Vernon Howard

A girl arrives from London to visit her estranged relatives in a remote castle for the reading of her father's will. After a while she discovers that they are all in fact dead and her decision to live with them turns into a nightmare. Unable to leave she's drawn into a macabre underworld through visions of nude satanic rituals and her own impending sacrifice.

infolk 2: See the Birds is the highly anticipated follow up to the 2017 Grammy-nominated album Kinfolk: Postcards From Everywhere.

In a small lakeside town, young women are disappearing without a trace. The superstitious locals blame ''The Lake of Ghosts'', because of the lake's haunting past, but the town's mayor (Howard Vernon) seems reluctant, or powerless to take any action. When another woman is found dead near the lake, with her throat ripped out, a reporter comes to town and soon discovers that the lake harbors a terrible secret dating back to World War II. It is then a group of local Resistance fighters take action against a troop of Nazi zombie soldiers invading their town, as they have come back from the dead. And now, whenever the waters at ZOMBIE LAKE are disturbed, the dead will rise!

This gory sex thriller stars a galaxy of Eurocult acting talent. Anita Ekberg (The Killer Nun); Howard Vernon (Awful Dr Orloff); Rosalba Neri (Lady Frankenstein)… not to mention hunky Gordon Mitchell, sexy Barbara Bouchet and glamorous Evelyn Kraft. Oh - and professional Humphrey Bogart lookalike Robert Sacchi! To match its sparkling cast, the film boasts a suitably wild plot. It features hooded killers, mad scientists, an eyeball thief and some of the sleaziest murders seen in a long time. Set in and around a Paris brothel, the action is as hot and steamy as you could wish for.

Erwin C. Dietrich presents with the "Jess Franco Gold Collection" a selection of 8 masterpieces out of the immense Repertoire of the legendary cult director Jesus Franco Manera. These exploitation classics are now united for the first time as uncut and completely uncensored director's cut editions with digitaly improved quality of video and audio in this collectors edition - a must for every fan of european exploitation films.

Big Red Machine is led by Aaron Dessner (The National, producer for Taylor Swift, Sharon Van Etten and others) in collaboration with Justin Vernon (Bon Iver). How Long Do You Think It’s Gonna Last? features over a dozen marquee collaborators, including some of the biggest names across mainstream pop, indie, folk and other genres. It features Taylor Swift, Fleet Foxes, Sharon Van Etten, Ben Howard, this is the Kit, Anais Mitchell and more.

The Blues has always been popular in England. Performers like Screamin' Jay Hawkins, Howlin' Wolf and even Freddie King and Bo Diddley were stars in England before making it big in their own country. When John Mayall formed the Bluesbreakers it was out of respect and admiration to those performers; and he's stayed with the blues, cultivating a number of fine young blues musicians including guitarists Eric Clapton and Peter Green. After Clapton left Mayall, moving on to form Cream, Peter Green replaced him. Now Green has formed his own group, Fleetwood Mac (along with another former Bluesbreaker, bassist John McVie).
Whereas Clapton expanded onto new horizons with Cream, Green has chosen to remain dedicated to the blues, and on this, their first recorded effort, Fleetwood Mac have established themselves as another tight English blues band—joining Mayall's Bluesbreakers, Ten Years After and Savoy Brown as chief practitioners of blues in England.
Green, like Mayall, has studied the records and performances of Howlin' Wolf, Memphis Slim, Junior Wells and Elmore James carefully. The piano riffs on "Hellbound on My Trail" are lifted directly from Slim's classic "If You See Kay," but it's done well, if perhaps a little too self-consciously. Fleetwood Mac (the name is a combination of the names of members of the group), know what they're doing, they dig the music they're playing and that's great—but the drawback here is that they don't put enough of themselves into it instead of what they've heard from the original artists.
Green is a more than competent guitar player, and the Mac's treatment of "Shake Your Moneymaker" is just as powerful as the first Butterfield version (on the Paul Butterfield Blues Band album). The harp work is proficient in most places but rather weak on "Got to Move," the old Sonny Boy Williamson song. Green's composition "Long Grey Mare" is one of the best cuts on the album, anchored by McVie's strong bass line. The record has a strange, prematurely vintage (if there can be such a thing) sound to it, like an old classic recording made in the late Forties or early Fifties.
Like most modern white bluesmen, Fleetwood Mac try very hard to live the kind of music they play—not picking cotton in the Delta, but maintaining the hard-life blues tradition, gigging at small clubs in Northern England and in scruffy halls in the East End. Their music retains an unaffected rough quality. They play well, and if it sounds a little scratchy at times it's because that's the way they happen to feel at that particular moment. The licks they've copied from other performers are natural enough—it's more of a tribute than an imitation.
The English continue to prove how well into the blues they really are, and know how to lay it down and shove it back across the Atlantic. Fleetwood Mac are representative of how far the blues has penetrated—far enough for a group of London East-Enders to have cut a record potent enough to make the South Side of Chicago take notice.

After spending two years living on opposite coasts and pursuing their own creative projects, Ivan Howard and Kelly Crisp came back together in the spring of 2013 to set to work on the sixth full-length album from the Rosebuds. Joining up with Bon Iver frontman Justin Vernon (a friend and former bandmate who, in a 2011 interview, noted that the Rosebuds make "some of the most important music in the world"), the North Carolina-bred duo spent a week in Vernon s studio teasing out a batch of songs that effortlessly weave the hooky songcraft of classic jangle-pop, the cagey romanticism of new wave, and a refined yet full-hearted sensibility all their own. Featuring Vernon on guitar and synths as well as Bon Iver drummer Matt McCaughan and Sylvan Esso's Nick Sanborn on bass, both longtime pals and cohorts of the Rosebuds the resulting Sand + Silence radiates both a graceful intensity and the loose, joyful energy that comes from making music with friends.