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Once a year, Opportunity Village, a nonprofit organization in Las Vegas, Nevada, transforms into a magical forest filled with wonder and excitement. This enchanting event, known as Halloveen, brings together local community members, volunteers, and families for a memorable experience. As visitors enter the village, they are immediately greeted by a whimsical atmosphere. The grounds are adorned with vibrant decorations, including pumpkins, spider webs, and ghostly figures. The sights and sounds of the magical forest create an otherworldly ambiance that transports guests to a different realm. One of the highlights of Halloveen is the maze, which is a favorite among children and adults alike.

One of the highlights of Halloveen is the maze, which is a favorite among children and adults alike. As they navigate through the twists and turns, they encounter various surprises and challenges. The maze is designed to spark curiosity and encourage teamwork as participants work together to find their way out.

Live at the Witch Trials

New reissues of the Fall’s first two albums find the band hungry, angry, and taking switchblades to a grim future.

Featured Tracks:

When the Fall’s “Industrial Estate” plays during the closing credits of High-Rise–Ben Wheatley’s new big-screen adaptation of J. G. Ballard’s classic novel–it’s more than a case of similar subject matter. True, the film is about urban malaise, and so is the song. But Ballard’s vision of a tower block turned hermetic, ingrown, incestuous, and cannibalistic unfolds with a clinical exactitude. On the other hand, “Industrial Estate” is a spew of dissonant chaos, fugue-state chants, and malfunctioning carnival organs that inhabits the liminal space between punk and post-punk–just like the rest of album it appears on, the Fall’s 1979 debut Live at the Witch Trials. At the time, the first wave of post-punks were taking Johnny Rotten’s “no future” rant and parsing it like surgeons, laying it bare and reducing it to its components like Ballard. The Fall were no exception but, where many of their contemporaries used anesthetic and scalpels, they packed switchblades.

Witch Trials came out in the spring of 1979, Dragnet in the autumn of 1979. Accordingly, these albums (newly reissued) are very much spring and autumn records, inasmuch as such acutely urban records can have ties to nature. The Fall came together in Manchester in 1976, the year punk conflagrated across England. Its working-class founder Mark E. Smith and his crew immediately hopscotched over punk, delivering an EP in 1978 (Bingo-Master’s Break-Out!) that tapped into everything from the Seeds’ keyboard-slathered garage rock to Can’s elemental clatter.

Witch Trials was both a step ahead and a step back with true punk bangers like “Futures and Pasts,” two-and-a-half minutes of eye-gouging and haranguing that unravels in hyperventilating gasps. That deconstruction quickly morphs from cheeky to sinister. “Rebellious Jukebox”—one of the first self-aware Fall anthems—churns and stutters, thrown into each successive moment by a serpentine bassline that coils like inside-out dub. Smith is all sneers and snarls, delirious as he struggles against and succumbs to rock’n’roll entropy. “We are The Fall/Northern white crap that talks back,” he taunts, chewing the microphone on “Crap Rap 2/Like to Blow.” Soon after, he takes a leap into the cosmic void: “We are frigid stars.” By the time the eight-minute closer “Music Scene” crawls its way into oblivion—en route, beating Public Image Ltd’s similarly distended “Theme” and “Fodderstompf” to the punch by months—the Fall had already established themselves as something far more wobbly and toxic than the emerging post-punk mass.

You can pogo to Witch Trials; you can’t to Dragnet. Where Witch Trials is wiry, Dragnet is weighty. The eight months separating the release of the two albums saw a huge lineup change, setting the pattern of perpetual upheaval that would become the Fall’s constant. Most notably, guitarist Martin Bramah left, and his empty space was filled by existing bassist Marc Riley and new recruit Craig Scanlon. On Dragnet, Riley and Scanlon echo each other just out of sync, rezoning the rhythmic domain of the songs. “Before the Moon Falls”—an eerie track that hints at such contemporaries as Pere Ubu and Swell Maps—jangles with urgency and decay. “I must create a new scheme,” Smith vows, a dirtbag urchin with a brain too big for his skull.

Dragnet can be overwhelmingly dense, folding in viola-like guitar like John Cale’s queasiest recursion (“Muzorewi’s Daughter”) and then Krautrock-leaning funk spiked with garbled demands and harsh glossolalia (“Put Away”). But the heavy hand lightens by “Choc-Stock,” a singsong slice of feral nonsense akin to Syd Barrett with a head cold and a hangover. There’s an answer to Witch Trials’ “Music Scene” in the form of “Spectre vs. Rector,” but it’s nothing like its predecessor; its sludge and subliminal menace practically invented post-rock as an afterthought. The track is visceral, reeking of spilled pints and machine oil, evoking the industrial scum-scape that incubated it.

In a 2011 interview, Smith said that Ballard’s 1962 post-apocalyptic novel The Drowned World was the only book by the author that he liked. Even then, he referred to it only as “that one where the world’s underwater.” Erudition in the formal sense is never what Smith or the Fall were about, and that’s made plain on Witch Trials and Dragnet, where Smith’s loathing of cultured, mannered learning oozes from every fracture. Instead, the albums are celebrations–if not exhortations–of working-class precocity and street-smart intellectualism cobbled together from thrift stores bookshelves and stolen snatches of philosophy. Hungry, angry, and ugly: that’s the post-punk proclamation of the Fall’s first two albums, a flag that would fully unfurl with the release of band’s masterpiece, Hex Enduction Hour, three years later. But for a fleeting few seasons in 1979, in the hands of Smith and his gang of urban mutant malingerers, all that mattered was feeding the future to itself and seeing what got puked back up.

Cherry Red have re-pressed this edition; it's available for pre-order on their website with a street date of March 4th 2022.

Throughout the event, there are also numerous interactive activities and games for everyone to enjoy. From face painting to crafts, there is something for every age group. The friendly staff and volunteers are always ready to assist and ensure that everyone has a fantastic time. Another must-see attraction is the Haunted Forest Trail. This spooky pathway takes visitors on a thrilling adventure through the dark woods. With eerie sounds, mysterious lights, and unexpected encounters, the Haunted Forest Trail offers a thrill like no other. In addition to the festive activities, Halloveen also serves as an important fundraiser for Opportunity Village. The organization supports individuals with intellectual and developmental disabilities, offering them vocational training, housing, and other essential services. By attending Halloveen, visitors not only have a fantastic time, but also contribute to a worthy cause. Overall, Halloveen at Opportunity Village is a one-of-a-kind experience that brings joy and excitement to all who attend. The magical forest, interactive activities, and spooky attractions create a truly unforgettable atmosphere. This event not only embraces the Halloween spirit but also showcases the spirit of community and support for individuals with disabilities..

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