The boys in Frightmare certainly love horror films, and the tracks on “Bringing Back the Bloodshed” are each a detailed homage to classic b-grade slasher flicks of the 70s and 80s. The songs serve as actual plot synopses for such cinematic gems as “Sleepaway Camp”, “Friday the 13th Part 2” (with an actual promotional clip for the movie as an intro), “The Driller Killer”, and “Last House on Dead End Street”, while album closer “Leatherface” is a raucous cover of the Laaz Rockit tune from the “Texas Chainsaw Massacre 3” soundtrack. The music of Frightmare continues to be a swarming and agitated blend of thrash, punk, grind, and death metal quite similar to label mates Ghoul. A multitude of frantic riffs, and eerily haunting solos, coupled with the sadistic subject matter all make for an intensely enjoyable listening experience. A nifty disclaimer in the booklet informs that “No pitch shifters or vocal harmonizers used on any of the vocals!!!” which is extremely impressive as some of the growls and gurgles employed here are absolutely inhuman. Ghoul’s Digestor even stops by to lend his throat to the chorus of “Friday the 13th Part 2”. The production on “Bringing Back the Bloodshed” is significantly superior to Frightmare’s debut, which was by no means terrible. “BBB” just seems to be a bit more full and clear, and the improved mix allows for a more distinct and brutal sound. This album is a must for all horror buffs, as well as anyone who enjoys thrashy death-grind of the variety common to the Razorback roster.

Frightmare most definitely have a profound love for classic horror films, and this intense adoration is best displayed in the title track’s vitriolic tirade about the sad state of the horror genre in these modern times. Songwriter Maniac Neil rails against the recent glut of slick, PG-13, and Mtv-style “horror” films currently polluting video stores and theaters. He also aims his hate at the trend of remaking classic films into bland and wimpy crap and the use of CGI, even calling for the death of Wes Craven for devolving from the brilliance of “Last House on the Left” to the mundane and pedestrian “Scream” series. Pure genius, and a discussion that I’ve often had with other disenfranchised horror fans myself.