Knifepoint Horror - Podcast Rankings and reviews

This is the best horror podcast. Period. Soren’s narrative style and voice are smooth and soothing in direct contrast to the subject matter which is rich and thought provoking. These episodes often leave you with questions and tempt to you a second listen in which dark truths are drawn out. Topics span across all genres and from time to time, there are guest narrators. Some of these stories hit so effectively that when recalling them, you may believe you dreamed them. A macabre delight.

This is what a horror podcast should be like: No host ego, read beautifully, great musical/foley interjections, awesome stories. This is perfection.

I’ve been a quiet Knifepoint loyalist for 7 or 8 years, and I’ve always sung its praises to anyone that would listen. “There’s no ads, no intro, no set schedule. When it’s ready, you just get some guy saying ‘My name is…’ and then some of the best storytelling you’ve ever heard. It’s horror, or it’s not, but it’s powerful and always worth it” was my usual pitch. To think that Soren Narnia did that for us for so long (since 2010!) is remarkable. When the “Spectervision Radio” kicked in recently, followed by the ads on everything (I regularly go back and re-listen to old episodes, it’s on those too), I was instantly bummed, realizing that one of my favorite things about it was gone. But I get it. I never subscribed to his Patreon, I never thought about how he might need to make it, and I just kind always expected this guy to deliver groundbreaking material to me regularly and then to also just *exist* in this capitalist hellhole we’re all trapped in while I paid nothing. I just finished listening to the latest episode (deep) and it floored me as usual. I hate ads, I hate capitalism, but I love Knifepoint Horror and I get the need to make a living in this dumpster fire we have created. The ads bring my rating down from a billionty stars to still five stars. Knifepoint Horror for life.

I love anthology podcast like this, although one issue they have is inconsistency in quality of writing and, often, delivery. For example, the voice actor for the May 9 story, “deep,” has a nice voice, but his delivery included such a range of louder and softer intonations that I kept having to rewind to hear what was being said.
But I have a real peeve with actors who can’t be bothered to learn - or assume they know - correct pronunciation. “Kudzu” is “cud,” like a cow chewing its cud, then “zoo.” It most certainly is NOT“coo-dzoo.”
Given that kudzu was used extensively (20x?) in the story as a defining characteristic of the Deep South, could you not have checked the pronunciation? It really distracted from the story.
When you’re working in an audio format, delivery is pretty much everything.