There's no one quite like Rob Zombie.

The filmmaker and heavy metal musician has carved a place out for himself as one of the most exquisitely bizarre voices in the genre; his films combining cult-style gore fests with an outrageously dark sense of humour.

His latest, 31, promises to be no different. Taking place in 1976, a group of carnival workers are kidnapped and taken to a building inhabited by sinister aristocrats, who force them to play a game entitled "31" , consisting of a series of maze-like rooms where they must defend themselves against murderous clowns.

Zombie's 31 will be arriving exclusively to Shudder, which is essentially Netflix for horror fans; boasting the largest online collection of horror movies and series, alongside curated lists from experts in the genre to help you make new discoveries and revisit old classics.

The filmmaker took Shudder on a tour of his own "horror basement", containing props from the Halloween series - of which he directed the 2007 remake; alongside props from some of his own films House of 1000 Corpses, The Devil's Rejects, Lords of Salem, and Werewolf Women of the SS.

Ahead of 31's premiere on the streaming service, Zombie's also put together a selection of his favourite films on Shudder to get horror fans started on their journey:

- Black Sabbath: "Mario Bava's stylish and terrifying trilogy, featuring my favourite story The Wurdalak starring Karloff as the blood sucking Gorca. Classic."

- The Curse of Frankenstein: "Hammer reinvents the wheel with this one. The first unmasking of Lee as the monster is a highly significant moment in horror history. Cushing rivals Colin Clive as the Doctor."

- Spider Baby: "An amazing and bizarre film. Witness the end of Lon Chaney Jr. and the beginning of Sid Haig. Another Jack Hill must see."

- The Devil's Rejects: "A who's who of cult legends running wild in post-modern western blood bath featuring Sid Haig. The most fun I ever had making a film.

- The Texas Chainsaw Massacre: "I saw it on a double bill with a Jimi Hendrix concert movie, which somehow made the evening even weirder. It fools you into thinking, oh, it’s this low budget raw movie, but the cinematography is phenomenal and that’s why it holds up. It’s shot really well, the performances are really good; there’s just something about it.