Throwback Thursday Thrillers- Weeping Angels


The Mausoleum Scriptures’ Throwback Thursday special, written by a tiny ten year old Tyler Turner. Inspired by the weeping angels of Doctor Who and unedited (bar from the odd spelling correction) since it was written circa 2007. 

(Below – the original, unedited framed print with terrible spelling mistakes and misused words.)

12584170_555388204625233_33955982_nWretched souls trapped in bloodless stone.

Empty as a cold, lifeless room.

Emotionless eyes, stiff and still.

Paralysed by none blinking eyes.

Immortal since the dawn of time.

Noticed from every angle.

Gruesome things their powers do.

Absorbing people to the past.

Noiseless, but are heard loud and clear.

Grimy teeth, jagged and fierce.

Elegant, but deadly and scornful.

Lanky robes upon the colour-drained stone.

Sinister as your nightmare creatures.

By Tyler Turner

(Featured image taken from

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Originally written for an English Language AS Level piece, this is the most recently updated version of Tyler Turner’s original short story ‘Pray-Ground‘.

Shane, shrouded in trepidation, drank in the scene around him with reluctant awe. A sea of pews stretched out before his eyes, supporting masses of hollowed out human corpses all praying to a God that could no longer save them.


Proceeding the dawning of the apocalypse, the world had morphed into one titanic battle ground. Humans, now in their minority, had resorted to primitive methods of survival. Men who were once valued by society now scavenged the streets like rodents, and children were mothered by squalor and disease. For many, crime was the new deity; something they turned to in times of doubt and despair.

People were disappearing in their dozens. The authorities didn’t act on the reports as they saw it as fewer…

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Electric Century ‘For the Night to Control’ – ALBUM REVIEW

For those of you who picked up your weekly copy of Kerrang! magazine and immediately cast aside the free Electric Century album ‘For the Night to Control’; go find it and put it on, now!

Formed in New Jersey 2014, Electric Century is an electronic-rock duo comprising of David Debiak and ex-My Chemical Romance bassist Mikey Way. Their album hit shops in the form of a free give away in Kerrang! magazine this month (March 2016). Considering that the last time we got a taste of Electric Century was almost a year ago in April 2015 when they released their self-titled EP in celebration of Record Store Day, the album has been a long time coming, but it couldn’t have come at a better time. Mikey Way is happy, healthy, and is in a better state of mind than he was three years ago. Having made it through rehab in a triumphant battle against addiction is an incredible achievement in itself, and Electric Century’s debut album has proven to be well worth the wait.

For the Night to Control’ opens with a short snippet of distorted audio before blasting into action with the bass dominant ‘You Got it All Wrong’. Debiak’s smooth vocals quickly kick in, riding the waves of synths and creating a sleek, futuristic sound. Their sound is so new and modern that it feels as if it has been wrapped in cellophane that slowly begins to peel away as you listen. Could it be a metaphor for new beginnings, perhaps?

The techno theme persists throughout the following tracks, but the sound crosses over into darker territory with the album’s phenomenal fourth track, ‘I Lied’. Having premièred in February 2014, the track has been hanging teasingly over fans for two years, baiting them to wait out the arrival of more music. While still as upbeat and as slick as the surrounding tracks, ‘I Lied’ emits a sense of melancholia that, considering the events that followed its initial release, you can’t help but read into. Lyrics such as ‘I can’t remember life without the pain’ are the kind that you automatically analyse given hindsight.

Similar themes are explored with some of the following tracks, such as the nostalgia coated ‘Let You Get Away’.  The repetition in the chorus with ‘wish there was…’ coupled with the urgency of the backing instrumentation creates the sense of a desperate longing to return to the past and do things differently. Almost countering this feeling is the track ‘Someone Like You’ which, although dealing with a similar subject matter, looks more towards the future. The decision to incorporate female vocals was definitely a smart move; the pristine feminine tones entwine perfectly with Debiak’s during the duets, and they complement each other nicely in the conversational-style verses.

Live When We Die’ was chosen as the closing track, and again, it has proven to be a brilliant choice. Granted, it takes a little time to warm up – the opening verse is sweet but slow in comparison with the rest of the album– but the chorus heats things up with a sudden burst of euphoric backing-music paired with uplifting vocals. As the song nears its close, the momentous instrumentation parts to reveal the gentle melancholic twinkling of guitar strings, whose beautiful simplicity issues an aura of contentedness and serves as a perfect outro for ‘For the Night to Control’ as a whole.

Electric Century have really impressed with their long anticipated debut album. Let’s hope we don’t have to wait quite as long for newer material!

For the Night to Control’ is available now via Kerrang! Magazine.


Explore the Presentation of Parental love in Morning Song by Sylvia Plath and Timer by Tony Harrison.

One of the few essays to have survived since my days in A Level English Literature. I hope to find/do some more of these soon because it’s easy to forget how enjoyable they are when you’re used to writing them in a stressful environment. 

Both Morning Song and Timer are confessional poems. One is addressed to a new born baby and the other to a recently deceased parent; showing that the speakers were not expecting a response from them and could speak freely and in a confessional way, without romanticising the themes of motherhood and death.

A reference to the noun ‘gold’ is made in both the poems, which has connotations of preciousness. In Morning Song it is used metaphorically in the phrase ‘a fat gold watch’ which implies that the mother is excited for the arrival of her baby, as the ‘watch’ is symbolic of time and waiting. In Timer, ‘gold’ is used to reference his mother’s wedding ring in the line ‘gold survives the fire that’s hot enough.’ The verb ‘survives’ personifies the object, creating a sense of strength that could be symbolic of their mother/son relationship or even the strength of his parents’ marriage.

Both poems reference the idea of nudity and baldness, which strips down the mother/child relationship to its most basic form. For example, in Timer Harrison mentions an ‘envelope of course official buff’ which is a colloquial way of referring to governmental documents concerning his mother’s death, but it could be ambiguous and refer to nudity as ‘buff’ is a colloquialism for that also. This could show that their relationship has been laid bare once again and has returned back to its original state, like it was when the speaker was first born as death is considered the ultimate leveller. In Morning Song, Plath uses synaesthesia with the phrase ‘bald cry’ which could be a way of saying that the cry is something new, something raw and naked like the baby itself. It could also reference their relationship and how it is so far blank and bare, something to be established and filled in.

Maternal imagery is created in the two pieces with reference to clothing and feminine features. In Timer the speaker creates maternal imagery by listing his mother’s clothing, ‘a cardy, apron, pants, bra, dress-’. The noun ‘cardy’ is a colloquialism, and is a feminine word choice which suggests that the speaker may have acquired that word through listening to his mother speak. This creates a comforting image of familiarity, whereas Plath uses the same technique for a different effect. The term ‘Victorian nightgown’ creates the image of a woman cloaked head to toe. It is a nonsexual image and is used to represent change (rather than familiarity) as she adapts to motherhood.

The idea of distance and disconnection is present in both poems. In Timer, the number ‘6-8-8-3-1’ is used to reference his dead mother, making it seem as though that in death she has been stripped of her identity and that his connection with her is lost. It is the opposite in Morning Song as the speaker is yet to establish a connection with her child. The line ‘I’m no more your mother than the cloud that distils a mirror’. The nouns ‘cloud’ and ‘wind’ (featured in the next stanza) create a semantic field of weather. The weather Plath chooses to focus on has negative connotation and is perhaps used to reflect her initial attitude towards her child.

In terms of graphology, Morning Song is structured in such a way that makes the lines look like the in-out breathing pattern of a baby. This could have been done to show the mother’s attention to her child, which links to the idea presented in stanza four with the line ‘a far sea moves in my ear’. This metaphor is used to symbolise the rhythmic breathing, and indicates a new interest in the baby on the mother’s part. In Timer the structure changes on the third stanza and becomes more disjointed and broken up, which could have been done to reflect the speaker’s emotions concerning his mother’s death. The single line ‘it’s on my warm palm now, your burnished ring!’ could have been placed on its own to symbolise that (like the line itself) the speaker now stands alone. The adjective ‘warm’ is used to contrast the idea of death as it shows that the speaker is very much alive. The exclamative creates the impression of excitement as the speaker realises that a piece of his mother has survived, and he is dependent on it as he is perhaps not ready to stand completely alone.

Both Morning Song and Timer present parental love but from different perspectives. Morning Song shows a mother welcoming her child into the world and establishing a connection whereas Timer shows a son wishing his mother goodbye and losing the connection. Despite this contrast, we see similar representations of motherhood, preciousness and adjusting to new situations throughout the two pieces.

Gig Day

It has finally happened. The day I thought would never come has finally arrived. Today I have reached a significant milestone in my life which proves that at my nineteen years of age, I am finally getting – or am at least feeling – old…

This is the first time I will be arriving at a concert at a reasonably acceptable time.

Apart from on the odd occasion where  I’ve had to endure six excruciating hours of school before a gig, feeling as though I was missing out on the most exciting part of the day, I have always arrived at the venues a good eight hours or more before doors open.

I’ve powered through rain, sleet and snow while wearing nothing but corset dresses and fishnets – with the extent of my teenage rebellion being to not take a coat – with my heavily applied make-up streaking my face before I had even set foot in the sweaty venue, all in the name of live music. People have often pointed out how insane I am, but honestly, making a day out of seeing your favourite band is one of the coolest things to do.

I have met plenty of like-minded people during my time, friends whom I never would have met had it not have been for music. I’ve even been lucky enough to meet members of most of my favourite bands in chilled environments before the hoards arrived or the music started thumping, eliminating all hope of a decent conversation. Methods of passing the time included howling at the doorway, singing acapella in the street and helping each other top up on talcum powder. We’d hold feasts of McDonald’s and chocolate digestives on the pavements and binge drink cans or Rockstar or Relentless, feeling hella bad ass. There was even something oddly satisfying about sneaking past the staff in Starbucks just to use their toilet without buying anything. Although these activities will undoubtedly sound tedious to some, they’re what got us through eight long hours and still left us with enough energy to party.


(Below) Tallying how many dirty looks we got from passing vehicles outside Nottingham’s Rock City whilst waiting for Black Veil Brides in our war paint. 299588_2015044223561_1031097728_n

I’ll admit, the thought of waiting so long before a gig nowadays doesn’t appeal to me quite as much as it did when I was fourteen, but I am extremely sad that this is the case. The simplicity of sitting around with a few good friends and making a few more in the process is the thing I miss most as I write this from the comfort of my warm dry house.

I can’t say that this new found maturity will definitely be upheld in the future – old habits die hard I guess – but right now, as I listen to the hail thumping against my window, I think that perhaps it’s okay to let go of a little crazy every once in a while.