complicity as you witness one girl’s spiral into obsession and depravity, culminating in a horrifying conclusion you’ll never forget.”—Kelsea Yu, Shirley Jackson Award-nominated author of Bound Feet
“A nightmare of power and control, or perhaps even something more wayward. Crushing Snails is provocative and demanding, spiraling and unapologetic. Emma Murray is an exciting emerging voice in horror challenging what is normal and what is safe.”—Cynthia Pelayo, Bram Stoker Award-winning author of Crime Scene
“Sick, twisted, and compulsively readable—Emma E. Murray’s Crushing Snails is a coming-of-age story that goes to dark and darker places, leaving me constantly hanging between two modes of thought: one-more-chapter and holy-fucking-shit.”—Carson Winter, author of The Psychographist
A woman checks herself into an insane asylum to solve the mystery of her sister’s murder, only to lose her memory and maybe her mind.
From the subversive voice behind The Phlebotomist comes a story that combines the uncanny atmosphere of Don’t Worry Darling with the narrative twists of The Last House on Needless Street
What would guilt make you do?
Hadleigh Keene died on the road leading away from Hollyhock Asylum. The reasons are unknown. Her sister Morgan blames herself. A year later with the case still unsolved, Morgan creates a false identity, that of a troubled housewife named Charlotte Turner, and goes inside.
Morgan quickly discovers that Hollyhock is… not right. She is shaken by the hospital’s peculiar routines and is soon beset by strange episodes. All the while, the persona of Charlotte takes on a life of its own, becoming stronger with each passing day. As her identity begins unraveling, Morgan finds herself tracing Hadleigh’s footsteps and peering into the places they lead.
The terrifying reality of The Redemption of Morgan Bright unfolds over the course of chapters told from the points of view of both Charlotte and Morgan, police interviews, and text messages.
Once there were four Lasco siblings banded together against a world that failed to protect them. But on a hellish night that marked the end of their childhood, eldest brother Shawn died violently after being dragged behind closed doors. Though the official finding was accidental death, Nathan Lasco knows better, and has never forgiven their mother, Stella.
Now two decades later, Stella promises to finally reveal the truth of what happened on The Day of the Door. Accompanied by a paranormal investigative team, the Lasco family comes together one final time, but no one is prepared for the revelations waiting for them on the third floor.
The final installment in the most lauded trilogy in the history of horror novels picks up four years after Don’t Fear the Reaper as Jade returns to Proofrock, Idaho, to build a life after the years of sacrifice—only to find the Lake Witch is waiting for her in New York Times bestselling author Stephen Graham Jones’s finale.
It’s been four years in prison since Jade Daniels last saw her hometown of Proofrock, Idaho, the day she took the fall, protecting her friend Letha and her family from incrimination. Since then, her reputation, and the town, have changed dramatically. There’s a lot of unfinished business in Proofrock, from serial killer cultists to the rich trying to buy Western authenticity. But there’s one aspect of Proofrock no one wants to confront…until Jade comes back to town. The curse of the Lake Witch is waiting, and now is the time for the final stand.
New York Times bestselling author Stephen Graham Jones has crafted an epic horror trilogy of generational trauma from the Indigenous to the townies rooted in the mountains of Idaho. It is a story of the American west written in blood.
“Simply put—and I do not say this lightly—Incidents Around the House is the most purely effective horror novel I have ever read.”—Neil McRobert, Esquire (Best Horror Books of 2024, So Far)
A chilling horror novel about a haunting, told from the perspective of a young girl whose troubled family is targeted by an entity she calls “Other Mommy,” from the New York Times bestselling author of Bird Box
“This book isthe monster that lives inside your closet.”—Grady Hendrix, New York Times bestselling author of How to Sell a Haunted House
To eight-year-old Bela, her family is her world. There’s Mommy, Daddo, and Grandma Ruth. But there is also Other Mommy, a malevolent entity who asks her every day: “Can I go inside your heart?”
When horrifying incidents around the house signal that Other Mommy is growing tired of asking Bela the question over and over, Bela understands that unless she says yes, her family will soon pay.
Other Mommy is getting restless, stronger, bolder. Only the bonds of family can keep Bela safe, but other incidents show cracks in her parents’ marriage. The safety Bela relies on is about to unravel.
But Other Mommy needs an answer.
Incidents Around the House is a chilling, wholly unique tale of true horror about a family as haunted as their home.
A chilling twist on the “cursed film” genre from the bestselling author of The Pallbearers Club and The Cabin at the End of the World.
In June 1993, a group of young guerilla filmmakers spent four weeks making Horror Movie, a notorious, disturbing, art-house horror flick.
The weird part? Only three of the film’s scenes were ever released to the public, but Horror Movie has nevertheless grown a rabid fanbase. Three decades later, Hollywood is pushing for a big budget reboot.
The man who played “The Thin Kid” is the only surviving cast member. He remembers all too well the secrets buried within the original screenplay, the bizarre events of the filming, and the dangerous crossed lines on set that resulted in tragedy. As memories flood back in, the boundaries between reality and film, past and present start to blur. But he’s going to help remake the film, even if it means navigating a world of cynical producers, egomaniacal directors, and surreal fan conventions—demons of the past be damned.
But at what cost?
Horror Movie is an obsessive, psychologically chilling, and suspenseful feat of storytelling genius that builds inexorably to an unforgettable, mind-bending conclusion.
A visceral and heartbreaking work of gothic horror about small town mysteries, local folklore and the things we leave behind when we’re gone, from the Bram Stoker Award winning author of Queen of Teeth.
What really happened to Cabrina Brite?
Ivory’s life changes irrevocably when she discovers the body of Cabrina Brite on the sands of Cape Morning, along with a mysterious poem. How did she die, and why does it seem she was trying to swim to Ghost Cat Island, the center of so many local mysteries?
Desperate to uncover the answers surrounding Cabrina’s death, and haunted by her discovery, Ivory begins to see the pale ghost of Cabrina, only to shake it off as a mere hallucination. But Ivory is not alone. Cabrina’s closest friends have also seen a similar apparition, and as they toy with occult possibilities, they begin to unravel the truth behind Cabrina’s death.
Because Cape Morning isn’t a ghost town, but a town filled with ghosts, and Ivory is about to discover just what happens when you let one in.
From New York Times bestselling and Hugo Award-winning author T. Kingfisher comes A Sorceress Comes to Call―a dark reimagining of the Brothers Grimm’s “The Goose Girl,” rife with secrets, murder, and forbidden magic.
*The hardcover edition features a foil stamp on the casing and custom endpapers illustrated by the author.*
Cordelia knows her mother is . . . unusual. Their house doesn’t have any doors between rooms―there are no secrets in this house―and her mother doesn’t allow Cordelia to have a single friend. Unless you count Falada, her mother’s beautiful white horse. The only time Cordelia feels truly free is on her daily rides with him.
But more than simple eccentricity sets her mother apart. Other mothers don’t force their daughters to be silent and motionless for hours, sometimes days, on end. Other mothers aren’t evil sorcerers.
When her mother unexpectedly moves them into the manor home of a wealthy older Squire and his kind but keen-eyed sister, Hester, Cordelia knows this welcoming pair are to be her mother’s next victims. But Cordelia feels at home for the very first time among these people, and as her mother’s plans darken, she must decide how to face the woman who raised her to save the people who have become like family.
Embark on a darkly humorous journey of reality TV meets the macabre. On the set of The Groom, a group of women must compete for the heart of Midwestern bachelor Tristan by spending a week in a haunted house. Divorcee Linda, resigned to her role as the show’s underdog, finds her resolve cracking when she begins to fall for fellow castmate Charity. Meanwhile, Sabrina, groomed by her witchy mother to deliver their family from poverty by marrying a rich man, sees winning the competition as her predestined path.
But after a shocking demise, the game takes a sinister turn. As the remaining contestants grapple with their desires for love and survival, they uncover dark secrets within and without the house’s walls. Trapped in a twisted new competition, they must confront their own demons or face elimination.
Sixty-three-year-old Los Angeles stoner, Hank Wallace, is just trying to get by and get high when he takes a gig distributing ads for a local company. But the job quickly turns into more than it seems. Hank begins hearing voices and experiencing strange visions while passing out the ads. Before he knows it, he’s fallen prey to his employer, a demon from another world.
Possessed by the demon, Hank absorbs nightmares from others living in his corner of LA. He becomes a conduit that feeds anxiety and dread to the demon. The nightmares pour in, but they aren’t enough. The demon requires more sustenance than the nightmares provide.
And the demon is in luck. Hank learns that his estranged sister, Carla, his only living relative, is terminally ill with cancer. He has steered clear of close relationships with family for decades, but he cannot avoid it any longer. The demon insists. Carla and her family’s grief is a siren’s call.
Hank drives to Sacramento bearing an invisible gift. The demon can erase their grief, but at what cost? Unless Hank can get his head together and snap out of it, the demon will consume every last one of them.
From New York Times bestselling horror writer Stephen Graham Jones comes a classic slasher story with a twist—perfect for fans of Adam Cesareand Grady Hendrix.
1989, Lamesa, Texas. A small west Texas town driven by oil and cotton—and a place where everyone knows everyone else’s business. So it goes for Tolly Driver, a good kid with more potential than application, seventeen, and about to be cursed to kill for revenge. Here Stephen Graham Jones explores the Texas he grew up in, and shared sense of unfairness of being on the outside through the slasher horror Jones loves, but from the perspective of the killer, Tolly, writing his own autobiography. Find yourself rooting for a killer in this summer teen movie of a novel gone full blood-curdling tragic.
In this “stunningly visceral” (New York Times Book Review) novel, a group of young men seek vengeance after one of their mothers is murdered in a Puerto Rican slum; STAND BY ME with a haunted, obsidian-dark heart.
One of B&N’s Best Horror Books of the Year
For childhood friends Gabe, Xavier, Tavo, Paul, and Bimbo, death has always been close. Hurricanes. Car accidents. Gang violence. Suicide. Estamos rodeados de fantasmas was Gabe’s grandmother’s refrain. We are surrounded by ghosts. But this time is different. Bimbo’s mom has been shot dead. We’re gonna kill the guys who killed her Bimbo swears. And they all agree.
Feral with grief, Bimbo has become unrecognizable, taking no prisoners in his search for names. Soon, they learn Maria was gunned down by guys working for the drug kingpin of Puerto Rico. No one has ever gone up against him and survived. As the boys strategize, a storm gathers far from the coast. Hurricanes are known to carry evil spirits in their currents and bring them ashore, spirits which impose their own order.
Blurring the boundaries between myth, mysticism, and the grim realities of our world, House of Bone and Rain is a harrowing coming of age story; a doomed tale of devotion, the afterlife of violence, and what rolls in on the tide.
From Gretchen Felker-Martin, the acclaimed author of Manhunt, comes a vicious new novel about a group of teens who must stay true to themselves while in a conversion camp from hell.
“A soaring, boundless ode to queer survival. It’s flat-out mesmerizing.”―Paul Tremblay, author of The Pallbearers Club
Something evil is buried deep in the desert. It wants your body. It wears your skin.
In the summer of 1995, seven queer kids abandoned by their parents at a remote conversion camp came face to face with it. They survived―but at Camp Resolution, everybody leaves a different person.
Sixteen years later, only the scarred and broken survivors of that terrible summer can put an end to the horror before it’s too late.
The fate of the world depends on it.
“Tense and frighteningly visceral, Cuckoo is a masterwork of body horror thrumming with high octane viciousness.” ―Eric LaRocca, author of Things Have Gotten Worse Since We Last Spoke
A woman builds her lover from carefully scavenged pieces and parts. A young girl is groomed for madness by one who loves her most. A neurodivergent boy organizes his life, and loss, by the ticking of a clock. And love can be the most splendid and destructive force in the entire world.
Love is a Crematorium and Other Tales is a collection of seventeen stories that are both bleak and beautiful, devastating and sweet. Enter the crematorium to experience grief, starlit nights, and gorgeous tragedy that make our souls burn from the inside out.
One of Paste Magazine’s “Most Anticipated Horror Books of 2024”
It’s about to get very dark.
Bram Stoker Award-winning author Laird Barron returns to the dark and dreadful with his fifth horror collection, which weaves sixteen weird tales into a mosaic of the bloody and the macabre.
It is in the darkest moments, during the loss of hope, that the language of crows is most clearly heard. The words are as menacing as piercing beaks, the events as perilous as a sea of black feathers. The corvid tongue spreads diabolical thoughts and devious visions.
Legend has it that crows prophesize offenses of the worst kind, their harsh tones are harbingers of horror. Collectively, crows are a murder, and they call out orders about their own name. The Language of Crows and other stories contains dark fairy tales, historical horror, and psychological horror in voices of the violent and the violated. It is a collection of witches’ spells, monsters’ murmurs, and voices within one’s head.
A brand-new collection of four intense, claustrophobic and terrifying horror tales from the Bram Stoker Award®-nominated and Splatterpunk Award-winning author of Things Have Gotten Worse Since We Last Spoke.
THIS SKIN WAS ONCE MINE
When her father dies under mysterious circumstances, Jillian Finch finds herself grieving the man she idolized while struggling to feel comfortable in the childhood home she was sent away from nearly twenty years ago. Then Jillian discovers a dark secret that will threaten to undo everything she has ever known about her father.
SEEDLING
A young man’s father calls him early in the morning to say that his mother has passed away. He arrives home to find his mother’s body still in the house. Struggling to process what has happened he notices a small black wound appear on his wrist. Then he discovers his father is cursed with the same affliction.
ALL THE PARTS OF YOU THAT WON’T EASILY BURN
Enoch Leadbetter goes to buy a knife for his husband to use at a forthcoming dinner party. He encounters a strange shopkeeper who draws him into an intoxicating new obsession and sets him on a path towards mutilation and destruction…
PRICKLE
Two old men revive a cruel game with devastating consequences…
From legendary storyteller and master of short fiction Stephen King comes an extraordinary new collection of twelve short stories, many never-before-published, and some of his best EVER.
“You like it darker? Fine, so do I,” writes Stephen King in the afterword to this magnificent new collection of twelve stories that delve into the darker part of life—both metaphorical and literal. King has, for half a century, been a master of the form, and these stories, about fate, mortality, luck, and the folds in reality where anything can happen, are as rich and riveting as his novels, both weighty in theme and a huge pleasure to read. King writes to feel “the exhilaration of leaving ordinary day-to-day life behind,” and in You Like It Darker, readers will feel that exhilaration too, again and again.
“Two Talented Bastids” explores the long-hidden secret of how the eponymous gentlemen got their skills. In “Danny Coughlin’s Bad Dream,” a brief and unprecedented psychic flash upends dozens of lives, Danny’s most catastrophically. In “Rattlesnakes,” a sequel to Cujo, a grieving widower travels to Florida for respite and instead receives an unexpected inheritance—with major strings attached. In “The Dreamers,” a taciturn Vietnam vet answers a job ad and learns that there are some corners of the universe best left unexplored. “The Answer Man” asks if prescience is good luck or bad and reminds us that a life marked by unbearable tragedy can still be meaningful.
King’s ability to surprise, amaze, and bring us both terror and solace remains unsurpassed. Each of these stories holds its own thrills, joys, and mysteries; each feels iconic. You like it darker? You got it.
A young queer man finds love at a magical clothing shop-and the courage to stand up to the homophobic cops. A witch who makes custom nightmares wonders why all her victims are connected to the Black Panthers-and who she’s really working for. A soon-to-be father encounters a mysterious hitchhiker who tries pulling him back to the days of his violent past. A brand-new vampire, freshly hired at the blood bank, delights in her heightened sexual desire and superhuman strength.
Cynthia Gómez’s debut collection is a magic-soaked love letter to Oakland, brimming with feminist rage. Its twelve stories center ordinary people-Latine, queer, working class-as they wield supernatural powers against oppression, loneliness, and dread.
Christi Nogle has established herself as a modern Ray Bradbury, this collection adds fantasy, slipstream, and fabulism to her canon.
One Eye Opened in That Other Place collects Christi Nogle’s best weird and fantastical stories. The collection focuses on liminal spaces and the borders between places and states of mind. Though you might not find a traditional portal fantasy here, you will travel across thresholds and arrive at other places and times that are by turns disquieting, terrifying, and wonderful. Get up close with the local flora and fauna, peruse the weird art exhibits and special shows, and consider taking a dip in the mossy, snail-filled tank of water. Make sure to bring your special glasses
This new collection will appeal to readers of Jeff VanderMeer, Charles Wilkinson, Steve Rasnic Tem, M. Rickert, Lynda E. Rucker and Stephen King’s novel Lisey’s Story.
The Shirley Jackson Award-nominated author returns with a new collection of literary horror and weird fiction that glitters with startling prose and tortured souls.
Invaginies is an invasion, it is a perception that is bodily and transcendent creating holes, paths, or pockets of alternate truth-and not always voluntary–enlightenment.
Every line sings and strikes like grotesque poetry of the possessed. With 17 disturbing tales exploring plagues, possessions, gender & corruption, set in apocalyptic eras not much unlike our own, Joe Koch brings the terrors of a postmodern world into vivid focus.
Haunting and beautiful, Koch takes their place among the great names of the weird like Brian Evenson, exploring the queer perspective in horror as Billy Martin and Clive Barker, and contemporary rising voice, Eric LaRocca.
Literary prose meets the grotesque in this collection of stories to galvanize lovers of horror and weird fiction. With a growing cult audience, this collection is sure to shoot to the top of readers’ tbr piles.
At a Halloween party in 1999, a writer slept with the devil. She sees him again and again throughout her life and she writes stories for him about things that are both impossible and true.
Lima lures readers into surreal pockets of the United States and Brazil where they’ll find bite-size Americans in vending machines and the ghosts of people who are not dead. Once there, she speaks to modern Brazilian-American immigrant experiences–of ambition, fear, longing, and belonging―and reveals the porousness of storytelling and of the places we call home.
With humor, an exquisite imagination, and a voice praised as “singular and wise and fresh” (Cathy Park Hong), Lima joins the literary lineage of Bulgakov and Lispector and the company of writers today like Ted Chiang, Carmen Maria Machado, and Nana Kwame Adjei-Brenyah.
Craft: Stories I Wrote for the Devil includes: “Rapture,” “Ghost Story,” “Tropicália,” “Antropógaga,” “Idle Hands,” “Rent,” “Porcelain,” “Heaven, Hell, and Purgatory,” and “Hasselblad.”
A great next read for fans of Carmen Maria Machado’s Her Body and Other Parties and V. E. Schwab’s The Invisible Life of Addie LaRue.
Recommended reading by Chicago Review of Books, Electric Literature, The Kenyon Review, and more!
Zip up your human suit and set sail, imbibing every perspective you can
in order to perfect the persona.
Push to the outer edges. Document your travels, and forget to return.
There will be a test.
Learn what it means to be human.
Forget what it means to be human.
Learn what it means to be human.
Forget what it means to be human.
Do not panic.
BRAVE NEW WEIRD: The Best New Weird Horror, Volume Two encompasses the finest Weird speculative fiction published in (roughly) 2023. Edited by Alex Woodroe.
Table of contents:
Nelly Geraldine García-Rosas – Lullaby for the Unseen
Thomas Ha – In That Crumbling Home
Hussani Abdulrahim – The Library Virus
Patrick Malka – Show Me
Eirik Gumeny – A Balanced Breakfast
David Simmons – Food is Poison
Premee Mohamed – Quietus
Perfect Kiss Strickoll – punctum (o baked alaska for you i am a former american)
LC von Hessen – Transmasc of the Red Death
Simone le Roux – The Man Outside
KS Walker – River Bargain Baby
M.M. Olivas – The Prince of Oakland
Amitha Jagannath Knight – My Mother, The Exoskeleton
Rachael K. Jones – The Sound of Children Screaming
Judith Shadford – Endless Yearning
Daniel DeRock – Guest Opinion: We must take action regarding the [REDACTED] High School janitor
Geneve Flynn – A Box of Hair and Nail
Anemone Moss – Everything You Dump Here Ends Up in the Ocean
Karlo Yeager Rodríguez – Up In the Hills, She Dreams of Her Daughter Deep In the Ground
If books have no power, why are they trying so hard to keep them from people?
4,240 unique book titles were targeted for censorship or banning in 2023 alone.
Shadows in the Stacks was published to raise funds for the Books Unbanned Initiative through the Library Foundation SD. All proceeds from sales go to the Library Foundation SD.
This collection of terrifying tales was edited by Vincent V. Cava, James Sabata, and Jared Sage, with a foreword by Laurel Hightower, and features all-new stories from…
Kevin David AndersonZachary AshfordS.A. BradleyBridget D. BraveKel ByronVincent V. CavaClay McLeod ChapmanRebecca CuthbertAlexis DuBonJamie FlanaganDouglas FordEvelyn FreelingAi JiangLucy LeitnerJonathan MaberryJ.A.W. McCarthyTim McGregorJohn PalisanoJames SabataWilliam SterlingAlvaro Zinos-Amaro
Each limb tells a story. Every organ shares a secret.
A woman saves the leg of her dead child. A man leaps from soul to soul, trying to find a pure heart. Uteri wander, skin peels back, and human bodies liquify all over this world.
Slice into the anatomy of this collection to discover all the unseen horrors the human body can deliver.
Brand new stories from Alex Wolfgang, Ai Jiang, Mary Rajotte, Julie Sevens, Christopher O’Halloran, Sasha Brown, Bridget D. Brave, Taylor Ketterer, Demi-Louise Blackburn, Lindsey Ragsdale, Emma E. Murray, Johnathon Heart, P.L. McMillan, Rachel Searcey, Bryan Young, Kai Delmas, and David Worn, with a foreword from Paula D. Ashe.
Bury Your Gays: An Anthology Of Tragic Queer Horror
Bury Your Gays: An Anthology Of Tragic Queer Horror
Ghoulish Books
A manifestation of ecstasy, heartache, horror and suffering rendered in feverish lyrical prose. Inside are sixteen new stories by some of the genre’s most visionary queer writers. Young lovers find themselves deliriously lost in an expanding garden labyrinth. The porter of a sentient hotel is haunted within a liminal time loop. A soldier and his abusive commanding officer escape a war in the trenches but discover themselves in an even greater nightmare. Parasites chase each other across time-space in hungry desperation to never be apart. A graduate student with violent tendencies falls into step with a seemingly walking corpse. Featuring stories from Cassandra Khaw, Joe Koch, Gretchen Felker-Martin, Robbie Banfitch, August Clarke, Son M., Jonathan Louis Duckworth, M.V. Pine, Ed Kurtz, LC Von Hessen, Matteo L. Cerilli, November Rush, Meredith Rose, Charlene Adhiambo, Violet, and Thomas Kearnes.
It’s the question asked of any story about a haunting: why didn’t you just leave? But if accounts of people who have stayed in haunted houses are any indication … it’s never that simple.
In this book, you’ll find twenty-two all-new stories about the reasons people don’t leave scary situations-parents who stay in haunted houses to protect their children, convicts who literally can’t leave their prison, retail workers who need a paycheck even if it’s from a haunted workplace, trauma survivors suffering from agoraphobia, and more.
Featuring Shauntae Ball, I.S. Belle, Die Booth, Max Booth III, Christa Carmen, Raquel Castro, Alberto Chimal, Gabe Converse, Lyndsey Croal, Victoria Dalpe, Alexis DuBon, Corey Farrenkopf, Cassandra Khaw, Joe Koch, E.M. Linden, Steve Loiaconi, R. Diego Martinez, J.A.W. McCarthy, Suzan Palumbo, Tonia Ransom, Rhiannon Rasmussen, and Eden Royce. With illustrations by Luke Spooner, Yves Tourigny, and Yornelys Zambrano.
We Mostly Come Out At Night: 15 Queer Tales of Monsters, Angels & Other Creatures
We Mostly Come Out At Night: 15 Queer Tales of Monsters, Angels & Other Creatures
Running Press Kids
An empowering cross-genre YA anthology that explores what it means to be a monster, exclusively highlighting trans and queer authors who offer new tales and perspectives on classic monster stories and tropes.
Be not afraid! These monsters, creatures, and beasties are not what they appear. We Mostly Come Out at Night is a YA anthology that reclaims the monstrous for the LGBTQA+ community while exploring how there is freedom and power in embracing the things that make you stand out. Each story centers on both original and familiar monsters and creatures—including Mothman, Carabosse, a girl with thirteen shadows, a living house, werebeasts, gorgons, sirens, angels, and many others—and their stories of love, self-acceptance, resilience, and empowerment. This collection is a bold, transformative celebration of queerness and the creatures that (mostly) go bump in the night.
Contributors include editor Rob Costello, Kalynn Bayron, David Bowles, Shae Carys, Rob Costello, H.E. Edgmon, Michael Thomas Ford, Val Howlett, Brittany Johnson, Naomi Kanakia, Claire Kann, Jonathan Lenore Kastin, Sarah Maxfield, Sam J. Miller, Alexandra Villasante, and Merc Fenn Wolfmoor.
The Black Girl Survives In This One: Horror Stories
The Black Girl Survives In This One: Horror Stories
Flatiron Books
Be warned, dear reader: The Black girls survive in this one.
Celebrating a new generation of bestselling and acclaimed Black writers, The Black Girl Survives in This One makes space for Black girls in horror. Fifteen chilling and thought-provoking stories place Black girls front and center as heroes and survivors who slay monsters, battle spirits, and face down death. Prepare to be terrified and left breathless by the pieces in this anthology.
The bestselling and acclaimed authors include Erin E. Adams, Monica Brashears, Charlotte Nicole Davis, Desiree S. Evans, Saraciea J. Fennell, Zakiya Dalila Harris, Daka Hermon, Justina Ireland, L.L. McKinney, Brittney Morris, Maika & Maritza Moulite, Eden Royce, and Vincent Tirado. The foreword is by Tananarive Due.
Howls From The Scene Of The Crime: A Crime Horror Anthology
Howls From The Scene Of The Crime: A Crime Horror Anthology
Howl Society Press
A death row cell that recounts the dark stories of its inmates. An informant who consumes shards of crystallized skulls to see the past. A world where to speak of the dead is a violation of an unjust society’s rules. Heists, drugs, cults, detectives, murder, monsters, revenge.
Commit yourself to Howls from the Scene of the Crime, an anthology of crime horror laced with blood, secrets, and occult compulsions from some of the best established and emerging horror authors writing today. Featuring a foreword by Bram Stoker Award(R) winning crime horror author, Cynthia Pelayo.
Beyond The Bounds Of Infinity: An Anthology of Diverse Horror
Raw Dog Screaming Press
Welcome to a world of horror viewed through a kaleidoscope lens. Embark on a journey to untangle the writhing tendrils of human terror in a dimension where the possible and impossible blend-an unstable realm where comfort can be found in the coldest pits, and dark gods feast upon the sweetest suffering-where infernal sounds birth silent letters that drift along midnight shores and the unexplained lurks beneath crumbling urban structures. Step over the edge of what you think you know, and find yourself…Beyond the Bounds of Infinity!
Featuring stories by L. Marie Wood, S.A. Cosby, Jessica McHugh, and Mary SanGiovanni-alongside newer voices like Cassius Kilroy, Jessica L. Sparrow, and Vicky Velvet-Beyond the Bounds of Infinity offers a collection of weird fiction and cosmic horror stories that are diverse down to the cellular level. From Taíno folk horror to the horror of identity in a world that just doesn’t understand, from cozy to apocalyptic, and everything in between, let these authors show you what fear really is, and what it means to them.
