TIME guitarist Jesse Johnson in 1986 released an album entitled Shockadelica, which title Prince liked, and as there was no title song on the album, wrote one and offered it to the guitarist. Jones declined and Prince then released the track before Jones could get his album out. Ween later covered the track and made it considerably more sexually explicit, which is actually in keeping with the meaning of the song’s title to Jesse Jones, who used it to describe his feelings of desire. The main characters of Jon O’Bergh’s novel appropriated the title for a horror podcast. One can’t copyright a title, but sometimes it’s not really appropriate to use one that is identified with a certain time or deed. Certain expectations get set up. I get it, though. “Shockadelica” is more suitable for address to say, early Black Sabbath, Blue Cheer, Bloodrock’s DOA, stuff that was informed by psychedelic music but had deeper and darker intent. Still, it’s offputting. It takes a while to assimilate the new meaning, if indeed one ever does. The two podcasters run into some serious weirdness in the building they live in, and the result of their investigations into that weirdness are the events of the book. It’s what I’d call a ‘summer read’. There’s not a tremendous depth to it, it is not weighed down by the author’s philosophy, it’s just a sequence of events, with some fun characters. One of the main characters is the “Bone Man’, whose name is a re-spelling of Alice Cooper’s offstage name, and O’bergh recorded an album of songs ostensibly by this character, which is available at, say, Soundcloud if you’ve a mind to look it up. They’re not terrible songs, and O’Bergh is an able musician. He’s also an able writer… though in truth it took me a while to cozy up to his terse sentences. The style is a little choppy – not clunky exactly but it took a few pages for me to assimilate. The book is not especially original, but the characters are well-drawn, not caricatures. The tropes the author invokes have their own resonance and inform the narrative – with the rock-world backgrounding there’s an especial poignance to the images of goat-headed Satanists and the metal musician with serial-killer tattoos. It’s a quick read. I read the ebook, which didn’t have page numbers, but I’d say it was somewhere around 50,000 words. The action moves along rather well, and the series of events isn’t out of line for the setup. The protagonists are likable enough. I do confess that I expected Alan and Velma and Daphne to come in at some point, and Shaggy and Scooby. It didn’t turn out that way but the comparison is unavoidable for me. I like Scooby Doo, Where Are You? So that wasn’t an issue, and overall I’d give the thing 3 ½ stars. There’s a lot to like. But I did find this to be very nu-horror in that it is slight and depends on in-vogue tropes and feels inspired by 80s fictions – the closest comp to the style would be two-headed Canadian novelist(s) Michael Slade. The apartment building is very Ira Levin with maybe a side of Seinfeld for comic relief and updating. The actual horror isn’t super-horrible. It’s a murder-mystery more than a horror novel. The gore is beside the point. But the book is aimed squarely at the alt-lifestyle set of the horror audience and should connect there, or with people who are not extremely well-read in-genre and don’t get the tropism and inside joke level that is built-in to things like this. It’s an accomplishment, I think, to take such banal elements and concoct a readable tale. That speaks well of the author’s ability, and I’ll look out for the next burnt offering. The book is tasty and the impression overall is amiable. I just found the recipe a little underdone. Shockadelica |
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