Interview: Ian Glasper (Hardcore Horror, A Country Fit For Heroes, The Scene That Would Not Die…)

We sat down with legendary punk historian and author Ian Glasper, contributor to Earth Island Books’ Hardcore Horror anthology and writer behind definitive UK scene bibles like A Country Fit For Heroes and The Scene That Would Not Die…. In this interview, we explore his jump into dark fiction, his core inspirations, key themes, creative process, and how decades deep in the underground punk movement feed directly into horror storytelling.

Order Hardcore Horror HERE
Order Ian Glasper’s books HERE

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How did you first get into horror? Do you remember the very first horror book or movie that truly terrified you?

I’ve been fascinated by horror from an early age. My mum and dad were always very good at letting me follow my interests, and I remember them letting me get up to watch ‘The Beast Must Die’ with them on TV (we didn’t have a video recorder back then), a werewolf whodunnit film, haha! I would have been ten years old, I think? I used to cycle to a bookshop in Malvern at weekends (10 mile round trip over a steep hill, so I was nothing but dedicated), where I would buy the new garishly-covered horror books out that week for about 85p each.

Over the years, which horror authors, directors, or artists have had the most tremendous impact on your creative sensibilities?

The first horror authors that really grabbed my attention were James Herbert, Guy N. Smith and Shaun Hutson, but I soon developed a deep love for Stephen King, H.P. Lovecraft and Graham Masterton. As far as directors go, John Carpenter was a big one for me… The Thing, Halloween, Christine and The Fog are some of my favourite films of all time. I liked the art of Les Edwards, who illustrated a lot of those pulp books I loved in my teens.

Hardcore Horror brings together voices from the punk, hardcore, and alt-rock communities. What do you think is the connective tissue between the underground music scene and the horror genre?

It’s that non-conformist underdog thing mixed with a love of intense, visceral thrills, isn’t it? No rules.

Turning to your specific contribution to this Earth Island Books anthology, where did the initial spark or inspiration for your story come from?

It sounds a bit wacky, I know, but it all came to me in a dream… well, nightmare… that I had whilst holidaying on the north Welsh coast. I woke up in a sweat having just dreamt I melted through the bars into a big cat enclosure at a zoo. It was really vivid, and so intense I had to write it down to get it out of my head.

Without giving away any major spoilers, what are the core themes or underlying fears you wanted to explore in this piece?

The core theme is man’s inhumanity to animals, I think, but there’s a lot of dark shit I exorcised in that short piece, haha! I think people will realise it was written by a vegan once they’ve read it anyway. 

How did your story evolve from the first draft to the final version, and what was the experience like working on it?

I wrote it in one or two sittings, and then tweaked it up after leaving it stand for a few weeks and then returning to it. I loved writing it, because I love short horror fiction so much, and was thrilled to be doing my own… but also because I’d had a fairly original idea to work with. I’d love to write more, but it depends upon me having a similar epiphany in the middle of the night, as whenever I consciously sit down to come up with something, I end up scrapping it.

What was the most challenging aspect of writing this particular story? Was it nailing the ending, writing a specific terrifying scene, or something else entirely?

I wanted to capture a feeling of dread and hopelessness, whilst keeping it grounded in a grim reality. That was a fine tightrope to walk. I also wanted to keep it as concise as possible, so it was a short, sharp shock, so deliberately didn’t overwrite it.

When it comes to your writing process, how do you approach crafting a short horror story? Are you a detailed outliner, or do you let the narrative unfold organically?

I just let it flow out of me, to be honest. I had no notes. I wouldn’t know where to start, to be honest. This was a very different approach to the non-fiction musical histories I normally write – I do have to compile outline notes and band lists etc. for those, just to keep track of the hundreds of bands I’m in contact with at any one time.

Horror relies heavily on pacing and atmosphere. What techniques do you use to build tension and a sense of dread on the page?

I tried to draw on some of the stuff that’s worked when I’ve read it over the years. I was writing in the first person, so essentially the character is me, and I tried to really get in that headspace.

How do you approach character development in a short format, ensuring that the reader cares about the protagonist before the horrific elements take over?

I cheated by only having one character, haha, and just tried to make the emotional responses honest and believable so readers will hopefully empathise.

Horror as a genre is incredibly vast and constantly evolving. What are your thoughts on the current state of horror literature and cinema?

My finger isn’t really on the pulse, but I still read three or four books a month and watch a film or two a week. I think my favourite author at the moment is Ronald Malfi… his books please me pretty consistently anyway. There seems to be some great stuff out though. My film tastes have changed a bit, and I’m not so excited by out and out gore like the Terrifier films these days… I prefer something a bit more atmospheric. I’m looking forward to Werwulf by Robert Eggers!

If you had to recommend one essential horror book and one essential horror movie, what would they be?

When push comes to shove, I think my favourite horror film is ‘The Exorcist’, and I love those early Graham Masterton books, so I’d probably say something like ‘Charnel House’ or ‘The Manitou’ or ‘The Devils of D-Day’. It’s a shame he went so off the boil in recent years.

What is next for you? Are there any upcoming books, projects, or other creative endeavors we should keep on our radar?

I’m working on Volume Two of ‘A Country Fit for Heroes: DIY Punk in the Eighties’, which I hope to finish in time for a spring 2027 publication.

Finally, what is the one wavering thought or feeling you hope readers take away after finishing your story in the anthology?

“You know what, I think I’m going vegetarian…”