A few years ago theĀ L.A. Times calledĀ Trans-Europa Express the “most important pop album of the last 40 years” and they are absolutely right. Ā Certainly a large amount of the interest in New Wave and synth pop could be laid directly at the door of the German synthesizer group; it could be generously said that it played a large role in the formation of the European pop identity, although it would be fairer to place it in the same milieu of Krautrock from which it emerged. Ā The difference between Can and Kraftwerk was that the latter replaced the intricate drumming with the sure, steady hand of a machine, out-German-ing the rest of German prog.
In fact, the band straddled the divide between German traditions and the European identity that had emerged from the blasted rubble of the Second World War. Ā The root of their melodic sensibilities came from the Weimar Republic, the brief German flirtation with democratic rule that Hitler put an end to in 1933. Ā The folk music that had been popular then was combined with the Teutonic sensibilities of the Bauhaus school to create something that spoke of massive concepts, and the infrastructure that had been rebuilt in their country: Ā railways, transit stations and, of course, the Autobahn. Ā That infrastructure also left Germany, and sped into the wider scope of Europe as a whole. Ā The second side ofĀ Trans-Europa Express lives up to it’s name, rushing down the railway tracks of the nascent union of Europe. Ā “Trans-Europe Express” and “Metal On Metal” speak of the rush of speed in transit; “Franz Schubert” peaks and begins the eventual slowdown, which ends up being a reprisal of “Europe Endless”.
The first half of the album takes a different path. Ā Inspired in part by their time with David Bowie and Iggy Pop, who were in Berlin charting the course of what would beĀ The Idiot and Bowie’s Berlin Trilogy, the songs “The Hall Of Mirrors” and “Showroom Dummies” are both obsessed with identity, and paranoia. Ā The former details the flaws revealed in the mirror, and how even the stars are chained to “the looking glass.” Ā The latter is the most “machine-like” of the album’s tracks, and makes paranoid reference to the way the group danced in concert (nicking the idea from a British paper’s review of one of their shows). Ā The opening track, “Europe Endless”, is more in tune with the second side, but it’s also a perfect example of how to open an album: layer upon layer upon layer, until singing along with the vocoded vocals seems perfectly natural.
While there are some other (mainly German) artists that one can point to,Ā Trans-Europa Express is absolutelyĀ the floodgate of modern dance music. Ā The current festival-playing status of EDM can trace it’s origins here, as can the indie groups who are currently mining the bands that were directly inspired by Kraftwerk in the first place. Ā Go ahead and say it: Ā Synth-pop is 40 years old now, and while a lot has changed, Kraftwerk still sounds as vital and compelling as they did in 1977.
Friday is the day on /r/music where the mods like to turn off the ability to post YouTube videos in the hopes of the subreddit actually becoming one for music discussion and not, say, where Reddit likes to dump it’s garbage fire taste in music. Ā Ha. Ā Ha ha. Ā Well, they try, that’s the important thing.
If you tuned in yesterday, you’ll get the basic gist: Ā I take a look at the top ten songs posted on /r/music in the last 24 hours and tell you how terrible Reddit’s taste in music is. Ā In much rarer occasions, I’ll tell you where they get it right. Ā Fridays will be fun because of the phenomenon mentioned above: Ā it’s going to be a collection of those songs with the staying power to make it through the discussion posts.
Also, for the record, no I don’t plan on this being an everyday thing, but I would like it to be an everyday I can manage it thing.
Anyway…
Reddit manages to kick it off with something weird and cool, courtesy of Mike “Weird and Cool” Patton. Ā Goes through four different changes in tone and structure, each completely different than the one before. Ā In anyone else’s hands, it would be a gigantic mess, but Mike Patton isn’t anyone else.
Sirius XMU’s favourite Dinosaur, Jr track is also Reddit’s most commonly posted DJ song. Ā Thankfully it never gets old, although I’ve heard it three times today between the radio and this particular set. Ā Two good tracks in a row, Reddit, maybe Fridays are your thing.
Ah, the new Beck track. Ā The one that starts off like a generic hip hop beat, or maybe something like what Beyonce might have rejected for her self-titled 2013 album. Ā Then Beck manages to bull through it in a display of sheer Beck-ness. Ā Still, it feels a little empty and it’s not until 2/3 of the way through that Beck lets his freak flag fly in even a limited fashion. Ā Honestly it feels a little like Beck chasing a hit and I’m not sure how I feel about that. Ā Holding out opinions for the album, we’ll see.
The Cult were an Eighties goth band that scored some hits when they decided to be an AC/DC tribute band instead. Ā My mom knew the lead singer in high school at one point, to no one’s surprise he was a dick. Ā Trust Reddit to go ga-ga for generic hard rock because “it has guitars”.
Why do metalcore bands have such fucking awful band names? Ā Why do metalcore bands all recycle the same damn low-end chugging? Ā Why do metalcore bands mistake sung choruses for depth? Ā Why do metalcore bands insist on breakdowns that are cheesier than a Wisconsin hamburger?
Anyway, you can always tell when the pre-teens are posting, because there will be metalcore.
Okay, show of hands. Ā Who was crying out for a Monkees comeback? Ā Anyone? Ā Put your hand down, dad, Jesus Christ. Ā Wait, this is actually sort of good. Ā I…I kind of like this. Ā Noel Gallagher co-wrote it? Ā I suppose that explains some things.
Who gave the indie kids access to the internet? Ā They managed to find a Portugal. The Man track that isn’t all that great. Ā It’s about as middling a work as you can find from a middling also-ran indie act. Ā You thought you were doing something good, but instead you fucked it all up. Ā Good work, Reddit.
The rest of the post title literally reads: Ā “I know this has been posted before, but not for months & I think it’s well worth posting again.” Oh, well, I guess that makes sense except wait IT WAS LITERALLY POSTED YESTERDAY AS THE JOHNNY CASH COVER.
Who are you trying to fool, anyway? Ā We all know where the inspiration to post this came from.
Decent tune though.
Link Wray Ā poked a hole in his speaker cone with a pencil and invented hard rock single-handed. Ā That might be a bit of an exaggeration, but not by much. Ā Reddit of course knows it from its multiple pop cultural appearances, including Tarantino. Ā At least it’s better than just posting the songs from Guitar Hero .
Lyrics are the only really halfway interesting part of this song, the rest is a really generic and straightforward electro-pop song, like what Hot Chip would write if they got really, really boring all of a sudden. Ā The outro is rather nice though.
And now for a new sequence, brought to you by the…ahem…”tastemakers” of Reddit’s infamously awful /r/music community.
It’s often said that Reddit has shitty taste in music. Ā Granted it’s usually 4chan’s /mu/ community saying that, but let’s be serious here. Ā Whether it’s the constant love of Queen and Foo Fighters that makes me roll my eyes or the circlejerking over how superior they are because of their love of Tool, /r/music is a bottomfeeder in terms of music communities.
Or is it? Ā I’ve decided to start an ongoing series where I listen to the top ten songs posted to /r/music in a 24 hour period and assign them completely subjective ratings based on my own insane whims and thought processes. Ā Then we’ll see if /r/music’s taste actually sucks as badly as I’ve always thought.
Without further ado, I give to you:
The most poppy and milquetoast of all of the Clash-rip-off’s poppy and milquetoast songs. Ā /r/music loves punk rock, but only if it’s from Le Nineties and it’s been beaten to death on the radio since then.
The first time since 2001 that Australian sample-stackers The Avalanches release new music AND it’s fucking stellar? Ā You win this time Reddit. Ā You win this time.
I’d say something snarky about how the only way metal gets to the top of Reddit is in cartoon form but I can’t hate on Dethklok. Ā This isn’t completely dildos.
The best that can be said of this is that at least Reddit took a break from jerking off over “Hurt”. Ā At least with “Rusty Cage” I don’t have to read about how “REZNOR TOTALLY SAID THAT SONG BELONGED TO JOHNNY CASH NOW BECAUSE THE COVER WAS SO MUCH BETTER!!1!11!”. Ā In fact, one of the top comments is the exact opposite. Ā Thank you, Jesus.
Man it has been a long time since I thought of Brody and The Distillers. Ā It still sounds like Courtney Love fronting Rancid to me, and as the years have gone by that prospect appeals to me exponentially less. Ā Also, those fucking spikes. Ā Jesus Brody, how much money did you shell out to get that look down just right? Ā How punk rock of you.
Jesus Christ Reddit, Bret Easton Ellis was being ironic. Ā What the hell is wrong with you?
Apparently it’s awful pop punk day on Reddit. Ā Lagwagon was that band that was there for you if Pennywise was too edgy for you. Ā Completely indistinguishable from anything else on Epitaph in the mid-90s.
GFR got a lot of hate back in the day from critics because, well, they’re not really that good on average. Ā Still, they were capable of moments of brilliance, and “I’m Your Captain” is one of those. Ā For more on Grand Funk Railroad, consult your local library.
Goofy Eighties pop rock from the Gowan of Australia. Ā I often wonder who posts these sorts of songs. Ā Kids nostalgic for a time they never had to live through? Ā Adults putting on rose-coloured nostalgia glasses? Ā Mouthbreathers who listen to bland Mix FM stations at work? Ā At least in dying you don’t have to deal with New Wave for a second time.
Reddit’s sizeable school shooter community comes through in the clutch.
School Of Seven Bells were never one of the bands pushed by indie radio that really ever appealed to me. Ā They came off as the nadir of the cross-pollination of shoegaze and dream pop, an amalgamation of the worst parts of both that hung around like the miasma of a bad dream for just long enough to get obnoxious. Ā I didn’t expect much when I sat down withĀ SVIIB, their fourth (and now final) album.
As it turns out, it’s leaps and bounds beyond their earlier material, a record that takes in the best moments of Eighties alt-pop while still remaining aloof and individual. Ā It’s slick, but dreamy; the drums hit hard but the melodies remain slippery. Ā It seems like a celebration and in a way it is. Ā During the process of recording (in 2013), one half of the duo, Benjamin Curtis, passed away from lymphoma. Ā Alejandra Dehaza took what they had, polished it up with some help, and released this one last School Of Seven Bells album. Ā I wouldn’t have blamed her if she had just walked away from the project after her creative partner died, but the fact that she stuck to it and released such a stellar final album is a bit inspiring in its own way. Ā It’s a hell of a way to go out, and at the very least it leaves me with fond memories of a group that I previously had no such memories of.
Electronic music may be a big festival draw now but it’s origins lie in open synth work layered over Krautrock-inspired motorik beats. Ā Cavern of Anti-Matter take their chosen genre back to its retro moment, conjuring up images of later Kraftwerk orĀ E2-E4.
As usual, Wild Nothing’s latest record conjures up a daydream of the Eighties, a snatch of John Hughes remembered at the moment of death. Ā Like most Wild Nothings records, the single is the best part, but there are some real moments of strength and revelation found throughout.
A seamless blend of West African heart, German efficiency, and the classic thump of the Roland TR-808 drum machine. Ā Harder to pin down than your average hip hop record, and a good sight more freeing.
Overly sensitive without being eye-rollingly weepy,Ā Meet The Humans dances all over the pop-rock map in search of Mason’s heart, and hits far more often than it misses.
Country-folkie with a nice enough turn of phrase and a decent sense of navigation around a plaintive melody, still not much to really write home about. Ā A record you can take home to mama, but not a record you can really take out and party with.
Some have opined recently – in forums, at any rate – that the concept album is dead. Ā This rather bizarre pronouncement is typically preceded by a question, something along the lines of “What was the last concept album you heard?” and expounded upon by a legion of adolescent rockists talking aboutĀ The Wall, and why no one makes albums likeĀ The Wall anymore, and about how this is somehow indicative of the general death of music at the hands of those awful soulless pop stars.
The problem here is that every one of these people expects their concept albums to sound exactly likeĀ The Wall: dreary, overly grandiose, weighted down with its Very Important Conceptualizations and dripping with self-indulgent notions of Art, notions that are seemingly inextricably tied with bluesy guitar solos and radio singles. Ā Thus, when an album like The Monitor, orĀ Hospice, orĀ good kid m.A.A.d. city comes along, their status as being a “concept album” is dismissed in these circles as they’re “too noisy”, or “too indie”, or “hip hop”. Ā The kids wearing t-shirts of their parent’s generation will never accept them because they didn’t live through the 1970s or they’re not beaten to death byĀ Rolling Stone.
Infinite Summer is another one of those albums. Ā Michael Lovett, along with Ash guitarist Charlotte Hatherley and Sarah Jones of Hot Chip, has put together a science fiction story that has a lot in common with the sort of mystical concepts prog bands used to drown their albums in during the latter half of the 1970s. Ā The sun has grown to the size of a red giant, and the destruction of the world is imminent. Ā Half of the world, a sweltering urban jungle, has decided to give up and embrace the destruction; the other half believes that there’s still something worth fighting for and wants to figure out how to rebuild civilization into something lasting. Ā In trueĀ Matrix-style fashion, both sides have time to throw a gigantic rave.
The dismissal invariably occurs here because of the fact that this is a concept album built around synths, processed guitars, smooth vocals, and the legacy of Daft Punk. Ā It’s a relentlessly moving Europop-style album, and its disco bona fides mean it’ll never be accepted by the rockists as being a “true” concept album. Ā Granted, the idea kind of falls apart when everyone starts dancing despite the impending doom of the human species, but at the same time it works, given that it seems like the sort of thing the human race would do in it’s hour of destruction. Ā The tracks also get a bit same-y for something so conceptual, but there’s always something you can hang your hat on for the next listen, so each spin of the record brings you deeper into its folds. Ā That thereĀ are a lot folds here is testament to the trio creating it; it’s at once sweaty, romantic, and stylishly aloof, and in the place where these three meet is a great big heart beating for all of us.
Not every concept album needs to sound likeĀ The Wall, andĀ Infinite Summer is infinite proof as to why.
Something, Chairlift’s second album, was a pretty solid record and a lot of fun. Ā On the strength of singles like “Sidewalk Safari”, “I Belong In Your Arms”, and the purely Eighties-biting “Amanaemonesia”, it got by on charisma and peppy synth work. Ā That was four years ago. Ā Since then, the world has become somehow even more inundated with bold, peppy synth pop. Ā CHVRCHES happened, and then happened again. Ā Chillwave pillars like Washed Out and Neon Indian became akin to cliches. Ā So whenĀ Moth was released today, it came out into a sea of similar albums by similar bands.
To it’s credit, the front half is loaded with good songs, from the agitated funk of “Polymorphing” to the twin-barrel singles “Romeo” and “Ch-Ching”. Ā Then “Crying In Public” happens and you’re left feeling uncomfortable and vaguely embarrassed, which I suppose brings out the idea behind the song but also makes you wonder why this lazily histrionic ballad wasn’t left in the 1987-marked bin it was discovered in. Ā The back half is yawning mediocrity except for “Show U Off”, which rediscovers the fun of the first four songs. Ā Then it ends on “No Such Thing As Illusion” and I’m trying and failing to come up with a reason to feel any sort of way about it; ambient balladry only works if there’s something to hang onto, and the walls of that song are smooth and blank.
Moth is one of those very common albums in popular music: Ā you’ll find yourself singing along to the singles on the radio even while the album itself gathers dust.
Scotland’s CHVRCHES blew up the scene in 2013 with a debut album, The Bones Of What You Believe, that was the best synth pop album sinceĀ Violator. Ā It’s hard to follow up that kind of a meteoric album; you would need a synth pop masterpiece, or, more likely, a pop masterpeice. Ā Every Open Eye is not that album, but then again what could be?
It is a really well-crafted album, though. Ā The three opening tracks – “Never Ending Circles”, “Leave A Trace”, and the sublime “Keep You On My Side” – are CHVRCHES firing on all pistons, songs that take the groundwork laid on the debut and building more complex, darker structures from them. Ā Then it falls off, with only “Clearest Blue” and “Playing Dead” really standing apart from the more mundane pieces that surround them. Ā Even those mundane pieces, however, are great examples of good pop music, and Lauren Mayberry presents herself as the perfect pop frontwoman, taking charge in the choruses but letting the synth and drum work speak for itself when appropriate.
Every Open Eye suffers from having such a barn-burner asĀ The Bones Of What You Believe as its predecessor. Ā If this were CHVRCHES’ debut, it would seem freer, more expansive; it would be a solid rocket and a reason to expect greater things. Ā Since we’ve already seen those greater things, this album becomes a placeholder of sorts; we know they’re capable of greater things, so now we have this sophomore album to tide us over until they (presumably) blow all of our minds with their instant classic third album.
“stranger than earth”, the fourth song on the Calgary synth-pop band’s sophomore album, is a trap song, an EDM song, and a 90s-tinged electronic clubĀ ballad, all at the same time. Ā In the quest to figure out which cutting-edge, contemporary pop tropeĀ to incorporate, it chooses to go in every direction at once. Ā Its big-synth heroics conjure up latter-day Metric, and this is a big, big problem.
Like Metric, Purity Ring staked their initial claim on layering melted-butter vocals over a fresh take on the sounds of the day. Ā Where Metric rode in on a wave of sunny, troubled indie rock in the wake of Broken Social Scene, Purity Ring chose to pair Megan James’ ethereal voice to an electronic soundscape that bore more than a few resemblances to witch house, a meme-genre the internet had a brief fascination with in 2010-2011. Ā The songs were a bit twisted, oddly barbed; they sounded like the jagged edges of a broken dream where everything seemed normal but you were left feeling faintly disturbed.
Like Metric, Purity Ring have made a fumbling grasp for a more widescreen acceptance. Ā Metric followed the gigantic-sounding FantasiesĀ with the boring synth-pop rigidity of Synthetica. Ā Purity Ring follows ShrinesĀ with its opposite as well; the debut album’s danger and disturbing dream pop are replaced with a much safer, more straightforward pop. Ā Pop, full stop: Ā this is an album of modern hip hop, Avicii, David Guetta, and sub-indie balladry. Ā This is not a band that ever took cues from Salem, or oOoOO. Ā It takes no chances, and increases opportunity for market penetration.
I cast some aspersions on Imagine Dragons’ take on modern arena rock recently and the same goes for Purity Ring. Ā It’s reaching to rock as many people’s faces off at once as it can, and every song feels like a forced moment. Ā “push pull” comes the closest to their old sound, with its waterfall of arpeggiated synth notes tripping over themselves; everything else could be interchangeable on some indie rock radio DJ’s Saturday night club playlist. Ā Everything is still on the verge of drowning under hazy reverb, but it feels contrived this time out and causes the tracks to simply feel not loud enough for the desired effect. Ā Megan James can still sing like a stoned angel, of course, but Corin Roddick’s production is both pandering and lackluster.
Don’t even get me started on the conceit of stylizing everything in lowercase.
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.”āRachel 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 heās just put a target on his back. And whatās 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 futureābefore 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!
A cityās haunted history and fairy-tale horrors converge for two women in an addictive novel of psychological suspense by a multiple Bram Stoker Awardānominated author.
Sisters Anna and Jennie live in a historic bungalow on the Chicago River. Theyāre 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 Annaās window.
To stave off loneliness, Anna has a podcast, spinning ghostly tales of Chicagoās 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 Jennieās fears. More and more people are going missing in the river. And then two detectives come calling.
Theyāre looking for a link between the mysteries of the river and whatās housed on the bank. Even Anna and Jennie donāt understand how dreadful it isāand still can beāwhen the truth about their unsettled lives begins to surface.
The instant USA Today bestseller from CJ Leede, author of Maeve Flyāa 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 ā¢ A GoodReads and Publishers Weekly Editors’ Pick ā¢ An Indie Next Pick!
āA blistering, feverish ride through a uniquely American apocalypse.”āChuck 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 virginā¦
The end times are coming.
āI’ve loved Maggie Thrash’s work for years, and Rainbow Black is going to set so many new hearts aflameāmurder, intrigue, queer love, dark humor AND satanic panic? Welcome to the Maggie Thrash Fan Club, world!āāEmma 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 storyāset against the ā90s 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 parentsā rural daycare center.
Then the Satanic Panic hits. Itās the summer of 1990 when Lacey ās 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 womanās 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.
āBeautiful, 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.ā
–Sara Tantlinger, Bram Stoker Award-winning author of The Devilās Dreamland.
Winnie Campbell is sixteen and a burgeoning serial killer. Her father blames her for her motherās 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 doesnāt 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.
āA 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. Murrayās excellent novel showcases the very human possibility of carnageāthe horrifying prospect of brutalityāwhen curiosity is sated and when we finally surrender to our most feral desires.āāEric 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 girlās spiral into obsession and depravity, culminating in a horrifying conclusion youāll never forget.”āKelsea 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.”āCynthia Pelayo, Bram Stoker Award-winning author of Crime Scene
āSick, twisted, and compulsively readableāEmma E. Murrayās 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.āāCarson Winter, author of The Psychographist
A woman checks herself into an insane asylum to solve the mystery of her sisterās 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 Donāt 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 isā¦ not right. She is shaken by the hospitalās 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 Hadleighās 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.
A National Bestseller
The final installment in the most lauded trilogy in the history of horror novels picks up four years after Donāt Fear the Reaper as Jade returns to Proofrock, Idaho, to build a life after the years of sacrificeāonly to find the Lake Witch is waiting for her in New York Times bestselling author Stephen Graham Jonesās finale.
Itās 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. Thereās a lot of unfinished business in Proofrock, from serial killer cultists to the rich trying to buy Western authenticity. But thereās one aspect of Proofrock no one wants to confrontā¦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.
āSimply putāand I do not say this lightlyāIncidents Around the House is the most purely effective horror novel I have ever read.āāNeil 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 āOther Mommy,ā from the New York Times bestselling author of Bird Box
āThis book isthe monster that lives inside your closet.āāGrady Hendrix, New York Times bestselling author of How to Sell a Haunted House
To eight-year-old Bela, her family is her world. Thereās Mommy, Daddo, and Grandma Ruth. But there is also Other Mommy, a malevolent entity who asks her every day: āCan I go inside your heart?ā
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 parentsā 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 ācursed filmā 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 filmās 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 āThe Thin Kidā 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 heās going to help remake the film, even if it means navigating a world of cynical producers, egomaniacal directors, and surreal fan conventionsādemons 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?
Ivoryās 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 Cabrinaās 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. Cabrinaās closest friends have also seen a similar apparition, and as they toy with occult possibilities, they begin to unravel the truth behind Cabrinaās death.
Because Cape Morning isnāt a ghost town, but a town filled with ghosts, and Ivory is about to discover just what happens when you let one in.
A Goodreads Best Fantasy Choice Award Nominee!
From New York Times bestselling and Hugo Award-winning author T. Kingfisher comes A Sorceress Comes to Callāa 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 doesnāt have any doors between roomsāthere are no secrets in this houseāand 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 donāt force their daughters to be silent and motionless for hours, sometimes days, on end. Other mothers arenāt 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, heās 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 arenāt 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 familyās grief is a sirenās 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.
A USA TODAY Bestseller
From New York Times bestselling horror writer Stephen Graham Jones comes a classic slasher story with a twistāperfect for fans of Adam Cesareand Grady Hendrix.
1989, Lamesa, Texas. A small west Texas town driven by oil and cottonāand a place where everyone knows everyone elseās 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 Gabeās grandmotherās refrain. We are surrounded by ghosts. But this time is different. Bimbo’s mom has been shot dead. Weāre 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.
An instant USA Today bestseller!
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.”āPaul 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 survivedābut 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.
āTense and frighteningly visceral, Cuckoo is a masterwork of body horror thrumming with high octane viciousness.ā āEric 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”
Itās 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.
Bring a flashlight and a book of matches.
Where weāre going, thereās not a speck of light.
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.
Do you dare to listen to the language of crows?
A brand-new collection of four intense, claustrophobic and terrifying horror tales from the Bram Stoker AwardĀ®-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 manās father calls him early in the morning to say that his mother has passed away. He arrives home to find his motherās 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 WONāT 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.
āYou like it darker? Fine, so do I,ā writes Stephen King in the afterword to this magnificent new collection of twelve stories that delve into the darker part of lifeāboth 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 āthe exhilaration of leaving ordinary day-to-day life behind,ā and in You Like It Darker, readers will feel that exhilaration too, again and again.
āTwo Talented Bastidsā explores the long-hidden secret of how the eponymous gentlemen got their skills. In āDanny Coughlinās Bad Dream,ā a brief and unprecedented psychic flash upends dozens of lives, Dannyās most catastrophically. In āRattlesnakes,ā a sequel to Cujo, a grieving widower travels to Florida for respite and instead receives an unexpected inheritanceāwith major strings attached. In āThe Dreamers,ā a taciturn Vietnam vet answers a job ad and learns that there are some corners of the universe best left unexplored. āThe Answer Manā asks if prescience is good luck or bad and reminds us that a life marked by unbearable tragedy can still be meaningful.
Kingās 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 GĆ³mez’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 Nogleās 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 Kingās novel Liseyās 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 theyāll 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 experiencesāof ambition, fear, longing, and belongingāand reveals the porousness of storytelling and of the places we call home.
With humor, an exquisite imagination, and a voice praised as āsingular and wise and freshā (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: āRapture,ā āGhost Story,ā āTropicĆ”lia,ā āAntropĆ³gaga,ā āIdle Hands,ā āRent,ā āPorcelain,ā āHeaven, Hell, and Purgatory,ā and āHasselblad.ā
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!
The World is Weird.
You will be discouraged from participating in it.
However, your participation is not optional.
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 GarcĆa-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 RodrĆguez – Up In the Hills, She Dreams of Her Daughter Deep In the Ground
Elena Sichrovsky – Embryo
Ivan Zoric – Our Roots Will Dry Out in the End
Michael Bettendorf – As the Music Plays Groovy
Chris Kuriata – Family Not Going To Heaven
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.
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.
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 creaturesāincluding Mothman, Carabosse, a girl with thirteen shadows, a living house, werebeasts, gorgons, sirens, angels, and many othersāand 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.
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.
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 InfinityĀ offers a collection of weird fiction and cosmic horror stories that are diverse down to the cellular level. From TaĆno 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.