The Horrorwolf666 Podcast
On the Horrorwolf666 podcast, I talk to horror lovers from the metal and heavy music community, as well as authors, actors, directors, and more. I also do a few spin-off series, including one on Stephen King, Seinfeld and The Devil’s Chord doom podcast.
The Horrorwolf666 Podcast
Horror scores with Dana Schechter (Insect Ark, Swans)
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On this special 100th episode of the podcast I talk horror scores with the great Dana Schechter of Insect Ark and Swans. We talk a bit about the new Insect Ark album and we talk a lot about our love of Mandy and other killer films and scores.
https://www.insectark.com/
https://younggodrecords.com/pages/swans
Synth Outro by Abraxas Horn
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Brandonlegion666@yahoo.com
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In this episode, this is my hundredth episode. I think it's more than fitting to have my guest today, which is Dana Schechter of Swans and Insect Dark. Um, we talk about our favorite horror soundtracks and uh just the movie soundtracks in general. We also go over uh a little bit of stuff about Insect Arc and uh, you know, that's a lot of horror movie talk. Yeah, I think this is a a great hundredth episode, and uh I really appreciate everybody that's been listening to me for this long. So thank you so much, and uh definitely appreciate it. 100 episodes, that's a lot, but uh definitely really cool. Happy to be doing this, and uh hopefully I can do another hundred, so that'd be great. I also wanted to let everybody know that uh November 26th, the new Abractus Horn album comes out, and that's featuring the great Mike Hill and Matt Prizzo. I'm really uh proud of this album, and uh I think it's one of the best things I've done musically, and I am super honored to have Matt and Mike on this uh journey with me. So uh keep an eye out for that. Like I said, uh November 26th, it will be coming out to Band Camp uh in CD format and also in digital. So uh yeah, definitely keep your eyes peeled for that one. But uh let's get to the plugs now. Um after you're done with this episode, make sure you check out my fellow horsemen of the podcast Apocalypse, Everything Went Black Podcast, into the Necrosphere, the Necromaniacs Podcast, Spitball Media, Eyeblitz Manifestations, and the Stolknox Podcast. Also, don't forget to check out the Horwolf 666 Podcast T public store. Um, got some cool designs up there, and I think as of right now, when this podcast comes out, there's like a another uh 30% sell going on. So uh definitely check that out. It helps out, helps fund the podcast and all my goodness. So and also don't forget to leave a five-star rating on whatever podcast service you use. That definitely helps out with uh people being able to find this podcast. So and it's much appreciated. But uh once again, I hope you enjoy this hundredth episode with the great Dana Scheckner.
SPEAKER_03Uh, where are you living?
SPEAKER_01Um, I'm in South Carolina.
SPEAKER_03Oh, yeah. How are things going there?
SPEAKER_01Uh it's interesting. Um, like we just got done with our second like near miss hurricane. Um, what was it, two weeks ago? And um, yeah, it's just been really wild weather. Uh now we finally have like really cool October weather going on. It's nice and cool and stuff, and I don't see any hurricanes on the horizon right now, so you can kind of chill a little bit. But uh yeah, it's interesting here.
SPEAKER_03Um yeah, that's that is not what you want or need in your life. That's for sure.
SPEAKER_01No, but man, I'm like trying to do all this like my creative stuff and like you know, get away from work. It's like, oh no, here comes a hurricane. We're gonna make you work like uh 16 hours over time, no days off for like two weeks, you know.
SPEAKER_03Man, yeah, well, yeah, it's good to uh move into autumn with as much calmness as possible because I don't know. I mean, I don't know what kind of weather you guys get, but out here winter is pretty bleak in Germany.
SPEAKER_01Um our winters here are pretty mild. Um, nothing crazy. Like the coldest that I get here is like maybe 32 degrees, sometimes 28. Like we rarely see like snow or anything like that. And uh they're expecting a a cool winter, I mean a warmer winter than usual, so yeah, and I I kind of enjoy the colder aspects of things.
SPEAKER_03I hate the fucking heat, so oh shit, you're in the Carolinas and you hate heat. I'm sorry.
SPEAKER_01Yes, and I'm also a long hair bearded person, so it does not help any, but it doesn't hurt either, like it's like natural uh sunscreen, I guess. Yeah, so but yeah, it's like a Yeti working out on a tropical like rainforest or something, like humidity sucks so bad.
SPEAKER_04Oh my god.
SPEAKER_01Yeah, wow awesome. Um, how many movies did you pick uh soundtrack wise uh that you wanted to talk about?
SPEAKER_03Um I picked out four, and um you know, I mean there's so many great films with great scores, but the four films that I picked out were um The Thing from 1982, Under the Skin from 2013, Antichrist from 2009, and Mandy from 2018.
SPEAKER_01Nice, yeah. We can like go into detail when uh we actually get rolling and stuff, but uh you already said Mandy there, and that's gonna be my number one, so I'm gonna tell you that right now.
SPEAKER_03Yeah, yeah, that's um God damn. That's kind of in some ways, though they're actually quite related. Um I mean you I think know more about this and this is really your field of expertise on this. Yeah, somewhat you know, I can tell you, you know, I can tell you some of the things that I find inspirational about those scores and what you know how I feel like it worked with the film too, because you know, I don't know if you know that I also do uh visual work.
SPEAKER_01Yes, I think I do know a little bit about that, yeah.
SPEAKER_03Yeah, so I I was a painter for years, but um I also do computer animation less these days just because I've been you know traveling for music a lot. But um so for me it's also really important how those things interact, and that's definitely a consideration in whether or not I think a score is successful, and if I think that, you know, if the score elevates the film and vice versa, actually.
SPEAKER_01Yeah, I I totally agree with that. If a a really cool visual movie like does all the other right things, but has a really horrible generic score, like it just takes me out in the film, you know. Like, and like you said, it's it goes both ways. You can have like a really awesome score and be a really horrible film, you know, and it it kind of adds a bit of a redeeming value to it with a decent score, but it's hard to bring back a shitty film, even if it does have a great score.
SPEAKER_03Totally, totally.
SPEAKER_01Also, um, too, like with your with the new uh Insect Dark album and stuff. I heard like total like Mandy vibes to it. I was like, is am I hearing this right? But it totally had that feel like it could exist in the Mandy universe, you know?
SPEAKER_03Mm-hmm. Yeah, it's funny because like I only have heard that score a few times, like in full, you know, and I've only seen the movie once, but I'm gonna watch it again, I think, very soon. But um, you know, actually like sitting down and really listening to it. Um so it's not like I definitely didn't intentionally set out for it to sound like like anything. I mean, Insect Dark has always been inspired by a sort of wide variety of sources.
SPEAKER_01So it definitely picks up on there, and I think that's a really good thing. I think that's what really like caught me to was like that I don't know, it's just like a real heavy, heavy dark tone to the album that really reminds me a lot of like Mandy and you know Johan Johannes, like his his work and stuff, you know, is like uh that really caught me. So it's like right now is like one of my favorite albums of the year, so I don't think nothing's really gonna beat it anytime soon.
SPEAKER_03So thank you so much for all that, yeah, all your support. It's really really means a lot. If you have any questions about about the music, I don't know if you just want to talk about the scores or if you want to talk about Insect Arc album or anything, but we can definitely chat about that too, if you want.
SPEAKER_01Yeah, I'm down to talk about all that. That's all anything's good to go, so that'd be cool.
SPEAKER_03Great. And by the way, um, I guess you're recording, but if if I totally flub something, you can pause it, right?
SPEAKER_01Yeah, yeah. Like if a cat goes crazy or something or an animal comes in a room or anything weird like that, I can pause it and edit it and stuff.
SPEAKER_03Okay, cool. Yeah, if I say something and I'm just like, wow, that came out just totally wrong. Does happen sometimes.
SPEAKER_01Oh, yeah, I do it all the time. Like I have to concentrate sometimes to get shit out, especially if um I'm going like a m you know a thousand miles a minute talking about a subject that I really love. I'm like, Did I just say that? I'm like, God damn it, let me mark that. I'm like, I gotta edit that shit out.
SPEAKER_02Yeah. Do you not swear in your podcasts?
SPEAKER_01Oh, I do. Anything goes on this. I yeah, I swear a lot.
SPEAKER_02Okay, that's cool.
SPEAKER_01Yeah, no rules. So all right, so uh I do like a five-second pause and then we get things going.
SPEAKER_02Sure.
SPEAKER_01All right. All right, Dana. Thanks so much for being on the podcast.
SPEAKER_03Hey Brandon, thanks, man.
SPEAKER_01Yeah, I've been uh looking forward to this for a while now, so uh it's finally cool to sit down and talk with you about uh like horror soundtracks and just uh the new Insect Art album and you know everything dark and heavy.
SPEAKER_03Well, I'm really I'm psyched to be here, and it's perfect timing because it's that sort of horror film time of year.
SPEAKER_01Oh, it definitely is, and um, I was talking about it earlier today, earlier um on this episode, but uh the weather's just right now, like it's getting cool and everything, and the heat is finally dissipating. Like this is my favorite time of the year, you know.
SPEAKER_04Nice.
SPEAKER_01Yeah.
SPEAKER_04Great.
SPEAKER_01Um, have you uh have you been watching anything like recently since it's uh the month of October now? Have you do you do like the 31 Days of Horror or anything like that? Or you try to watch more horror movies in October?
SPEAKER_03Um, no, not so much. Is that something that you do?
SPEAKER_01Well, I try to. It's it's hard to do the whole 31 days. Like um, I'm all like motivated when I'm at work to come home and you know, do this and do that. I'm gonna watch this horror movie. But uh what I usually do, I squeeze in like two or three like on a weekend or something, and uh try to make it add up to 31 days, you know. But I watch horror movies constantly all year long. But um like during October, I like to watch some of the classics like uh Silver Bullet, The Howling, um, you know, Brahm Stoker's Dracula, those type films.
SPEAKER_03Mm-hmm. Nice. Yeah, I would be interested to see your list, your playlist.
SPEAKER_01Yeah, I need to I need to post that actually. I think that'd be pretty cool.
SPEAKER_03Oh, yeah, I think a lot of people, because that's a curated list, you know.
SPEAKER_01Yeah, there's something also I do every Friday, as long as I don't forget or I have something going on, but most every Friday always uh post like uh a Friday night movie pick and uh try to pick something kind of obscure or whatever, you know, something most of you haven't seen. But uh the one I passed this last Friday that I posted or whatever was uh Halloween 2 by Rob Zalby, and that's a pretty hated film, but it's kind of grown on me over the years. It's still not one of my favorites or anything, but uh there's some cool things in that movie, you know.
SPEAKER_03Well, yeah, I would love to see your list. And I think what also could be really interesting, especially for people who are maybe overwhelmed by the genre, is to have stuff maybe um organized a little bit by style or by era or by kinds of scores, because you know, when you look at at the scores for horror films, there's such a variety, you know, there's people who were doing orchestrated stuff, or people who were doing a lot of synth stuff, people who were doing you know, uh really like classical stuff. And I think that as a as a style of music for people, there's a lot of people also who are into heavy music that might be really inspired to learn, like, oh wow, you know somebody that made these massive dark, you know, terrifying scores. Um that they could say, like, man, Brandon like just had to just add a couple couple tags and organize me, you know, a list of like 40 terrifying dark synth you know, horror movies or something.
SPEAKER_01Oh, that's a great idea. That's a really cool idea.
SPEAKER_03Yeah, for example, I mean I would uh I would be checking that list if you made something like that.
SPEAKER_01Yeah, uh where you just motivated me to do that because like that's my territory now. Like I even create dark synth music, and uh a lot of that was inspired by uh by the film Mandy, but um I the name of the project is a Braxis Horn, and it's all like really dark synth drenched, uh like stuff you would hear in a horror movie, you know? It's just like really creepy stuff, and uh yeah, that's like that and horror goes together so well. Metal and horror goes together, like really dark synth stuff and horror goes together really well. It's like it's a perfect combo.
SPEAKER_03Oh yeah. Well, let me ask you a question. Are you into John Carpenter?
SPEAKER_01Oh, hell yeah. He's the man.
SPEAKER_03I mean, that guy was, you know, because not everybody loves 80s synth music, you know. For some people, it's it's got like a palette of synth sounds that they associate with that era, and not everybody loves those sort of like kind of wet sounds that a lot of that stuff, you know, it sounds dated, but it also sounds, you know, it's amazing. But um I recognize that for some people, you know, they might want things to be really terrifying and really, you know, really dark. And some of his stuff wasn't really necessarily that dark sounding. It was had a lot of tension to it and it had a lot of layers, and you know, it felt very evocative, but it wasn't necessarily dark, you know, compared to something um like the Mandy soundtrack or the Antichrist soundtrack, which are two of the ones I want to talk about today. I mean, those are both just I mean, they're just atmospherically terrifying. Um I mean, for me, John Carpenter gets you know the highest regards also because he directed the movies. I mean, what a like super genius, you know.
SPEAKER_01I'm I'm telling you, yeah, like he's the genius behind the soundtracks, the movies. I mean, he made some of the best films ever. And um, he's still out there now making like fucking crazy ass like music and stuff. Like it's still relevant, it's still fucking you know heavy and killer, you know.
SPEAKER_03Yeah. Yep.
SPEAKER_01Yeah, he's a he's a big uh a big inspiration for me with my uh my sense stuff. And just he's just a big inspiration altogether. Like the stuff he's done and created, like it's unmatched. Yeah, I mean, the original Halloween still holds up today, and it's still like my number one like Halloween time film. You know, that's the film I go to on like Halloween night. I'm watching the original Halloween, you know, it holds that much value to me and stuff, you know.
SPEAKER_03Yeah, I mean, and that that film was made in 1978. You know, then that score is so, I mean, it's so iconic. The the repeat the repetition of the melody is just the tension that it builds, and this like that that main theme is uh is like a milestone of horror scores. It's like you could, you know, you could study it and be like, yes, this is how you make you know like horror score. Um yeah, and just also the way that they used sense to simulate strings and all the the work with pianos. It's like a really exceptional. That was that was on my second uh list of uh scores to talk about today, if we got to it. Actually, just because it's you know, most important position in the lexicon of important film scores for horror movies.
SPEAKER_01Oh, yeah, 100%. I mean, that that theme song is iconic and it is like surpass the years. Like, you know, when that that theme comes on, you know that's Halloween. Like even the newer generation of kids, they they know that shit's Halloween. Like that's pretty fucking cool, you know, and that's gonna live on beyond us, you know?
SPEAKER_03Yeah, yeah. I mean, it's it's yeah it's it's old. 78.
SPEAKER_01Mm-hmm. Yeah, it's crazy. Like uh like John Carpenter's Halloween, also uh one of the the scores I have on my list. I didn't pick Halloween because I just figured, you know, that's kind of everybody would pick Halloween. I love Halloween, it's a great score, but I ended up picking like the score to the fog.
SPEAKER_03Oh, that's all my that's on my B list too. It's not a B list, it's just you know, I had to go through and I was like, okay, we can't talk about everything. But um, but yeah, the fog is is absolutely on that list too. Yeah, it's just really nice, it's kind of a quiet score.
SPEAKER_01Yeah, it's really haunting. You know, it's quiet, but still heavy and you know, has that visceral feel to it, but it's definitely not his most like uh I wouldn't really call it like poppy or whatever, like some of the other scores. It's just really, I don't know, it's really heavy. And like I said, it's quiet and heavy at the same time.
SPEAKER_03Yeah, it feels yeah, the quietness, I mean, it's really successful in the sense of what we talked about a little bit before we uh jumped on the on the call about how the um the film and the score support each other. And uh the place that I believe that film was made is in California, um, where it was shot. And that's where I come from. And um when the and I come from San Francisco, which is just drenched in fog every day. This feeling of that place, I mean it's really eerie. Where I went to high school was out by the beach, and that's where the fog comes in, and it's just it's mystical, and um it's it's wet and it's just covers everything. And I remember when I was growing up in San Francisco, this feeling of fog it was like it could be a beautiful clear day, and then the fog rolls in, and it's just immediately um it's almost like day and night. It feels like you're on a different planet suddenly. So I think that that was a really successful score in the sense that um it it brings this sort of creeping sense, that quiet, kind of like slow build of something just taking over you and um the sort of a lot of the hollow sounds that were used in the fog, like these pianos, they sound like they're just in this empty hallway. And there's a lot of really cool drone stuff happening in that too. So that I felt like really um it fit the place in the film a lot.
SPEAKER_01It did, yeah. Like you're saying, like the uh the music itself is like the fog rolling in heavy, and this like suffocates everything around it, you know, it's like a slow-moving, heavy, you know, uh weird, mystical thing.
SPEAKER_04Yeah.
SPEAKER_01Yeah, the fog is crazy. Like the fog in general, just having fog around you is is such a weird feeling, like the feeling of unease that there is something out in the fog. Probably can from all the horror movies I've seen, but uh it's like you know, anything could be out there. You can't see it, you know, especially if it's heavy enough where you can't even see the front of your hood of your car. Like that's uh it's a strange feeling.
SPEAKER_03Oh yeah. Yeah, I mean, I remember growing up being in fog like that, and it's just just totally it's like sensory deprivation.
SPEAKER_01Yeah, it it really is. Um, I've been stuck out on a boat in really, really, really bad fog where you can't even see like the the tip of the boat that you're on. It's like an 18-footer or something, but you couldn't even see the tip of the boat. And that like the feeling of like a great beast coming out of the water and like swallowing the boat and stuff is is heavy, you know. It's like or or flying creatures coming down on me and stuff like it. There's it's just a weird feeling. It's really weird.
SPEAKER_03Yeah, I mean it's like it's like a form of blindness, you know, or being in full darkness where there's no ambient light at all, you know, like sensory deprivation chambers, nothing.
SPEAKER_01Yeah, that's wild. I've never been in one but I have been in really really dark places like where there's no light coming through so I guess it's very similar to that and uh yeah you start to freak out especially the quietness where you can like hear your heartbeat on top of all that stuff it's like yeah that's that's a that's a feeling oh yeah you should try it I think that you would I think you would enjoy sensory deprivation. Well I I do want to try that um it's been on a list of things to do for many years now I just haven't done it but that would it would be cool yeah it's crazy you can hear the blood moving in your veins and you can hear your heart beating and your breath is so loud. Yeah that that's that sounds like a almost like a horror movie itself right there a nice beginning to one well actually no uh what am I thinking of here uh hold on one second let me look this up here I'm having a thing it was a movie that came out I believe in the uh late 80s uh dang it it's like right there in the tip of my tongue let's see here uh well it came out in the 80s I'm trying to think if the name comes to me I I'll uh I'll bring it back up or whatever but uh it had to do with some experiments and like uh those tanks and stuff and they were like uh giving the subject a whole bunch of like uh I think it was like LSD and different things to try to uh like invoke like an evolution in the human being or whatever and stuff and it ended up kind of reversing and the person started turning back into like a caveman type creature and stuff. Damn I wish I were thinking the name right now you would know the name if I if I told you it was like a really awesome movie but it involves a deprivation tank and stuff and it's pretty fucking wild. Wow I want to see yeah I wish I could remember the damn name of it it's like right there.
SPEAKER_03Well here's a number and then you can let us let us all know.
SPEAKER_01Okay I got it altered states oh yeah that's a classic yeah I love that the first time I seen that movie I rented it from a library back in like the 90s or whatever and uh yeah I was like this is a fucking heavy awesome movie oh yeah yeah that's from the 80s right that movie I I think so I think it's like early 80s yeah yeah I what's your favorite sort of if you had to pick a decade for horror movies what would it be? Hmm that's good that's a hard one as of right now I'm thinking it's gonna be the 80s yeah 80s seems to have like everything but there's also some cool stuff in the early 90s that I really like so uh overall though I definitely probably say 80s.
SPEAKER_03Yeah yeah I mean it's kind of a no-brainer I mean there was some amazing stuff in the 70s too you know what um one of the things that was on my list was uh the Texas Chainsaw Massacre soundtrack. Oh hell yeah that's a good one yeah which is just wild because um I'm sure you know all about that film but the the music for that film it's kind of crosses borders with sound design and there's all of this stuff you know with this percussion and screeching metal and like weird drones and loops and um it gives this sense of ambience that makes you really feel like you're in the environment with that horrible scenario that happened. I mean man I remember when I first saw that film I was like uh I was when I was a teenager I watched a lot of horror movies and I remember that one just really stuck with me because it was so twisted and you know and listening to that now I mean it's kind of hard to get your hands on that but uh it's actually you can find it on YouTube somebody some kind soul put it all up and segmented it but um you know they used all different kinds of percussion and little you know little whatever instruments cymbals and you know banging on things and um I think they made a lot of it in the director's house and the director I guess um and this well Toby Hooper and Wayne Bell the two guys were just and I'm sure there was other people involved too just kind of created this this yeah this like this sound uh environment sound design wasn't really songs or music and not really themes you know um but it's funny you know because that movie is so just so twisted and um yeah I was reviewing what I wanted to talk about today and I was looking that up and realizing that the the story of that film it says you know oh on this date um then they they list this date and it's actually my birthday and I was like all right not that not my birth year but it's takes place on my birthday and I was like well that's interesting.
SPEAKER_01That's cool shit. Wow yeah but um but yeah that's I really like the idea of people just making something they just I mean I don't know how much those guys worked on music or what their background was um but the idea of somebody saying like I don't know I'm just gonna I'm just gonna make something that just feels like just you know a wreckage of terror in this this totally horrible story and that it's got this real DIY feel to it which I think um I think it really adds a lot to the film because that movie I don't know if it had some kind of iconic sort of melodic theme I think it would have been way less uh creepy oh yeah I I totally agree with if it had some like really generic like uh 70s rock theme or something going on with it I think it would have taken away from the like the visceralness and the realness of that movie you know exactly exactly yeah I mean there was so much stuff you know in the 70s like I mean there was like so much cool stuff that happened then there were people using bands like like Goblin you know and like the Sesperia soundtrack which is of again you know one of the most classic ever is with all those um hand percussion and celeste and bells doing that melody and all those deranged vocals and then it goes into the sort of groovy acid rock jam and um you know I think it's really interesting that that a band sort of ended up crossing over into that too and that they were known for that.
SPEAKER_03But um me personally I tend to go for the more like really speaking of scary dark minimal tracks not to say that I don't I don't like stuff that's more structured and um you know I mean obviously a lot of the carpenter stuff is they're really like songs you know yeah I could you imagine a Texas chainsaw with uh with like an Argento soundtrack how crazy that would be how much it would change that whole film you know like it would definitely take away some of the uh heaviness of it you know yeah I think so too I think so too because a film like Texas Chainsaw Massacre what part of what made it so scary is that it seemed like it didn't seem like a movie you know it just seemed like just some horrible nightmare that your brain would come up with and your brain doesn't come up with like a highly produced orchestrated score it comes up with like screeches and you know things that sound like uh like drum breaks being mic's and slowed down to 500% slower. Like that's the film feels that way. So you know the the soundtrack for it was perfect.
SPEAKER_01Oh yeah 100% and yeah it makes it that much more uh feasible in my travelings like um when I was like touring with my band and stuff and this regular travels and stuff I've seen some things especially down here in the south you know there's some uh really uh sketchy weird places out there and uh you know the this Texas chainsaw feel really there's a real Texas chainsaw feel to some of these situations you know like this is a very plausible thing and that makes it that much more scarier you know oh yeah well didn't they also say that that film based on the true story but I don't know if that was substantiated or if that was just a marketing technique. Yeah it was a lot of marketing there what it was uh like very smartly based off was uh was the serial killer egg gene they based them stuff up there and you know it came with like the whole leather face wearing the the skin mask and then like the skin furniture and all that stuff so that's like that's really what all that was based off of was just a little bit of egg gene but the way they made it out to be like this is a real family down there that you know that uh you don't want to fuck with they're crazy. So yeah and I believed that for a very long time as a kid I was like don't go to Texas I'm good that's where uh Leatherface and all lives at I'm I'm good on that so yeah pretty wild so uh before we get into like our uh our like music picks or our score picks or whatever I just wanted to talk a little bit about the new uh insect art album which uh to me is very like horror influenced I was talking to you earlier about this I hear a lot of Mandy influence in there and uh yeah and it's also one of my favorite records so far this year so thank you so much I'm really glad that that you feel that way it's an honor. Yeah I fucking love and stuff uh did did you draw any like horror inspirations for this album or you know any like movie like inspirations anything like that or no um I think I'm just a creep and I just come up with creepy stuff I mean um you know sonically this album is a continuation the the album raw blood singing you know that it came out well it's October now it came out in June on Depo Marmorti um you know it's a continuation of the other albums that I made with Insect Arc and continuation meaning you know that I started the project as a solo project and made a few had a few releases by myself and then uh started working with drummers as the second member at first I had worked with Ashley Spongeon um and then Andy Patterson and now Tim Wasquita and um but you know I always wrote all the music I mean which isn't to say that they didn't write the music too but they didn't write the riffs or the melodies you know they um well different people do different things.
SPEAKER_03Tim and I did a lot of writing together for that record this new one. But that's more like deep arrangements you know that that could be constituted as music writing but um but again like you know I wrote all the melodies and the chord progressions and stuff like that. So I think the kinds of stuff that I come up with is just you know it's just dark stuff. And the kinds of instruments that I play lend themselves very well to that. So I my main instrument for many years is bass guitar. And um I also sang for years and although all the Insect Dark records up till now were instrumental I was I did have a band some years ago called Bee and Flower and I sang in that band. And then when I started Insect Dark a little over 10 years ago I picked up a lap steel guitar and started playing that and taught myself how to play that and you know that's just a really well that's a really creepy sounding instrument if you want it to be I mean it can also be really like bouncy and sort of fun loving country finger picking you know kind of sounds but I I don't know I didn't really go down that road with it. I went down this road of playing through a lot of distortion and with a lot of delay and reverb and then you know I grew up a metalhead so my like deep in me my earliest like I started going to metal shows when I was 12 and I grew up in the Bay Area San Francisco Bay Area thrash metal scene so I was you know really involved in metal you know as I got through my teenage years I started listening more like goth and you know whatever alternative rock they call that you know different kinds of stuff and different kinds of people working with different instrumentation like I was really into Tom Waits and you know people who were trying to think outside of the like guitar bass drums um arrangement. And that for me was uh a big step in sort of expanding my idea about how you can represent sounds and songwriting with not necessarily the the instruments that you think would take you know take center stage. So I thought like well if you remove electric guitar from the equation and put something else like a lap steel guitar it's just gonna sound different and lap steel because it's a fretless slide instrument it's just very expressive. It's more like playing a stringed instrument. So um that lends itself really well to the sort of very dark dense sound but it can also be very airy and um it can be really dynamic and it could be very noisy. So um so yeah and then I play sense in pianos too so for this record yeah I'm you know I'm singing on it and I'm playing a lot of keyboards uh playing playing bass so yeah bass lap steel sense vocals that's kind of the main things that I work with and um that's what I've been mostly focusing on for the last few years is just those instruments.
SPEAKER_01Nice. Yeah you really made the lap steel like a really awesome instrument because like like you said before my interpretations of a lap steel is like some twangy country stuff or whatever you know it's not my thing. But uh yeah what you do with a lap steel is fucking awesome. I I swore like when I heard the album I didn't know you're playing a lap steel and stuff I was like man that's a really heavy ass tune guitar like pretty low and stuff and I was like it's a lap steel like that is even cooler like didn't know that was possible that's really fucking cool.
SPEAKER_03Yeah I detune it and sometimes I play it with like a a pitch shifter um this thing called the Digitech drop which basically does like sub octaves or kind of works like a capo you can get different tunings out of it because you know it's a it's an open tune instrument so it's pretty hard to play well um but uh but yeah I really just kind of went into it saying like okay what can I do with this thing you know what can I do to make it sound just deranged and um that's really one of its specialties you know it could sound like a dying animal it could sound also like you know like a beautiful shining ray of light and um I try to I try to touch both of those actually I don't want to just make music that's you know scary like there is light within that dark because without it you don't have that contrast but maybe my sense of light is very different than you know somebody else's sense of light you know um so yeah but I love playing lap steel and that's also what I'm playing in Swans I'm playing bass and lap steel and uh when I was in this band Angels of Light which was basically swans in between when swans was killed off the first time and when it was restarted I was in Angels of Light. I played bass and keyboards insane so so it's cool to be able to also use those instruments with songs that uh you know are not songs that I composed because it's it's kind of gives me a different way I approach it differently. So um yeah yeah it's good to you know and I'm not like a classically trained musician so it's kind of given me some freedom to make up my own interpretation of how I think things should sound and that's been you know it's been a lifelong uh I don't want to say journey you know but it's but I guess it is in a way you know dedicated to like coming up with you know coming up with things that don't sound like anything else. That's a big part of what I'm after is just trying to make things that sound really uh really unique and really like evocative and that uh that make people feel something that that they couldn't find the words for because that's what music does to me. It's like a form of communication that's that you know it says something and it makes you feel something and you don't even know how you could explain it in words.
SPEAKER_01So yeah that's that's the same way like I interpret uh music as well like it's a feeling and stuff and I I like the uh the dark like strangeness of what you do it's like it sets you apart like you have all this other like stuff out there that's you know normal like kind of paint by numbers metal metal or like heavy music and uh yeah it's good and refreshing to hear what you have going on because it's so dark and original and this yeah it's like the perfect soundtrack to a horror movie that hasn't been made yet you know oh man that would be my dream if if I could do that for work that would be so fun. I think we share the same dream there. I want to do the same thing like because when people hear my stuff like oh that should be in a horror movie I'm like I would love it to be in a horror movie I wish somebody would ask you know like I don't even know what avenue to go down with that you know I know like you know horror directors and all this stuff I don't know how to even go about that you know so oh well you know you can just you I don't know I mean I've done some for some film scoring work before just for some smaller um indie films but I think if you like what somebody does you can always just say hey I like what you do so here's what I do maybe you like it boom you know maybe they're gonna call you in two years when they're making their next movie and said you know what I've been listening to that album you sent me and I think that you know I could use some of what you do for that.
SPEAKER_03So it's hard to reach out to people that you like their work but some I've met some really cool people that way who've said to me you know I just want to tell you I really enjoy what you do I really appreciate and then I learn about what they're doing and oftentimes if somebody likes what you do you might like what they do.
SPEAKER_01It certainly can't hurt to introduce yourself to people sometimes it doesn't even make it through to them you know goes into the dead letter office or whatever but yeah um I don't know I think it's important to for artists to you know talk to each other yeah I totally agree with that yeah you know they're gonna reach out and stuff and well I'm gonna continue to reach out myself with that so we'll see and hopefully like I want to see insect art on like a cool let's say uh panos cosmados movie that would be perfect I think yeah that you know by the way speaking of him also beyond the black rainbow was on my B list and that I don't want to ever say that that movie would be on a B list for me because that's one of my favorite movies of the last I don't know it came out in what 2017?
SPEAKER_03Uh I believe so or 2015 around that time but yeah I mean I love that movie and I love that score I didn't I kind of I decided that wouldn't be on my my list today um not sure why just kind of went through thought about what I wanted to talk about but yeah I love that movie so much. I would love to work with him.
SPEAKER_01Oh yeah that would be a dream and um I also have us covered on that because that score is also on my list so we're good. Yeah nice yeah yeah that was my first uh Panos film I've ever seen was uh Beyond the Black Rainbow and yeah that's like it that's probably my top ten of all time favorite films it's not as I like Mandy a bit more but it's right there with it you know they're neck and neck so they're really different movies actually I was really surprised because you know I saw Beyond the Black
SPEAKER_03Rainbow in the theater back when I lived in New York, and a friend of mine was like, You're gonna love this. Let's go see this. And I was like, All right. And we went to this movie theater. I was like, holy shit, what was that movie? You know, it's so twisted. And then the amount of people I've turned on to that movie, because strangely, it's actually very hard to find Beyond the Black Rainbow. Like, you can find it on uh like torrent sites, but it it's just it's really uh it's not available as far as I know, and it's it's odd because it's so good. I don't know uh why it didn't end up getting back into circulation, or maybe you know something that I know, but I know a lot of people who try to get it, they can't stream and they can't find it, you know, on any um physical copy. But um, I think it's also that movie's also really funny.
SPEAKER_01Yeah, it is, it does have a dark sense of humor to it.
SPEAKER_03Yeah, some hilarious stuff between the main character and the the lady. Is it his mom or is it his wife? You don't know.
SPEAKER_01Yeah.
SPEAKER_03What do you think? Is that his mom or his mom?
SPEAKER_01I think so, but I'm not 100% sure on that. You know, it's like it's hard to say.
SPEAKER_03Yeah, it's really unclear. Um she's like, Would you like some steamed asparagus? And he's like, No.
SPEAKER_01That's my same reaction. I'm not a big asparagus fan.
SPEAKER_03Isn't that something she's like, there's some millet in steamed asparagus? And he's like, Oh no. Um, but yeah, I love that movie, and I and I love the Sinioia Caves score. But yeah, many, I was really surprised when I saw it. I was like, whoa, what?
SPEAKER_01Yeah, totally different films. Like, yeah.
SPEAKER_03I mean there's some uh there's a couple characters that remind me of some of the characters in the butt Beyond the Black Rainbow. Um there's there's some connection in the in the care a couple of the characters and some of the the the pacing and stuff like that. But um, but yeah, otherwise they're really really different.
SPEAKER_01Also with Beyond the Black Rainbow, I'm not sure like where you're located and stuff, like how the streaming works over there is I know y'all get different things than we get over here, but um, as of right now, Beyond the Black Rainbow is streaming on Tubi and on Amazon for free, Amazon Prime.
SPEAKER_03Oh, really?
SPEAKER_01Yeah.
SPEAKER_03Well, maybe it's just that I yeah, I'm I live in Berlin, and maybe I should like plug into a VPN because I thought that you couldn't find it, but scratch what I said earlier.
SPEAKER_01Yeah, my uh my friend Ralph lives over in Germany, he's in the band Ulta, and um he always complains about like the shit we get streaming over here. He can't get it over there, so he has to resort to other methods to find the stuff, you know. He's like the streaming sucks over here compared to what y'all have. I'm like, oh that's that's not the first time I've heard that.
SPEAKER_03So yeah, they have really, really strict laws about all kinds of stuff here with um with data privacy and um copyright stuff. They're just really, really strict about that.
SPEAKER_01Yeah, I also have a uh physical edition of uh Beyond the Black Rainbow I got years ago. I think I have two of them because I sometimes I buy the same movie twice because I'm like, do I have that one? I don't check my collection to see if it's there, and I just go ahead and order it and I'm like, oh, that's a good price. I'm like, oh, now I have a duplicate. So I think I have two of those.
SPEAKER_02How many films do you own?
SPEAKER_01What's that?
SPEAKER_02How many films do you own?
SPEAKER_01Well, I used to have a really, really big collection of like DVDs and VHS like 20 years ago, but I ended up getting rid of a lot of them um for stupid reasons. But uh, as of right now, like hell, I probably got uh easily over a thousand uh DVDs and Blu-rays. I haven't I haven't counted, so I don't know for sure, but it's definitely over a thousand total.
SPEAKER_04Oh, yeah.
SPEAKER_01And special edition VHSs that are being put out now by like uh Witter Entertainment and uh Broke Hart fan. They do all these like badass, like um cool like VHS releases of new films, and they have like the big giant clam boxes and stuff like they used to back in the day. So I collect those too, and I never watch them because I don't want to like ruin the film itself, you know. I just want to have it as a collector's item just to be there, you know.
SPEAKER_04So well, yeah.
SPEAKER_01I have a I have a problem with collecting VHS. Wow, yeah, four different versions of Mandy on VHS.
SPEAKER_03I have so nicely done.
SPEAKER_01Yeah, like behind me right now where I podcast and do all my music and stuff. I have like a Mandy shrine behind me. I have the uh miniature version of the axe from Mandy. I wanted the full size, but they were sold out at the time, and it's like seven feet long or whatever. So I have like the smaller version and a giant sign poster by uh from Panos Cosmados of the uh Mandy art and stuff behind me, and some other Mandy stuff like the Cheddar Goblin, uh Macaroni. I have all that and all kinds of crazy Mandy shit.
SPEAKER_03Wow.
SPEAKER_01Yeah.
SPEAKER_03That's good that we both uh that was on our list today.
SPEAKER_01Yeah, yeah, that's it. Glad we have that on there because that's uh a key movie when it comes to like like awesome horror soundtracks.
SPEAKER_03So yeah.
SPEAKER_01All right, so I guess we can go ahead and uh we can kind of go back and forth. Like I give a movie, then you give a movie, we just kind of go down the list and stuff of our favorite horror soundtrack. So um I'm gonna go and let you start it off.
SPEAKER_03Okay, well since we were just talking about Mandy, that was on my list. And um when I think about what what the main elements are of that that sound so incredible to me, is uh there's like these mammoth icy chunks of sound that sound they feel very physical, almost like land moving across like a barren tundra. There's just this, you know, there's this sense of distance. Um and you know, it's just massive, it's like dark, scary, you know, really beautiful. And then then it goes into like these like very tender moments, like the love theme. That's this beautiful melody that's played on like this acoustic guitar. I think it's on the love theme, and um, you know, doubled with strings and bass. And it's a little hard to tell exactly what the instrumentation is, but um yeah, Johan Johansson's was his body of work was incredible, and I was pretty surprised actually that he did the score for a movie like that. Um but yeah, it's just this this really like there's this a lot of uh juxtab juxtaposing of you know like terrifying and beautiful and a lot of uh just this sensitivity, which I think is funny because the movie is I don't think of it as a very sensitive movie. I mean it's really it's really rough actually.
SPEAKER_04Oh yeah.
SPEAKER_03There's a lot of stuff and it's just you know pretty hard to to take, actually, in a you know, not in a back way, just it's really it's challenging. So I think it was an interesting choice for um for panos, cosmotose to to to work with with Johann Johansson on that. But I think it really like it's one of those things where like the beauty of that score made the movie that much more just kind of brutal.
SPEAKER_01Oh yeah, totally agree with that. And it wouldn't be the same movie without that score. Like, you know, that score was made for that. Yeah, I mean it was made for that movie, but the way they go together so well and stuff like that. I couldn't imagine anything else being on that film.
SPEAKER_03Yep, agreed.
SPEAKER_01Yeah, and they're like the heaviness and then the kind of lighter parts of the Mandy's score, like really it flows well with the film of what's going on, you know, like when he loses Mandy and stuff, and like there are times when they're together, like things are bright and there's some light there, and then like the utter hopelessness, you know, when things start really going bad and the score gets like deep and dark and this really brutal and this moody and brooding and stuff like that, like really adds so much to it. It's like I don't know, it can be beautiful at times, and then it can be like the darkest of dark at other times, you know.
SPEAKER_03Absolutely. Yeah, I think that there's a lot to learn from that score for people who are curious about contemporary um horror scores. I think that that's a that's a shining example of of what you could uh the sort of the the palette of things that you could employ.
SPEAKER_01Oh yeah, 100%. I don't know about you, but I I tend to listen to the score like at least once or twice a month.
SPEAKER_03Nice.
SPEAKER_01Yeah, that good.
SPEAKER_03Yeah, I mean horror scores in general, I think, make great listening.
SPEAKER_01It's good driving music, especially if it's at night or something, like you're just concentrating on the road and you like a cool like Mandy's score playing behind you and stuff is like uh kind of reliving and moving your head a bit too, you know, and uh this adds a bit of weirdness to the drive.
SPEAKER_03Oh yeah, absolutely. Yeah, I mean that's really it's an interesting point because some of these scores, I don't know, let's say like the Halloween score or something like that, you know, it's so incredibly iconic that if you decided to pop that on while you're driving, it would absolutely change your environment. That you know, the way that you see things and the way that you use your eyes in a you know, on a dark street when you turn down, it's like suddenly you're gonna have a very different sense because music, you know, it like it it tickles all of our senses and it uh it sets such a mood, you know, just the way like even like a simple drone can set a mood, or like a bird singing can set a mood, or like a repeating piano line, or like a snare drum getting hit with a rhythm, you know, just all these things that create a sense of like softness and gentle, you know, air flowing, or just like total brutal, you know, chaos, or just tension.
SPEAKER_01So yeah, totally. It it changes everything, and like especially if you really feel music and you know, like it really hits you hard and stuff, like to the point you get chills and you know that strange like headiness feeling. Like that's when it's really doing its thing, you know, and a lot of horror scores like this really give me that feeling, and this changed everything about the environment.
SPEAKER_04Yeah, totally.
SPEAKER_01And also with the Halloween score, like uh if you're driving and you that you know, the Halloween score comes on or whatever, you kind of maybe feel like Michael Myers driving a station wagon, you know, that scene.
SPEAKER_04Yeah, absolutely.
SPEAKER_01It's like I'm I'm Michael Myers now driving my car. Like, this is that feeling I get. I'm like, that's interesting.
SPEAKER_03And that's the coolest thing because that's you know, we know that from being just music listeners and musicians in general, like the the way that music transforms your experience, right?
SPEAKER_01Oh, yeah, 100%.
SPEAKER_03I mean, it's it's how so many of us identified who we were when we were young and growing up and getting into like being in bands or playing in bands, going to see shows, you know, the the soundtrack in your mind. Um, like really, you know, it really defines how you walk down the street and how you talk to people and what you see.
SPEAKER_01Yeah, it definitely defines the person for the most part, you know.
SPEAKER_04Oh yeah.
SPEAKER_01That's very true. So I guess since you touched on Mandy there, I go ahead and talk about Mandy, even though Mandy's like my number one, but I didn't really have these in a uh like a list between, you know, what's my favorite and least favorite are all like there, you know. But if I was to pick my number one, it would probably be Mandy. But um, yeah, the same uh same stuff you're saying, like the heaviness of the soundtrack, um the light moments where it really like shows the love between like you know, Mandy and Red. Like it's it's in some ways, it's like one of the saddest films ever, too. Like those heavy parts there really get to me. And uh, you know, and uh I I do enjoy uh his revenge though. That's like the best. Like he he fucks everybody up, and also with the giant chainsaw, chainsaw battle is like the best thing ever. But uh one of my favorite parts of that score is when they meet up with the uh black skulls, like that is so the soundtrack goes so dark, and like it it's almost nightmarish, you know. Like it fits the black skull so well because they're a bunch of like uh centiby fucking mutant bikers, you know. Like that's how I describe them. And uh yeah, it just fits that so well.
SPEAKER_03Yeah, I mean, it takes a master composer to be able to know how to come up with the right thing for the right part. And you know, with the little tiny bit of experience that I've had doing film work, uh it's it's really specific and it's actually very hard. It's not like just you write a song and you're like, cool, how's about this? And they go, Oh, that's great. Yeah, that fits nice, quit and done. It's like, no. It's a you know, it's a it's a masterwork if somebody is able to really hit on it correctly.
SPEAKER_01Mm-hmm. Yeah, it's definitely uh I I have no experience doing film score, but from what you're saying, what I've heard and stuff, it's definitely an involved thing, and you gotta be like kind of I guess melding with the film, like become one almost, you know. Like you gotta you gotta feel the film to be able to make the score match with it and stuff. And uh yeah, Johan like did one hell of a job with this, and yeah. And um also a fun fact, I don't know if you knew about, but uh he did the score for uh Sicario, which is a really evil score. I mean, that's a heavy ass movie if you've ever seen Sicario before. It's not a horror movie, but it's it's horrific, you know.
SPEAKER_03No, I haven't actually seen that, but I've heard a lot of the other music he's done, but I haven't seen that film.
SPEAKER_01Oh, Sicario is great. And uh the the name of the song that runs throughout the whole film is called The Beast, and it's just like heavy uh drums and like uh very sparse like sense stuff going on, a little bit of guitar there, but it's very sparse and heavy and this moody. Like it makes the whole film. I mean, the film's already really good, but like that score goes on throughout the whole thing, it's just like a marching feel to it and stuff, and very dark. And I was like, Oh, he did that, that's really cool.
SPEAKER_03Well, I think he grew up listening to metal.
SPEAKER_01Ah, that would make sense. It makes a lot of sense, yeah.
SPEAKER_03I read that summer. Makes sense, yeah.
SPEAKER_01Yeah, comes from the that background, so yeah, definitely makes a lot of sense.
SPEAKER_03Yeah.
SPEAKER_01All right, so now we will go on to your next uh your next score.
SPEAKER_03Well, I have to say that one of one of the scores that I love the most is for the movie Under the Skin.
SPEAKER_01Oh nice. Yeah, I've seen that one. That that was a good one. That's a really uh kind of synth-drenched, even that the feel like the whole feel of the film is like very, you know, it's sci-fi, dark, synthie. Like, yeah, it's a good score, good film, yes.
SPEAKER_03So yeah, I mean, um Mika Levy, I think that's how you pronounce her name. Um she plays in some bands and stuff too, but she did this this score and came out in I think 20, yeah, 2013. And um, it's like just all these flurries of uh viola and other strings layered with these um ultra-minimal repetitive drums. This is that's the when I think about that score, that's what really I recall is well, there's there's a few main elements there. There's a lot of repeating of the main theme throughout the film, and it's very minimal in the sense that it's not trying to do everything. It came up with a few main themes, and then as is often done, you know, performing them in different ways for different scenes, you know, but a lot of times the main theme returns, uh, maybe on a different instrument or whatever, but just really creepy, these creepy, creepy, very simple viola mess melodies that are just um they're really, really twisted and really droned out, like really they're very legato, very long. Um, and then there's all these like these like flurry, like just performing, like hitting the bow on the viola and probably other, you know, violins, and maybe there's some cellos, I'm not sure. But um, and it is sort of the the fast stuff reminds me of like if your your eyes are like opening and closing really fast, like like like like almost that you're um having like a um an attack or something. Uh, what do you call it when you um the way that these fast flurries of violas and strings come is almost like the fluttering of an eye when you would imagine somebody having a seizure, that it's like this disconnection from reality and like this sort of oscillation of real life mixing with the internal sound inside of you. And then there's this ultra-minimal repetitive drum pattern that goes throughout the score, which sounds like a concert bass drum with reverb on it, and what is either like a floretom or a snare with the snare off and just goes and then this really just like slimy, really uncomfortable string melody comes over it, and it's just like ah, it's like the skin on the back of my neck, just like sticks sticks up to that. I saw this movie in the theater too when it came out, and I literally like went home and ordered the score, and had you know, that same night, and I was like looked up what it was, and I was like, that was insane, and I have to have that immediately. That doesn't happen to me that many times, but that one um that one has really sustained for me. Um, she also did some really cool stuff. I think she was sampling some of the strings and slowing them down so that they they become kind of low fi.
SPEAKER_01Oh, I love that kind of stuff. Yeah, yeah.
SPEAKER_03I think she's also with symbols, like capturing symbol reverbs. And um and then, you know, they when they get uh stretched, it almost sounds like like bees humming or something. Like you can you can hear all the artifacts in it, and so there's a lot of you know, there's a lot of distortion happening in it too, and uh it's yeah, so it's it's very sensual. I mean, the movie is about an alien who basically consumes men, this beautiful female alien who comes down in the in the body of this gorgeous woman, which is Scarlett Johansson. Uh you know, she devours these men to capture their soul, their lifeblood. I mean, I think that's a horrible oversimplification, but you know, but there's this really uh there's this very sensual nature to it, and uh it's just really twisted. And so, you know, the director is really interesting, uh, Jonathan Glazer. Um I don't think he really made a lot of movies like that, but his most recent one is Zone of Interest. I don't know if you've seen that, but that is a very different kind of horror movie. If you haven't seen it, it's it's actually not a horror movie at all. It's about a family who lived across the uh the perimeter wall at Auschwitz.
SPEAKER_04Wow.
SPEAKER_03And um the soundtrack for that movie is largely the sounds that they would have heard from their house of like the ovens and people being shot and stuff like that. And there's this family living this kind of happy life on the other side of this wall, and he's a he's an officer or something in in the Nazi Party, and it's just it's terrifying. So, um, so yeah, she did Mika Levy did some of the score for zone of interest too. Which, you know, I live in Germany, and uh I thought, you know what, they should show that movie in schools. Like everybody should see that movie. But it's it's terri it's so rough, but it's very quiet. Um, so he's a really interesting director. He's like found some way to just really say a lot in a very minimal way. And her score, I think, was really successful in supporting that for under the skin. And that's really important to me, too. That's like they went hand in hand, the score and the film.
SPEAKER_01Yeah, uh great score, great film. Like uh, yeah, that's a it's a heavy movie, you know, in its own right and stuff. And uh very like uh I love that the that kind of sci-fi where it like kind of leaves things up to your imagination of what you know your interpretation of things. It's not just given to you, you know, it's very odd and weird and awesome, you know.
SPEAKER_03Yeah, I think under the skin and beyond the black rainbow in some ways are they live in that in that same kind of place, you know.
SPEAKER_01Oh, that would be a great double feature, you know. That would that would be a really good double feature.
SPEAKER_03Yeah, if you can imagine walking home from that, just your brain like stretched.
SPEAKER_01Yeah, you're gonna be a little fucked up walking away from that. When like what day is it? Where am I? Like, am I called in the in-between of galaxies and space and time?
SPEAKER_04Exactly.
SPEAKER_01Yeah, that would be an interesting one. But yeah, that's a really good choice. Really good film, very great score. So all right, so uh we're gonna go to mine now, which uh is also uh uh one of my favorite films. Uh I wouldn't say would be uh top 10, maybe top 20, possibly. I don't know, but uh I really, really like 2012 Sinister, and I really love the score for that one that uh Jason Okuna did, and also uh Mark Aramayan did. Hopefully got his name right there. But uh it's and I believe some uh I believe one of the members of Over had something to do with the score as well, too. Um it's a heavy ass movie. Like I think it makes people's top 20 like scariest films of all time all the time. So uh it's just a very heavy movie and it has a heavy subject matter, and uh yeah, the score is dark and brooding and a lot of synth. Like I think there's some drums in there too, but it's kind of minimals, mostly the heavy synth and very like foreboding, and it just matches the film because the film is so dark and foreboding, you know.
SPEAKER_03Oh no, I actually have not seen that.
SPEAKER_01Oh, you definitely need to see Sinister and watch it in a dark room, like because the whole movie is fucking dark. Like it's filmed in a house, like a normal house. It looks like a normal house from outside, but inside they have their lights on and shit. But uh, like their whole house is just constantly dark, even though their lights are on. And I think that adds so much like to the atmosphere of this movie. Like, it just is so fucking this is dark and creepy, man. It's really good.
SPEAKER_03Oh, yeah. That looks great.
SPEAKER_01And please avoid the second one. The second one is horrible and has nothing to do with this first one. Like, the not even the same people did the second one. It is absolute dog shit. But this first one is really good. And Ethan Hawk, he's always great in everything, and uh, he's really good in this one. And like uh the subject matter is really heavy because it involves like you know, kids killing their parents and stuff, and uh, yeah, and the way they do it, they show shots of like old um like old tape and stuff, like uh when you're watching on a projector and everything, like that's how a lot of this stuff starts. Like he'll watch a a snippet of some of the murders and stuff, and he's in he's trying to write a new horror book because he's a horror author, and uh things go crazy from there. And the score like is haunting is the best way to describe it, like I said, haunting, brooding. Uh yeah, and I don't know, it has like a uh there's like almost a like a black metal feel to this film, I guess, because of the uh once you see the main uh the main uh villain in this one, you it kind of has that feel to him. I don't want to give too much away, but and I don't know, just the the feel of this movie has like a black metal thing going on.
SPEAKER_03Sounds good. I'm definitely gonna check that out. Thanks for the tip.
SPEAKER_01Yeah, that's cool. You haven't seen it yet, so like your first time. Hopefully it's good. Like, hopefully I didn't blow it up too big, but it really is a like an awesome movie, and it's like especially for October, it'd be a good one to watch.
SPEAKER_03Yeah, definitely sounds cool.
SPEAKER_01Yeah, and then uh, like I said, they butchered the sequel. The sequel is so bad, and like takes away all the mystery of the first film. Like, I don't know why they do sequels sometimes when you don't really need to. They should have ended it with this one, so make sure it's not Sinister 2 you're watching. You will regret that because it's that bad. Yeah, so but yeah, great film, great score, and uh yeah, you should uh definitely check that out. So uh I reckon we're on to your next one.
SPEAKER_03Yeah, so I wanted to mention this the score for the movie Antichrist.
SPEAKER_01Oh, yeah, it's nice.
SPEAKER_03I'm not sure exactly how to say the name of the composer. Christian Eidness? Eidness? Eidness, E-I-D-N-E-S.
SPEAKER_01Uh yeah, that sounds right to me. I'm horrible with names, so it sounds good to me.
SPEAKER_03Um Yeah, it's it's very subtle. It's really, you know, I mean that it's a that's a hell of a movie. It's actually well again, you know, it kind of fits in the same rant range as a lot of the other stuff that I like. It's like sort of not supernatural horror, but definitely like you know, not slasher, not zombies, you know, just just really, you know, some kind of perversion of uh the way that the the a mind can work. I mean, that's that's a really twisted movie, but um it's yeah, super minimal, uh very subtle at times. Um and uh yeah, a lot of sort of synth, minimal synth work, piano. It seems like there's some breathing in there that they've sampled or recorded, and um a lot of use of just sort of extending reverbs on stuff, which I just always love how that sounds, because how it sounds so uh you know, so much like you're in a physical place with it. Um I read that uh they use internal body recordings. That means so maybe it's like heartbeats or who knows, could have been anything, but um that's a very uncomfortable movie.
SPEAKER_04It is, yeah.
SPEAKER_03Um I it was cool, I didn't realize it, but I looked it up um that Cold Spring released it on vinyl, actually.
SPEAKER_01Oh nice, I didn't know that.
SPEAKER_03Yeah. But um, yeah, I remember when I saw that movie, I was just like, oh no. It's just you know, it's well, it's a special one somehow. I don't know. I highly recommend that one.
SPEAKER_01Oh yeah. It's a dark, bleak film that it's really awesome, but it will definitely ruin your weekend when it comes to like you know, feel any like goodness in the world, like that one would definitely ruin your weekend.
SPEAKER_03Yeah, I mean William Defoe is always great. He's such a he's such a versatile actor in the amount of stuff that that guy has done.
SPEAKER_00He's done it all, and he's always great.
SPEAKER_03Yeah, he really has. You know, the beginning of that film, I won't spoil it for anybody who hasn't seen it, but man, it's so brutal. And um yeah, and Charlotte Gainsburg. She's really cool. She's uh Serge Gainsburg's daughter, wife, wife.
SPEAKER_01I'm I'm not too sure.
SPEAKER_03She's uh yeah, she's the daughter of Serge Gainsburg, the French, very important French singer. Jane Birkin was her mom, and Serge Gainsburg was her dad, who's super the one of the most important French celebrity songwriters. She's all through the 60s. Well, I won't go on about Serge Gainsburg, but anyway, she was really good in it too, Charlotte Gainsburg. I think she was also in um melancholia.
SPEAKER_01I think so. I'm not 100%, but I think so.
SPEAKER_03Yeah, I'm pretty sure she was. Did you ever see Melancholia?
SPEAKER_01I've heard about it, but I have not seen it. I I know like most of the cast in there, but I've never actually sat down and watched it because I I know what to expect with his films. Like I have to be in a mindset for that. Definitely.
SPEAKER_03Oh yeah. Yeah, not everybody, um, not everybody can handle that. But yeah, that was, yep, I just looked it up. And that's also a Lars Vontreur film. Um it's very uh beautiful and kind of romantic and really screwed up in a lot of ways. There's a lot of things where you're just like, wait, what? Like, what just happened? But um there's uh there's this scene where like there's a collision with the planets, and one of them is Earth, and that's how the start the film starts. So it's it's it's a good one, actually. But I digress. Um Antichrist, yeah. Interesting one.
SPEAKER_01I'm gonna add uh melancholia to my list, and I actually need to sit down and watch because I it's I always see them like oh, I'm gonna check it out, and I can never do. Like I like I say, I know what to expect when I go on like a Bon Trier film, and I do love I love his work, but uh his work is uh heavy and will leave you feeling kind of interesting afterwards, you know.
SPEAKER_03Yeah. Yeah, the beginning of that film that has a really beautiful sequence where they shot it with a camera that um can shoot at an ultra, ultra high frame rate, so that you can drop the the frame rate down and it runs in super super slow motion, like you can almost not see them moving. But it was filmed in this way where you know they must have been running, and so it's like there's this fabric moving, but it's it's running at like 20% of the speed. But because technically they planned for that, when it's slowed down, it just gives this like apocalyptic blue.
unknownNice.
SPEAKER_03It's worth watching just to watch the the opening, actually. But it's a good film, I like it. I know some people who hated it, but I thought it was cool.
SPEAKER_01Yeah, there's a there's a lot of vontrier haters just because it's a whole different experience than anything like you would normally watch, you know. Like it's it's a whole thing. Like it's like his style is completely different in a lot of things, and it's not the easiest to uh consume, I guess, for most people.
SPEAKER_02True.
SPEAKER_01But I am I like weird shit like my genre of horror, like I love weird, like I like satanic weird stuff. I like I just like really dark films with like you know, this darker the film the better. Like I'm not a giant slasher fan. I'm not a giant, like, you know, definitely not a zombie fan, really. Um they're so overplayed, everybody has a fucking zombie movie, and they're yeah, you can only do so much with zombies. Oh, yeah. It's like really heavy, dark atmospheric movies, I guess.
SPEAKER_03Do you like that movie Mother?
SPEAKER_01Uh Mother, yes, Mother is awesome.
SPEAKER_03That's that's that movie is really twisted.
SPEAKER_01Especially towards the end, like all the people like running in and stuff, and like what the fuck in the house. Yeah. Oh, that may that give me like the like I'm a bit claustrophobic. Like having all those people around me, I can envision that, and like that, that would seriously freak me out. Like, you can't breathe.
SPEAKER_03Yeah, that movie, yeah. Mother is uh oof, yeah.
SPEAKER_01Yeah, that's a one a one-watching kind of you're like, that was great, but uh yeah, I'm never gonna revisit that film. That's the same. This I mentioned this before in the podcast, but it's the same with like the film Gummo. Like Gummo is a cool film, but I would never watch that shit again, mostly because of like the stuff they do with cats on there. I can't handle that kind of shit. Like, yeah, I can see people like fucking chainsawed and stuff all day, but when it comes to like animals and stuff, like I it's hard for me to handle. And the stuff that was in Gummo is super realistic, and I want to hope it wasn't real, but I'm not sure with the director and stuff because he does a lot of extreme stuff, you know. Like, but Gummo is like a good film, but I've I'll never fucking revisit that shit again.
SPEAKER_04Yeah.
SPEAKER_01Uh yeah, I don't want to bring back those memories of that movie. Have you ever seen Gummo?
SPEAKER_03You know, I did so so long ago.
SPEAKER_01I mean, it's it's I can't even remember it to be honest. That's probably a good thing. Like I said, they got some they got some cat stuff in there, it's just fucking vile. And like, I'm a cat lover, like that's you know, we love cats and stuff and all animals, but uh yeah, I can't be having that. Like, that ruins the movie for me. Like uh everything's going good, and like, oh, let's bring the cat in here or the dog, like we're gonna just kill it for no apparent reason. Like, damn it, why you gotta do that? You know, you're fucking it up. Like, I mean, these these teens out here partying, they deserved it, you know, not the fucking cat. Yeah. All right, so I guess uh I'm gonna go ahead and go with my pick, which we kind of talked about a little earlier today, but it's uh beyond the black rainbow, you know. Um Johan Johansson, uh, another incredible score. 10 out of 10 film. And you know, the sci-fi like weirdness of the score in the film are like it is they're like one, you know.
SPEAKER_03Yeah.
SPEAKER_01Yeah, it's nothing but good things about this film. And this was this is my uh first experience with uh Johan and also with uh Panos. Like this is the first one I've seen by by him, and uh yeah, I was hooked ever since. Like, and uh he's got a new film. Panos has a new film coming out possibly early next year. Who knows? He may drop it like before the year's up. It's supposed to be like a uh uh a sci-fi like heavy metal fucking awesome movie, and that's all I really know about it right now. It's kind of like there's a lot of rumors going around, but nothing's like you know, finalized. But uh yeah, so I'm sure it's gonna be in the same vein as these two films because it seems to be his style. It's like there's a metal edge to it, and like it's it also like kind of takes place in somewhere in between worlds, you know, like David Lynch does. How you know David Lynch, everything's very dreamlike, nightmarish, and I think Panos kind of captures that as well, like definitely has that feel.
SPEAKER_03Yeah, it's um it's that Sinewa Caves, which is I'm cheating, going on the internet. Um Sineoa Caves, that those folks are involved in a bunch of other projects as well. Jerry, Jeremy Schmidt, but he's in some other projects as well. Black Mountain. Yeah.
SPEAKER_01For some reason, I always thought that they were involved with uh the band Zombie. Like I thought that forever. I was like, oh, they're not. I'm like, does Zombie do that soundtrack?
SPEAKER_03Well, I mean, you mean you're talking about the soundtrack for Beyond the Black Rainbow?
SPEAKER_00Yeah, yeah.
SPEAKER_03I mean, it's definitely in that vein, that sort of, you know, retro sense kind of um, you know, it's it's definitely either inspired by that. Um but yeah, there's definitely well, there's definitely his own thing in there, but I could see where you would come up with that that association.
SPEAKER_01Yeah, there's definitely a similarity there. Like, I was like, oh, that's cool. Zombies didn't did the soundtrack. Like, nope, no, they didn't. But yeah, that's such a great film. Like I said, that's like one of the best films ever made, in my opinion. And uh yeah, the score. And it's such a weird, weird film. It captures that like uh 80s VHS vibe like perfectly. Like it, you know, it's like, man, and when this film came out, they kind of like weren't really doing the whole throwback to it 80s and 90s quite yet. It was just starting, and this was kind of like one of the first ones to kind of do that, you know. Now everybody does like uh flashbacks to the 90s or to the 80s, or they do a whole film that's like supposedly takes place in the 90s or 80s, and uh this was like one of the first, I think. And uh yeah, it captured the whole mood and everything environment perfectly.
SPEAKER_03Oh yeah, yeah. I remember when I saw that movie, I was obsessed with it and just told everybody, you know, I was like, you gotta see this movie. It's just so twisted.
SPEAKER_01But yeah, I was doing the same thing, like telling everybody about it, like, oh, you haven't seen this because most of most of the time they haven't seen it when I mention it to them, like, oh, what's that? I'm like, oh you're in for a nice surprise.
SPEAKER_03Yeah, yeah. I mean, visually it's so beautiful. And um, it's you know, it's it's definitely the you know, the whole decision to make it with this like 80s VHS tape look, you know, with like this place out in the woods and you know, using their plant compounds to, you know. It all goes so wrong. I also one of the things I love about that movie is that there's only what like three or four people in the whole movie.
SPEAKER_01Uh I believe so, yeah. It's a small cast.
SPEAKER_03Yes, super small cast, and there's almost no dialogue.
SPEAKER_01Uh not really.
SPEAKER_03It's just all vibe. And then you know, the the discussions that do happen, the the the dialogue that does happen is just so perfect. So it moves at a pace that I think is not for everybody, but is perfect for me.
SPEAKER_01Oh, yeah, same here. That's my I like a good slow, heavy burn. That's like that's my favorite.
SPEAKER_04So yeah, me too.
SPEAKER_01Yeah, the dude that played, I guess you would call him the villain because he seems pretty villainous, but uh Michael Rogers, he played Barry, like uh creepy as fuck. And like as the film goes on, the more like he loses his like humanness, you know what I mean? He becomes more monster, like literally a monster towards the end, like parts start coming off, like he's you know, peeling this piece away. And like, what is this guy? Reptile? Like, you know, it's never really said like what he what's going on with him. I guess whatever he's taking back every time he like goes into the like blackness and stuff and comes back out, he's losing less humanity and becoming something else, maybe evolving. Not too sure, but yeah, it's true.
SPEAKER_03You don't ever find out what his uh origin was because he doesn't really seem human.
SPEAKER_01No, he he's trying to be human as best he can, but uh yeah, he doesn't do a very good job of it. He just goes downhill as the film goes on. He starts losing his like uh his comprehension of humanity and becoming some type of creature. And but I really like that. Like the guy that played him did a great job. He's sinister as fuck.
SPEAKER_03Oh yeah, yeah, yeah. Yeah, he's he's so good in that character. There's there's certain things where he just like barely twitches one eye and the camera's really close in on him, and you can just see like this little you know twitch. You're like, oh my god, he's such a twisted bastard.
SPEAKER_01Yes, he kind of has the appearance of Maynard from tool a bit. So like it kind of reminds me of Maynard a bit, so it's kind of interesting.
SPEAKER_03Yeah, to me, he just looks like some weird guy who was like your substitute teacher in fifth grade that you know got expelled from the school system, you know, a couple weeks later and then disappeared.
SPEAKER_01Oh, that's true. I had a few of those actually in high school. We had I had two for doing nefarious things, and uh, they had that same type of sleazy look to them, you know what I mean? Like something's not quite right. A few weeks later, yeah, they're on the news. I'm like, hey, that was my Spanish substitute teacher. Look at that, getting arrested for doing really fucked up things.
SPEAKER_04Oh no.
SPEAKER_01Yeah. Two of them. Like I had two Spanish teachers in high school. We couldn't keep a Spanish teacher, and like, yeah, they both got fired for doing some fucked up stuff. So and they had that look about them, like, you know, something's off about this person. So similar to what Barry looks like here. Yeah. All right. Um, I guess we're on to your next soundtrack.
SPEAKER_03Well, let's see. The last one on my list is the thing from 1982, the John Carpenter movie.
SPEAKER_01Nice.
SPEAKER_03And um as we know, as all John Carpenter fans know, he mostly did his own scores, which are amazing. But not the this one. This is Daniel Morricone, which is so interesting because Marconi is more known for his his westerns, and I mean he did so not just westerns, I mean he's he has kind of I don't even know how many scores Marconi did, but it's staggering. Um but the thing, I mean, I love that movie so much. Just the the premise of the story and all the effects in it are just totally ridiculous. And um well, I think Mar Marconi is really masterful in creating space and guiding listeners through different moods, and it's funny because it's it's could from the outside seemed like a little bit of a a disconnect that a score like this would be used for a film like this. But I think of the thing almost as a I mean, it's such a classic, you know, it's 1982, and um I think of it in a way sort of how I think of the shining. Maybe it has something to do with this sort of isolation factor that happens in both films, but um you know, I think that they could have gone a really different direction with this score and it still would have worked. I think the score is incredible in the in the sort of delicate sense of pacing because Morricone was really, really uh, you know, had this vast experience as a composer with so many different kinds of genres. And uh so it's very sensitive somehow, even though the movie is just you know gets totally goes totally off the hook. Um I find it actually to be really a beautiful score, and a lot of the the violin work and the string work is is really emotional. Um but I think one of the things that stands out for me about that is how well he used uh orchestra, you know, orchestration. Um, because I'm not always a fan of orchestration. I think it can get really pompous and sort of overblown and just you know, overused to the point that it is too much. Um I'm definitely more of a minimalist, like I love you know, things that where there's less elements, and you can kind of hear how they interact and how they cross, and how they use counterpoint and how they they um use repetition of the melody by doubling an instrument. And you know, they use some of that here too, but um, but it's a really, really I think very brilliant orchestration and the use of the brass and you know other wood ones and strings, and then there's sometimes there's bass guitar, which kind of is a reference to me back to the more uh more than like the carpenter thing, because carpenter used a lot of these like bass lines and repetitive note bass lines, just you know, just like hammering uh a pattern. Um, but there's some cool stuff with organs and synths, and um well, and then just that movie is just totally off the hook.
SPEAKER_01Oh, yeah, and that's another one that like the test of time, like it is still just as good as it was then as it is now, especially effects-wise and everything.
SPEAKER_03Yeah, the effects are insane, and and the acting is really good in it.
SPEAKER_01It is. Um I'm a big Kurt Russell fan. I think he's great. Yeah, I guess. And he's yeah, he's this is he's really great in this, but he's always good in pretty much everything he's ever been in. But uh yeah, such a good film, like in the practical effects. Like, goddamn, they're good. Like, it can't be beat, really. I've haven't seen too many films with better practical effects than a thing.
SPEAKER_03So it's true. The practical effects are really hard.
SPEAKER_01Yeah, and it's a bit of a dying art, you know. A lot of things are CGI now or strictly CGI, but uh, I think the perfect combination is a bit of both, you know, a little bit of CGI, a lot of practical. I think combining those, you make something decent.
SPEAKER_02Oh yeah.
SPEAKER_01But yeah, great score. That's a really good pick. And I I didn't off the top of my head, I did I forgot that wasn't a uh John Carpenter score, so that's pretty cool. I totally forgot about that.
SPEAKER_03Yeah, Mark Honey, I mean, God, that guy kind of yeah, I think he some just the sta a staggering amount, like you can't even imagine how somebody could make that much work. He just died like a couple years ago.
SPEAKER_01Mm-hmm.
SPEAKER_03He made it well into his 80s, I believe.
SPEAKER_01Yeah, a good long life, and uh he definitely made his mark when it comes to scores, that's for sure.
SPEAKER_03Oh, yeah, some of the most classic film scores ever.
SPEAKER_01That's awesome. I did not realize that about the thing, though. So it's uh nice little fact I'm I have back in my brain for right now until something else pushes it out, you know. Need more RAM. Alright, so my last film is kind of like uh I had to put it on this list just because you know I love the film, and the I think the the score, actually the soundtrack um is timeless for this one, but that's gonna be uh 1994's The Crow. Um yeah, I just have like, man, I love this movie. We just uh revisited not that long ago because unfortunately we had the we checked out the brand new Crow that just came out to remake, and that was absolutely crap. Zero out of ten, like worst movie ever. So we had to we had to refresh our brain with the classic, you know, the original crow. And um, yeah, I just I love the soundtrack to this. I remember buying this soundtrack when I was in like maybe middle school, elementary school. Um and this, you know, the bands are on there, like some of the bands that really shaped me when I was growing up and kind of like uh got me into like even heavier music. But uh yeah, I mean like the cure, like I still love the cure now, and the song they did for this movie called Burn is so good, and it sets the mood for the whole fucking movie, in my opinion, you know. But yeah, I love this one. I love the uh Stone Temple Pilots track, like the whole soundtrack is just really good, and it's like iconic 90s awesome music, you know, that era, and it it to me it still holds up very well. So nice.
SPEAKER_03I'm gonna check that again. I think I haven't seen it since when it came out.
SPEAKER_01I believe it's streaming on uh let's see, might be different for you though, but it was up on Paramount Plus, uh Pluto, I think Amazon has it, but like I said, it could be different for you, but I know it is streaming out there, the original from 19 uh 94. Cool, yeah, great movie. It's still great. I love it. Like, it's cheesy now. Like, oh, my what's your favorite movie? The crow. I'm like, nope, it's I still love the crow. It's not my favorite movie of all time, but it's definitely up there. But uh, yeah, I used to get made fun of liking the crow when I was a kid, you know. Like, oh, that's not cool, but now it's cool to let it crow, so yeah, about that.
SPEAKER_03Yeah, I remember when that movie, I remember when that happened with uh Brandon Lee.
SPEAKER_04Mm-hmm.
SPEAKER_03You know, how he was he was he was killed, right?
SPEAKER_01During the one of the blank guns was not a blank, and uh, yeah, and he died kind of like midway through the movie being done, so a lot of the stuff you see in there was like patched together. Yeah. And uh, you know, his like stunt double guy took over for a lot of the scenes, but yeah, horrible.
SPEAKER_03Yeah, oh my god. Yeah, Bruce Lee's son.
SPEAKER_01Um there's a lot of like uh conspiracy talk that uh, you know, since Bruce Lee uh brought over his martial art to the United States, like supposedly, like, you know, where Bruce Lee was from and stuff, they there's a curse put on him and his family and stuff, and like no, that's why he died, that's why Brandon died. Like, there's this whole thing. It's kind of interesting if you look that up, like the curse of uh Bruce Lee.
SPEAKER_03That his family was cursed for his decisions, and that that's why his son ended up dying.
SPEAKER_01Yeah, yeah. They're saying there's a thing, like there was a hit put on him or something, but I don't believe so. Like the guy that accidentally shot him pretty much uh he gave up acting after after this film, like he was done. I think he may have started in a couple, I mean he may have played in a few things after, but he never like he never like got this that the letdown feeling of like shooting Brandon Lee and killing him out, like he was always there and kind of ruined his rest of his life, unfortunately.
SPEAKER_03Well, yeah.
SPEAKER_01Heavy movie. And I also used to tell people I was named after Brandon Lee, but it's not true. Yeah, it was a different brand and I was named after. It's not near as cool as Brandon Lee, but people ask, you know, I'm named after Brandon Lee.
SPEAKER_02Yeah, we can make our own stories.
SPEAKER_01Yeah, that's exactly, yeah. They don't know. But yeah, that's that's a good one, and I still revisit the soundtrack time to time, so they kind of put me back in that 90s feeling, which I enjoy.
SPEAKER_03So sweet.
SPEAKER_01Yeah. So I think uh between the two of us here, we covered a uh a good bit of like great films with great scores. Like we kind of went to gambit with it.
SPEAKER_03Totally. And it was cool that we both had uh we had a couple similar ones on the our lists.
SPEAKER_01Yeah, and like uh it seems that we share like a similar like for like you know, same type of horror films, dark, heavy, kind of slow burn, like you know, cool shit. Like, so that's cool. Like when you said Mandy was on the list, like, all right, this is great. That's how I I judge people now. So you like Mandy? Oh, you don't like Mandy? Why don't you like Mandy? What's your reasoning?
SPEAKER_03Yeah, you give me uh give me four sentences to explain.
SPEAKER_01Yeah, if they're not right, then yeah, I can't talk to you. But luckily, everybody I've met like likes Mandy to a party. They might not love Mandy, but then they appreciate the film, so that's cool, you know. Yeah, so yeah, as long as you can appreciate it, we're we're good. Yeah, I'm like that with certain bands too. Do you like this band, or why not? But that's not a I don't think that's a very good judge of character, but who knows? It could be a good judge of character. Awesome. Well, this has been uh great time talking with you, and uh definitely down the line we should do another uh you know top six or top four, like some other like horror subject matters or whatever. That'd be cool.
SPEAKER_03Yeah, that sounds fun. Thank you. I would like to do that.
SPEAKER_01And uh definitely check out Sinister though. Like I think you're really gonna dig Sinister.
SPEAKER_03I will. I wrote it down.
SPEAKER_01All right, cool. Yeah, that's a good one. And uh, yeah, just let me know your thoughts after you watch it. I'm curious to hear what you think about it.
SPEAKER_03So cool, I will. Thanks, Brandon.
SPEAKER_01Awesome, Dana. Well, this has been great, and uh yeah, I hope you have a good rest of your weekend, and uh yeah, we'll talk again soon.
SPEAKER_02Thanks, fam. Thanks. You be well with all the storms. Take care, safe.
SPEAKER_01Thank you. Yeah, hopefully no more storms. So hopefully we're good. Let's enjoy our October, you know.
SPEAKER_03And happy Halloween.
SPEAKER_01Yes, happy Halloween.
SPEAKER_03Enjoy watching Halloween on Halloween because I know you will.
SPEAKER_01You damn right I will.
SPEAKER_03Right on.
SPEAKER_01Awesome. Have a good one.
SPEAKER_03All right, you too.
SPEAKER_01Bye.
SPEAKER_03Take care.