Bavarian progressive death metal trio Odetosun have been one of our favourite constellations in the underground of recent years. The trio – Luke Stuchly (vocals), Benny Stuchly (guitars, bass guitar, keyboards) and Gunther Rehmer (drums) - formed as Oden’s Raven in 2008 as a typical melodic death metal band with Viking themes, not unlike early Amon Amarth and Unleashed and their ilk, before steering towards more adventurous realms. We extensively sang our praises for their 2013 debut “Gods Forgotten Orbit” on these pages, but never came around to properly covering their second opus “The Dark Dunes Of Titan” from 2015 the way it probably deserved and the way we probably should have. Now, four years removed from their second album, the Stuchly brothers are back with ‘Spiritual Decay’, the first in a series of thematically interconnected singles to be released seperately. Whether Odetosun has abandoned the album format as a whole is presently unclear, but it’s good to have the masters of the atmospheric and the meditative back all the same. So how does ‘Spiritual Decay’ fit in with Odetosun’s repertoire?
There has always been a profound Pink Floyd influence evident through out the music that Odetosun writes. Whether it’s the David Gilmour inspired manner that Benny solos or the resounding booming bass guitar and the serene keyboards that feature prominently in the trio’s compositions. The more progressive – and ambient aspects of both “The Division Bell” and “A Momentary Lapse Of Reason” all can be heard in the two records preceding this single. Comparatively ‘Spiritual Decay’ is on the uptempo and upbeat side of things compared to what Odetosun usually does. However not soon after the opening section the single reverts back to the trio’s usually meditative midtempo and it sounds like nothing substantial has changed since Odetosun last released music. “The Dark Dunes Of Titan” was a nearly 50-minute conceptual exercise inspired by the 1972 Ben Bova novel “As On A Darkling Plain”. ‘Spiritual Decay’ was inspired the ubiquitous decline of civilization and spiritual achievements of human culture, and the first in a series of singles to be sporadically released until the trio’s third album materializes. As an isolated track ‘Spiritual Decay’ fits in seamlessly with what the trio has done before.
What has always separated Odetosun from more conventional bands is their staunch refusal to let themselves be dictated by their metallic components. Odetosun is far more dreamy and ethereal than, say, an Obscura or a Pavor. Like both those bands the bass guitar features prominently and their classification as death metal is secondary to their progressive - and post rock inclinations. Another great thing is that Odetosun never adheres to the typical metal imagery and visuals. Like Neurosis before them these three men are comfortable in their everyman and mountain man look. Stuchly’s signature melodies run rampant through out ‘Spiritual Decay’ and that it could have been culled from either “The Dark Dunes Of Titan” or “Gods Forgotten Orbit” speaks volumes of the creative alchemy that these three men have going on. There have been changes in the Odetosun camp. Their production value has steadily increased and their musicality and creativity is on an all-time high since the days of “Gods Forgotten Orbit”. If ‘Spiritual Decay’ is but a prelude to further new music we can only hope that Odetosun will continue to release new singles until their following album at long last arrives.
Suitably below the mainstream and somewhat of an underdog Odetosun is the ultimate musical pariah. They’re probably “too heavy” for the progressive rock crowd and, logically, too laidback and esoteric for the stereotypical death metal fan. Odetosun is guided only by their creativity and since their inception they haven’t paid much attention to what they classify as. Whether you want to classify them as a progressive rock band with death metal overtones, or as a death metal band with progressive inclinations – the long and short of it is that Odetosun is one of the better independent metal bands currently working the German underground. “Gods Forgotten Orbit” sounded very oceanic, breezy, and exotic, “The Dark Dunes Of Titan” gravitated towards a more spacey, airy and celestial direction. ‘Spiritual Decay’ combines the two in something that can only be described as meditative and, well, spiritual. If Nümph or Caelestis played death metal, they would probably sound something like this. As it stands Odetosun remains criminally underappreciated in their own genre. If ‘Spiritual Decay’ can turn a few more people towards their music, then it served its purpose.
Plot: retired commando is forced into action by Central-American dictator
French indie filmmaker Benjamin Combes has virtually done the impossible. On an estimated budget of a modest €35,000 Combes has created the ultimate and definite throwback to 80s action. Not only is Commando Ninja a loving tribute to the most memorable movies from Arnold Schwarzenegger, Sylvester Stallone, and Jean-Claude Van Damme; it also shows what that much pined after collaboration between Cirio H. Santiago, Godfrey Ho, Andy Sidaris, and early Peter Jackson that the world never got could have looked like. In a brisk 70 minutes Commando Ninja pays homage to everything from 80s American action movies from Cannon, Hong Kong ninja movies, Italian - and Thai Vietnam war movies, and even Filipino post-nuke actioners. There’s dinosaurs on the loose and Combes doesn’t shy away from showing tanned babes in candy-colored bikinis and a few jiggling breasts that would make the late Andy Sidaris and even Jim Wynorski proud. Commando Ninja doesn’t just have one of these things, it has them all… and then some. How come nobody is talking about the coolest independent action movie of 2018?
And who’s the main creative force behind Commando Ninja? The Frenchman Benjamin Combes. Combes works as a director and video editor at Ubisoft Entertainment in Montpellier by day but brews on his own feature film projects by night. Not only was Benjamin (in true early Peter Jackson fashion) responsible for the casting, props, and production design next to the practical - and visual effects he also wrote, produced, photographed, edited, and directed Commando Ninja. What makes this 70-minute feature even more impressive is that Combes only has the short The Last Human in the Milky Way (2015) and a few video game trailers to his name but nothing substantial otherwise. Commando Ninja is the result of some friends getting together and working towards a common goal for a couple of months. Combes and his friends manage to either mask and (more often than not) transcend the restraints imposed on their pet project. Commando Ninja is bursting at the seams with energy and that it looks as professional as it does is testament to Combes’ talent and skill. As of this writing Commando Ninja has been dubbed or subtitled in 15 (!!) languages (and counting) with premieres pending in South America and Asia. Not too shabby at all for a crowdfunded indie without a single big name star, production company, or distributor to speak of. Il faut le faire…
1968. Green Beret John Hunter (Eric Carlesi) and his Lizard Smokers platoon – Leeroy Hopkins (Philippe Allier), Oskar Kowalsky (Stéphane Asensio), and Curtis “Snow White” Jackson (Thémann Fagour) – are on a routine recon mission in the jungles of Vietnam. Suddenly they are ambushed by a clan of ninjas brandishing highly-advanced weaponry and led by a mysterious red kimonoed, golden-masked ninja (Antony Cinturino). Hunter and his team put up a valiant fight but end up scattered in different directions in the jungles near the Laotian border. Snow White doesn’t survive the ninjas’ surprise attack and Hopkins, injured and bleeding during the fracas, finds himself chased by velociraptors. Hopkins is certain he will die until Kowalsky appears out of the foliage in a fight to the death with the carnivorous dinosaurs. Bravely Hunter engages the the troops of brutal North Vietnamese general Yinn (Thyra Hann Phonephet) in a desperate one-man guerilla war. Outnumbered and outgunned John is taken POW by the general’s armed forces. Seeing Hunter’s natural affinity for martial arts Yinn decides to instruct John in the ways of shinobi. Yinn had one pupil before but that pupil was seduced by “the darkside.” According to Sensei Yinn, “there can be only one… Commando Ninja!”
1986. In their Los Angeles suburb home John’s ex-wife Lori (Cécile Fargues) is brutally slain by a clan of black clad ninjas while his daughter Jenny (Anaëlle Rincent, as Anna Rincent) plays Operation Wolf on her beloved NES console. Little Jenny puts up a brave fight against the ninjas swarming the house but is eventually taken captive. After his brush with The Red Ninja in Vietnam John has retired to a peaceful life in the Canadian woodlands. Hopkins, now decked out with a bionic arm and a comfortable deskjob, comes to recruit Hunter to help him take down Russian armsdealer Oleg Kinsky (Olivier Dobremel). Hunter politely declines but is forced to take up arms once again when he learns that Kinsky is behind Jenny’s kidnapping. He travels to the Central American republic of Val Verde where he singlehandedly slaughters The Colonel Kinsky’s entire private army. Kinsky is building a battalion of cyborg super-soldiers for which Kowalsky served as the prototype. The way Kinsky sees it Hunter has two choices: join his New World Order or perish. Jenny, precocious as ever, kills The Colonel Kinsky with a handgrenade, but she disappears in an electric storm with Kowalsky never to be seen again. Once more Hunter faces The Red Ninja. After a protracted confrontation wherein The Red Ninja ends up impaled on his katana John learns that The Red Ninja was in fact his ex-wife Lori. With her dying breath Lori sends John to the far future of 1998 (a staggering 12 years ahead from where he is now!) where Jenny is being kept…
1998. In the burned out arid wastelands of what used to be civilization John continues his quest to find his precious little Jenny. His first thought? “The Democrats must’ve taken over.” After getting his bearings Hunter is beset by a group of dangerous mutants. After killing their leader (Frederic Carriere, as Fred Stark) and his second-in-command (Ludwig Oblin) John finds himself at the mercy of a behemoth pig-like ogre (Baptiste Lecas) he can’t possibly defeat. From a distant hilltop a silhouette slays the ogre with a minigun. Collecting his wits Hunter is approached by a leggy, firm-bosomed Amazonesque archer in white overknee socks, fishnets, and the smallest denim booty shorts known to man. The bow-and-arrow babe introduces herself as Jenny Hunter (Charlotte Poncin), John’s nubile daughter of the future. Father and daughter are reunited at long last. Before long Hopkins reappears from an electric storm in a black 1977 Pontiac Firebird Trans Am. Jenny confides in John that the only way to bring Lori back and restore his own timeline is stopping the powermad The Colonel Kinsky in this time. Just as they’re about to embark on their trek the group is understandably disoriented when they find themselves in a side-scrolling Golden Axe (1989) styled 16-bit video game devised by The Colonel Kinsky. There’s only one question now: do John, Jenny, Hopkins, and Kowalsky have enough firepower to take down the dictator?
Commando Ninja is an absolute treasure trove of nods, winks, and references to eighties popular culture and action cinema. It’s 70 minutes of everything so lovingly observed, catalogued, and analyzed in The Ruthless Guide to 80s Action from popular satire site Ruthless Reviews. The Vietnam opening gambit is something out of a Cirio H. Santiago or Chalong Pakdeevijit action movie while the flashbacks largely borrow from the Jean-Claude Van Damme martial arts classics Bloodsport (1988) and Kickboxer (1989). The Vietnam opening chapter comes with a strong The Expendables (1988) vibe. The main plot obviously follows Schwarzenegger’s Commando (1985) and Stallone’s Rambo: First Blood Part II (1985) with a dosage of The Terminator (1984) and Predator (1987) thrown in for good measure. The kills, often as gory as they are funny, during the Commando (1985) mass slaughter segment frequently border on early Peter Jackson territory, particularly his Bad Taste (1980). Extremities are severed, heads explode, guts pile, and blood sprays like fountains. The brief pool scene at Kinsky’s opulent mansion is all evidence one needs that Combes has seen the canon LETHAL Ladies from Hawaiian director Andy Sidaris, even though there are no French equivalents to Dona Speir, Hope Marie Carlton, and Cynthia Brimhall in congress. The evil red kimonoed ninja was a staple of Godfrey Ho cut-and-paste martial arts movies as well as the Cannon oeuvre.
The post-nuke 1996 closing act was obviously inspired by the likes of After the Fall of New York (1983), Exterminators Of the Year 3000 (1983), and Stryker (1983). Grown up Jenny in her sexy The Road Warrior (1981) attire is given an introduction the way leads were typically introduced in Argentinian, Roger Corman produced barbarian movies as Deathstalker (1983), Barbarian Queen (1985), and Amazons (1986). Liberally Combes sprinkles references and winks to Home Alone (1990), Die Hard (1988), Highlander (1986), Death Wish (1974), Star Wars (1977), Platoon (1986), Back to the Future (1985-1990), Knightrider (1982-1986), and (very briefly) even Stanley Kubrick’s 2001: A Space Oddyssey (1968). Judging by the splattery kills and his penchant for wanton dismemberment it’s entirely possible that Combes saw homebred splatter cult classics The Mad Mutilator (1983) and/or Devil Story (1985). That it concludes with an open ending is something straight out of Raw Force (1982) and the pastel-colored 80s fashion and big hair will give anybody flashbacks to Miami Connection (1987). Suffice to say, Commando Ninja matches both in terms of sheer brazen insanity. There’s enough big hair, bold make-up, velour, spandex and lycra, neon-colored leggings, stirrup-pants, leotards and bodysuits with legwarmers and headbands in the prerequisite fitness/aerobic montage to satiate anybody’s craving. Whether Commando Ninja will herald an 80s fashion revival is another matter entirely, but it's right on the money.
Of the largely amateur cast Eric Carlesi is probably the better known as for his work as cosplayer The French Wolverine. Cécile Fargues and Thyra Hann Phonephet have had some minor acting experience in small regional productions. Like Combes, Charlotte Poncin not only acts and models but is a filmmaker herself. Olivier Dobremel is a well known writer of comic books. Make-up artists Mzelle Bulle and Joana Boulay appear to have been doing various television productions. Among the extras pool babes Emilie Bedart, Océane Husson, and Stella Reig all are local models or beauty pageants. The synth-rock score from Thomas Cappeau is full of fretless bass guitar licks, electric guitar and even some sultry saxophone. During the first half hour to 40 minutes the score resembles the scores of bigger budgeted Arnold Schwarzenneger productions of the day while changing to the more hokey synth scores prevalent in Italian, Filipino, and Thai action movies of the day. Commando Ninja is clearly an intense labor of love from someone who loves the eighties, especially American and international trash cinema, dearly in all its different aspects. The deeper one goes in Commando Ninja the more the filmstock becomes more rough and has a greater amount of (artificially added) “scratches”, grains, and even the occassional overexposure. The dubbing is intentionally hilarious as a tribute to Italian, Filipino, and Thai action movies of the 80s that were known for their less than optimal and often quickie dubbing jobs. Commando Ninja is more than a simple tribute to Combes' favorites from eighties action cinema, it’s an utterly endearing and heartfelt valentine from a bunch of guys and girls who clearly went beyond mere adulation and shot their own epic.
Commando Ninja is the action movie we all wanted to make when we were 15 year old. It has everything a person could possibly want out of an action movie: commandos, ninjas, dinosaurs, swordplay, explosive shoot-outs, martial arts, and even the occassional pair of jiggling boobs. Combes’ directorial debut bounces in so many directions at once yet never becomes incoherent or hard to follow. Commando Ninja is probably better written than the very movies it was inspired by. A sequel is bound to happen and Commando Ninja 2: The Wastelands has been making the rounds as a potential working title. As a filmmaker Benjamin Combes shows extraordinary versatility in all three of the movie’s segments. We’d love to see what Combes could come up with for a Raiders of the Lost Ark (1981) action-adventure like The Hunters Of the Golden Cobra (1982), The Ark Of the Sun God (1984), and Treasure of the Moon Goddess (1987); a LETHAL Ladies spy-action romp like Hard Ticket to Hawaii (1987), a topless kickboxing movie like Naked Fist (1981), an urban action movie like Silk (1986), a goofy science-fiction yarn like StarCrash (1979) and Galaxina (1980), a post-nuke actioner like Raiders Of Atlantis (1983), or even an Italian or Spanish zombie potboiler like Burial Ground – The Nights Of Terror (1981) or Oasis Of the Zombies (1982).
In short, we’re excited about whatever Ben Combes does next. Whether it’s the expected (and anxiously anticipated) Commando Ninja sequel or a brand new genre piece. Commando Ninja is so good that it transcends its budgetary limitations and makes you wish half of what is churned out of supposedly professional production - and distribution companies The Asylum, TomCat Films and Kings Of Horror possessed even a fraction of innate talent that Combes showcases here. Mercenaries (2014) was a good enough exercise but it never quite captured the zeitgeist as Combes does with his own feature. Commando Ninja possesses a kinetic mad energy and has the kind of gusto and enthusiasm that few can muster. Anybody calling themselves a fan of 80s action, or 80s popular culture in general, can’t go wrong with Commando Ninja. Well done, monsieur Combes.
