With this last item, a question might be being asked: Manson’s leer makes you wonder how one creative community in hippy California produced him, while another in the far more brutal surroundings of Detroit did not succumb to that well-documented end-of-days anger. Hungry for Death gives us a glimpse of Detroit’s psychotic mood at the end of the sixties, a mood we can see was influenced by (amongst others) Betty Page, John Sinclair, MC5, Famous Monsters of Film Land, Mexican pop Catholicism, black power incitements, Sun Ra, Vincent Prince movies, trips to Ann Arbor, ‘sploitation of blax of women of soul, kitch percussion, fake blood and the Charlie Manson edition of Life magazine.

But still the sound they make hits you, recreated by clash of material on display. Here in Bethnal Green, the band’s music only plays in fits and starts its CDs lie in cellophane under glass.

I haven’t heard The House of Terror, but I imagine spending a night with Destroy All Monsters might be more terrifying. Above Hammer Horror images, a slogan announces ‘we dare you to spend a night’ listening to the record’s ghoulish sounds, songs and stories.

The sleeve of an old LP called The House of Terror is pinned to one of the walls in the Space’s exhibition of artwork and ephemera which influenced or was produced by the band Destroy All Monsters.

Instal Monsters of Mican