A Reprobate exclusive to mark the Summer Solstice: the bad-acid soaked, Sixties-invoking new video from Nikolas Schreck.
With the Stonehenge Festival now nothing but a distant memory, what better way to mark the Summer Solstice than with a moody, hippy-trippy slice of psychedelic psychodrama from Nikolas Schreck? Making its global debut here on The Reprobate, this twelve-minute extravaganza – the latest cut from his album The Illusionist – stands in sharp contrast to the dancey space pop of the last video, The Futura Model, but is no less impressive – a hauntingly gothic slice of creepy-crawling threat and eerie atmosphere. Schreck appears in ancient Egyptian garb as Rameses II via Yul Brynner, alongside percussionist Heathen Rae as the Black Panther and keyboardist Winifred Strauss as a Sergeant Pepper cast-off, while ‘hippy chick’ Luana Rossetti channels the doomed ingenues – or perhaps the doomed runaways and dropouts – of the 1960s. Yes, it’s an acid-drenched bad trip into a world of revolution and counter-culture gone bad – with director Apostolos Tsakaris and master manipulator JJD Works creating an unsettling and intense visual experience that matches the grand operatic and ritualistic scope of This Hideous Thing, Directed by Nikolas Schreck, filmed by Apostolos Tsakiris.
No – sorry, but no – not *that* kind of coming out. 🙂 Lend us your ear, and eyes, and read on below after gallery of photos..
both always held the conviction that the public is not owed anything
from artists, musicians, authors and other public figures other than
their work. Even in this age of social media oversharing, we don’t
publicly discuss our private lives in great detail. However, due to
several recent, obtrusive misunderstandings, it‘s necessary to share
that in 2015, after having been separated since 2007, we agreed to
Since then, we’ve remained on friendly terms
and spiritual allies. But because most exes display hostility toward
each other as a primitive, dualistic way to signal renewed availability
to others, we realize our non-antagonism and continued friendship
necessitates this more public clarification.
When we first
married, in 1988, we considered it a purely a private matter, just
between us; a creative and spiritual union which was not bound by
conventional standards of matrimony. The actual marriage only became
publicly known gradually, months after our private ceremony. So it
should come as no surprise that, similarly, we dealt with its
dissolution privately, with dignity, rather than making a public
In recent years, our closest friends knew of our
changed marital status (and, yes, despite those who’ve attempted to
reduce our relationship to mere “dates” or “boyfriend/girlfriend”
status, in fact we were *legally* married for 27 years). We should have
made this clear sooner but we are only human and needed time to work
through everything in the most compassionate way.
So, kids, there
is no drama or soap opera involved, nor any need for boo-hooing. We
appreciate your respecting that this will be our only public comment of
clarification on what remains private transitions into new phases of two
MANSONTHON AT ZEBULON Lethal Amounts and Records Ad Nauseam present Nikolas Schreck All the Way Alive in Los Angeles at a special event commemorating the 30th anniversary of his 1989 film Charles Manson Superstar.
After the screening, Nikolas will deliver a lecture on what Hollywood doesn’t want you to know about the Tate-LaBianca murders, play a never heard recorded conversation between him and Manson concerning the hidden motives of the LaBianca slaying, and conduct a panel discussion with a rarely seen member of the Manson Family.
The event will conclude with a record release of Nikolas’s new album The Illusionist on Records Ad Nauseam featuring the premiere of the new Summer of 1969-themed song ”This Hideous Thing”.
This edition of Parallax Views presents the first of an epic three-part interview with the controversial ex-Satanist-turned-Buddhist-practioner Nikolas Schreck. In this first segment we take a deep dive into Schreck’s book The Satanic Screen: An Illustrated Guide to the Devil in Cinema, which has recently been republished in a German edition entitled Luzifers Leinwand with brand new, updated material including a fresh introduction.
We begin by discussing how Nikolas first became interested in the devil and all his works. Nikolas recommend reading Satan Superstar, recently published by the UK’s Reprobate Press, due to it’s lengthy biographical interview with him entitled “The Nikolas Schreck Files”. From there we delve into the definition of Satanism and Nikolas’ critique of atheistic brand of Satanism popularized by Anton LaVey’s Church of Satan.
Then we delve into The Satanic Screen: An Illustrated Guide to the Devil in Cinema. Nikolas discusses how The Satanic Screen was never intended as a simple “Satanists’ Guide to Movies” PuTTY basic commands , but rather as a philosophical, religious, and sociopolitical reflection on old scratch through the lens of film. This leads us into a discussion of the new introduction for Luzifers Leinwand which details the many misconception of the Devil, made by both Christians and Satanists alike, in the Bible’s Old Testament. We discuss issues like the serpent in the Garden of Eden, the real meaning of Lucifer in the Bible, what “Satan” actually means, the “Divine Council” of Gods known as the “Elohim”, and much more.
After digging into these theological matters we transition to a discussion of the devil in pop culture starting with the “magic lantern”. We then discuss the devil’s many appearances in cinema from the silent era (The Magician) to the 1930’s (The Black Cat) and beyond. We take special notice of Roman Polanski’s Rosemary’s Baby (and to a lesser extent The Fearless Vampire Killers) and William Friedkin’s The Exorcist. Through these two films we examine the sociopolitical undercurrents that helped fuel the Satanic Panic. In addition we discuss the adult film The Devil in Miss Jones to understand the role of eroticism in Satanic cinema. We then wrap up discussing how the devil’s portrayal in cinema over the years acts as a cultural barometer for what we, as a society, consider evil during any given period.
“If you want a picture of the future, imagine a boot stamping on a human face – for ever.” – Orwell, 1984
Atmospheric photo of ANIA PsH (prone) and NIKOLAS SCHRECK (standing in camo) during their recent performance of their collaborative piece ‘The Alcove” in Berlin on March 30 as seen in new article in German magazine NOIZZ. Stay tuned for announcement of upcoming PsH & Schreck performance actions to be held in BRIGHTON, UK later this month. Photo by Elisaweta Sorokin. To read German article see link: https://noizz.de/kultur/wie-kunstler-aus-russland-weissrussland-und-der-ukraine-mit-zensur-umgehen/w69wyn3
“It is an interesting question in itself why there’s so much music in American popular culture containing elements of church music as well as sounds reminiscent of carnival and the circus. Is it really just because both areas have an affinity to organs? Did Hollywood play a vital part in this, as movies often used to present the Sacred in a carnivalesque manner? Or is there something like a secret connection between these heterotopias so different at first glance, where people seek refuge for a moment from their daily grind and indulge in many different illusions – and nonetheless have the chance to learn more about life than in the most fatal of all illusions, namely the functionalized alienation, commonly known as normality? Maybe it’s a coincidence, but this thought, which has crossed my mind more than once when I think about Baby Dee, is even stronger on my mind when I think about Kingdom of Heaven.
God and Devil, doom and salvation, side shows and superheroes, the sublime grandeur of the antique world and shabby love hotels in the juggernaut of LA – these are the things that shape the textual character of Kingdom of Heaven’s debut, and if you know the better-renowned part of the duo, you won’t be surprised about the choice of subject, but will experience more than one deja-vu instead. Kingdom of Heaven was created when Nikolas Schreck, who has made himself a name as a Buddhist meditation teacher in his new Berlin home, contacted his old friend James “Filth” Collord. Collord was bassist in the earliest incarnation of Radio Werewolf, best known for their song “Buried Alive” or their appearance in the movie “Mortuary Academy”. Déjà vu, however, doesn’t mean that the two are on the road to Death Rock again, even though Schreck as lead singer, who always sounds a bit like David Bowie with a gigantic chest, cannot help but start a double-ironic persiflage on this idea. What they revive from their earlier phase is their love for all kinds of sinister trash and the mood of old B-Movies, which we all took so seriously in our teenage days.
Musically, Schreck and Collord dive deep into the realms of American pop culture, and it’s a grim form of what Rhythm and Blues used to be in the 50s and 60s – music which has little in common with contemporary R’n’B – that constitutes a major influence – may others use the term „Prog“ for the mixture of bar-piano, hammond organ and a maybe sometimes a bit too powerful drum section. It’s not only Schreck’s vocals that give the circuslike music a strong touch of liturgy, it’s also the stories that he tells in the songs. Most of the lyrics run along on the fine line between mysticism, pulp and the conviction that everything is just an illusion anyway. Lines like “I dreamt I swam in the river Jordan/A bottle of booze in my hand” from “The Ballad of Lurleen Tyler” sum this up quite well. The ambiguous character of illusions does not only appear in this story of a dubious preacher and girl killer: whilst in “Farewell to the Carousel” the farewell to the beautiful other world of a funfair is mourned, the sci-fi scented song “In Dreamland” urges the listener to wake up from a media-mediated loss of consciousness.
Many pieces revolve around biblical themes or the mystical aspects of the ancient world, or they enjoy the exoticism of a mysterious Orient, which has left its musical traces in “Midnight in Cairo”. But they always do it in the way of moody cock and bull-tales, and one can imagine these stories as a comic, which consistently satirizes the style of the „Watchtower“ of Jehovah’s Witnesses. Since romantic love is one of the most beautiful illusions, even a flawless love song doesn’t go missing on the album, and “The World for You” is really a love song of superlatives, where one always wonders whether it is not about worshipping a deity. The song about a love that does not weigh all the wonders of the world, could be a hit from a Broadway musical and in a better world it would be a long runner in all karaoke shows.
In one sentence: pure „Kurzweil“, great fun and sometimes more than that, hopefully soon available on vinyl and also live in all churches and circus arenas of distinction. (U.S.)”