There’s a genre of 80s sci-fi/action movies that doesn’t really exist anymore: low budget, big ideas, shot on location (the dregs of our present filling in for the nightmare of the future), schlocky yet completely sincere. Think the films of […]
Musical Nasties is a series of articles exploring the music of cinema’s most salacious fare. From video nasties of the ‘80s, to classic Italian gialli and schlock, to contemporary cult cinema, we aim to celebrate our favorite genre movies, their […]
Musical Nasties is a series of articles exploring the music of cinema’s most salacious fare. From video nasties of the ‘80s, to classic Italian gialli and schlock, to contemporary cult cinema, we aim to celebrate our favorite genre movies, their […]
“This is the scariest release I’ve ever heard”
Growing up, very few things were constant for me. Mac & Cheese and Dr. Pepper would forever be the best, MTV played some great videos, and from October of 1988 through March of 1990, my Saturday evenings would be terrifying, […]
I hadn’t watched The NeverEnding Story in well over a decade and expected the music to have aged terribly: 80s’ synth in fantasy films rarely holds up (not to mention a title song sung by Kajagoogoo’s lead vocalist). But, while […]
While John Carpenter is most often known for using synth, many of his earliest film scores were remarkably piano-driven, such as The Fog. To be clear, The Fog does have plenty of synth, but it isn’t the driving force behind […]
Unlike the scores of most horror films, composer Christopher Young’s approach to the music of Hellraiser largely avoids anything verging on “scary.” Instead, his synth-heavy score conjures a feeling of grandeur that is more akin to dark fantasy. The main […]
The final frontier. Today we have a tendency to take the miracle of space flight for granted: a 60-year history, hundreds of launches a year, and thousands of manmade objects in orbit have made it almost routine. But, decades ago, […]
By 1981, John Carpenter had already composed six film scores. Among these are his iconic scores for Halloween and The Fog. But, while both utilized synth in the periphery, they mostly relied on piano for their themes and melodies. Modern […]
I once wrote that the grimy urban hellscape of Beherit’s Electric Doom Synthesis would be a perfect soundtrack to Robocop. I was wrong. Basil Poledouris’s score perfectly portrays the downtrodden, darkened world of Robocop’s futuristic Detroit. But he also captures […]