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The Fisch Bowl Podcast had the pleasure of attending Pittsburgh's 2026 Horror Realm Convention, and interview many actors and filmmakers behind the scenes of your favorite horror and sci-fi films! Today's episode is with actress Christine Elise, known from Child's Play 2 and Bodysnatchers, and Eduardo Sanchez, co-director and writer of The Blair Witch Project.

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The Fisch Bowl Podcast had the pleasure of attending Pittsburgh's 2026 Horror Realm Convention, and interview many actors and filmmakers behind the scenes of your favorite horror and sci-fi films! Today's episode is with actor Andrew Divoff from Wishmaster and Another 48 Hours, and actress Caroline Williams known from The Texas Chainsaw Massacre Part 2 and Leprechaun 3.

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Dive into this episode of the Fisch Bowl with Robert Kurtzman and Marcy King, where we discuss their upcoming film, Marshmallow, as well as their use of practical effects, movie adaptations, and experiences on the sets of other projects.

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On his third interview with the Fisch Bowl, actor Patrick Kilpatrick talks about his experiences in the acting world in films like Last Man Standing, working alongside household names like Christopher Walken and Bruce Willis, and his upcoming film currently in the production stage, Dying For Living.

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Dive into part two of our casual conversation with Jack Horner from The Dirt, where we discuss the underground music world up against the mainstream, as well notable bands in the scene, film scores, and the effect word of mouth has on art.

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Ever hear a lyric that flips on the light in a dark room? Jack Horner of the UK psychedelic duo The Dirt joins us to unpack Monkey Punch, a live-wire album tracked in just two days that insists albums should feel like stories, not shuffled singles. We dive into the line that’s still ringing in our heads—“Protons neutrons controlled by morons”—and use it as a compass for a bigger conversation about unity over division, resisting performative outrage, and building spaces where disagreement can breathe without turning toxic.

Jack pulls back the curtain on process: recording live without a drummer, trusting first takes, and partnering with producer Jason Shaw to preserve grit, air, and momentum. We talk about why some songs need six and a half minutes, why vinyl’s 42-minute canvas still shapes better narratives, and how algorithmic skimming flattens meaning. If you’ve ever missed the feeling of flipping a record, this one’s for you.

Culture threads through every riff. We map the parallels between long-form music and slow cinema—think Blade Runner and the rare sequel that dared to stretch time—arguing that patience isn’t a luxury, it’s a creative weapon. From social media’s shrinking attention spans to the resilience of underground scenes in the UK, US, and Japan, we make the case for art that outlasts the scroll. Monkey Punch is protest you can hum, a reminder that chaos can clarify when it’s channeled with care.

Hit play to hear how a minimalist setup carries maximal intent, why the underground still matters, and how storytelling structure can turn an album into a world. If this conversation moves you, follow the show, share it with a friend who loves long songs, and leave a quick review—your words help keep the signal strong.

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Ever hear a sitar slice through a wall of guitars and think, this belongs in a film? We went deep with Helicon’s John Paul Hughes to map how a Glasgow psych band turns orchestral tension into thunderous finales, why beauty lives inside noise, and how structure makes chaos hit harder on stage. From the Beatles’ psychedelic turn to Brian Jones’s restless curiosity, we explore the instruments, scenes, and accidents that shape Helicon’s sound.

John shares an exclusive: the band was invited to help recreate and expand music from Brian Jones’s lost 1967 soundtrack, transforming fragmentary cues into fully realized pieces—one razor-bright sitar theme, one wild harmonica burner, and one dirge-like organ work—planned for release on Jones’s birthday. We also talk shop about curfews, timing, and rehearsing the “improvised” parts until they breathe, so finales land before the lights snap on. The conversation spirals through film culture—love for scores, skepticism toward biopics—and a candid take on authenticity, legacy, and why making music for yourself is still the only compass that lasts.

Looking ahead, Helicon is building a new chapter with LA producer Al Lover, blending breakbeats, dub textures, and electronica into their sitar-and-guitar surge—a lineage closer to Primal Scream’s XTRMNTR than purist psych. Along the way we shout out key influences and peers, from Spacemen 3, Mogwai, and the Jesus and Mary Chain to modern torchbearers keeping the drone, dream, and feedback alive.

If cinematic psych, lost soundtracks, and the craft behind explosive live sets light you up, press play. Then tap follow, share it with a friend who loves bold guitar music, and leave a review telling us which psych record you’d want scored for the screen.

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Step into a smoky Glasgow rehearsal room and meet John Paul Hughes of Helicon, the psychedelic rock band turning influence into something fiercely their own. We go deep on craft, why permanence beats hype, and how to build songs that still feel new decades later. If you’ve ever argued that guitar music is alive and well, this is your proof.

We trace the DNA from The Velvet Underground, Pink Floyd, and Led Zeppelin to Ride, My Bloody Valentine, and The Jesus and Mary Chain, then follow the sound into today’s shoegaze, dream pop, doom, and stoner rock. John Paul breaks down what “psychedelic” really means—less pedal worship, more form-breaking and emotion-driven architecture. Along the way, we celebrate a global map of scenes across the UK, Europe, Australia, and even Cambodia, showing how far this music travels and why it keeps finding new ears.

The conversation lands squarely on the realities of making art now: streaming platforms that make uploading easy and discovery hard, attention spans stretched thin by short-form feeds, and a film ecosystem locked on IP and remakes. We talk arts funding, practicing until the ideas click, and starting a band later in life with a clear sense of purpose. The core takeaway is simple: make the work for yourself first. Listeners can smell the difference between a song built for a trend and a song built to last.

If you care about shoegaze, psychedelic rock, indie craft, and the fight to be heard in a noisy world, you’ll feel at home here. Hit play, share it with a friend who says rock is dead, and leave a review to help more curious listeners find the show.

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