Get the latest score from Howlin' Wolf Records “DON'T GO IN THE HOUSE”, “HOLIDAY HELL” and “GOOD TID

Monstrous Movie Music: Destination Moon - Leith Stevens

Destination Moon
Music By: Leith Stevens

Destination Moon (MMM-1967) is the first complete release of Leith Stevens’ classic 1950 soundtrack.  Simply one of the greatest outer space scores, these original soundtrack recordings have never been released on CD.  The spectacular score totals over 56 minutes, a half-hour more than was released on ten-inch album over 60 years ago!  From the composer’s original acetate recordings, this CD includes every drop of Stevens music, including some that was edited from the movie.  The disc also contains Clarence Wheeler’s fantastic accompaniment written for the Woody Woodpecker cartoon that’s shown in the George Pal motion picture.

Monstrous Movie Music

5/5 Monster Monday and another great entry from my new favorite classic score label, if you read my past reviews you all ready know my thoughts. This one whisks you space heading you to well I am sure you guessed it the Moon. What to do once you get there? Top Notch Recording!
-Jeremy [Retro-Z]


Thank You... 2012!

Its has been a great year, I wanted to thank my Howlin' Wolf family and friends who brought record numbers in the last several months. I am happy to say we added several titles at Howlin' Wolf Records that includes these titles: MEAN GUNS by: Tony Riparetti, LAST BREATH by: Vincent Gillioz, BEREVEMENT by: Stevan Mena, TALES OF AN ANCIENT EMPIRE by: Tony Riparetti, A WARRIOR'S ODYSSEY by: Penka Kouneva, THE DEAD by: Imran Ahmad... with some great titles coming in 2013 [CLICK HERE] if you want any current release or upcoming.

We have added so many great sponsors and contributors our latest "Judgehydrogen" who has promised to bring you all some great MUSICK in the new year. Monstrous Movie Music adding their old school scores to our library, bringing back the classics. I cannot even believe all the cool things I was able to do and see this year interviews with directors, composers, music artist, etc. Going to awesome places "DAYS OF THE DEAD", "KOLLISION CON", "MIDWEST ANIME CON", "WHEATON HAUNTED HOLLOWEEN FLEA MARKET", etc.

It couldn't be done without you, I hope to bring you more photos from these conventions and more interesting music, soundtracks, groups, film reviews. See you all in 2013 and once again... THANK YOU for everything...
-Jeremy [Retro-Z]


Monstrous Movie Music: Missile to the Moon/Frankenstein's Daughter - Nicholas Carras

Missile to the Moon/Frankenstein's Daughter
By:  Nicholas Carras

Missile to the Moon & Frankenstein's Daughter (MMM-1970) contains two scores by the marvelous-but-unheralded composer and orchestrator, Nicholas Carras. Although written for two low-budget 1958 science fiction films directed by Richard Cunha, there is a wealth of invention and good, old-fashioned fifties sci-fi fun on this 60-minute CD. Besides soaring electric violin, pummeling Rock Men underscore, scary giant puppet-spider music, lovely melodies for gorgeous Moon maidens, and thundering Frankenstein music, there are bonus cues featuring spacey musical sound effects by the legendary team of Jack Cookerly (Atomic Submarine, The Black Scorpion) and Elliot Fisher. 

Monstrous Movie Music

5/5 I have to give another glowing review for this score and this label... if you love this types of films, then you will love these types of scores. You have to see the trailers and you know I love it, it's behind classic... it brings back those great sci-fi and cult-horror memories.
-Jeremy [Retro-Z]


Six Strings with... Panu Aaltio

I wanted to save this for the end of the year, because I knew Panu Aaltio was releasing his latest score and wanted you to know he has become one my favorite new composers in my book this year. I wanted to thank him for all his help... his great sense, passion and talent. This is also a great thank you to "MovieScore Media" for providing a great year of great music, their dedication to details... thank you!
-Jeremy [Retro-Z]

-  How did you get started in the field of music and how did that lead you to composing?

Panu Aaltio: I've been playing the cello since I was six years old. By that time I was already a computer enthusiast as well, so eventually I became interested in combining my music and technology hobbies. It was a nice way to get into composition, trying things out with the sounds and programs on the computer. So I continued doing that throughout high school and when it came time to apply to a university, I got into Sibelius Academy to study Music Technology. So that's when the idea of making music more than just a hobby emerged.

- Please tell us your latest score release “Dawn Of The Dragonslayer” with your inspiration, getting involved, best parts of being involved, interesting stories you can share and how much musical freedom did you have?

Panu Aaltio: I had composed music for a fantasy-themed video game called Saga in 2007, and Dawn Of The Dragonslayer had many key people in common with the game. So they were familiar with my music in this genre, and fortunately felt I could do a good job on a fantasy film as well.

For me it was great to be able to make this kind of epic music. That's what got me into film music in the first place and it's always inspiring to work in that style. It's a lot of hard work doing a big orchestral score all by yourself, with no orchestrators or anything like that to assist you, but it's of course worth the effort.

We discussed a lot of other film scores as references, but at the end of the day I try to create my own thing out of those core emotions and concepts. With the central themes I worked closely with the director, getting feedback about all the theme tests I did. After we picked the best ones, I basically went into my studio for a month, doing a run through the film. At that point I'll have the first draft of the full score, but then you start the process of getting notes from the director and making both big and small fixes. This is often the most challenging part, because you're sometimes kind of trying to dig yourself out of holes you've dug yourself, and it's just not as fun as the initial composing. But it's always worth it to put in the extra effort at this stage, because it can get so much better through some iteration, even rewrites, and the director's input.

- If you work with other composers or music artists, whom do you work with and what is the best part of your contributions?

Panu Aaltio: It's great working for other composers, because it helps in breaking your habits. It's a very different situation when you're not starting from scratch, but trying to understand someone else's work and trying to put yourself into those shoes.

You have to then put on your musicology hat a little and get into analyzing what is appropriate for this style. I always feel like I return with new tools in my kit after working like this. For example I've assisted Tuomas Kantelinen on various projects for ten years and learned a great deal from his impeccable orchestral technique.

- Who inspires you musically and whom do you listen to [composers or music]?

Panu Aaltio: I used to listen to a lot of film music when I was in high school, Hans Zimmer being a big influence. The kind of hybrid scores he was doing in the 90s were really interesting to me, because I've always had these concurrent musical interests in classical and electronic music. When I got more into orchestral music, I really got into Jerry Goldsmith, because his range was just staggering and all of it is consistently amazing. I try not to listen to too much film music these days though, because I feel having a unique identity is the most important thing in such a saturated market.

- Out of all your released work, which gives you the best feeling of accomplishment and why?

Panu Aaltio: So far I've gotten the most amount of great feedback about The Home of Dark Butterflies. It was my first feature and I did it in way too little time. And the recording of the music was my first visit ever to London, under a very tight schedule, with no other scoring session experience except what I had during my year at USC. So it was kind of a like big scary gamble that just worked. Quite happy about that in hindsight!

- Walk us throughout a typical day or not so typical?

Panu Aaltio: I've actually had to build a weekly schedule for myself, because I tend to focus on single tasks so entirely that I'll completely forget to do things like eat. Also psychologically it helps with writing to have these time slots where I force myself to write and I can't do anything else. So I fall back on that whenever there's all these worries about things I haven't taken care of, because there's so much more to a film music production than just the writing. Not to mention life in general!

It's kind of a relief to just go "well, I have a coffee break at 4pm -- then I can look into that other stuff, but now it has to wait". Also it helps in not giving into a writer's block. I might be doing completely useless cues to the point where I'm ready to call it a day, because it's just all turning into really bad music. But I force myself to continue because the time slot is still going, so I kind just have to muck around in the sequencer or at the piano to get the time passing. And then suddenly the extra 30 minutes I took produces something usable. It's weird how that works.

Of course, when the deadline is looming and you get to 16-hour work days, then you don't really need the schedule to remind you anymore!

Panu Aaltio

MovieScore Media: Metsän Tarina (The Tale of a Forest) - Panu Aaltio

Metsän Tarina (The Tale of a Forest)
Music By:  Panu Aaltio

A strong contender for the title ‘Best Documentary Score’ of the year 2012, Panu Aaltio’s original music for the first Finnish feature length nature documentary to receive a wide domestic theatrical release is a also one of the most beautiful soundtracks of the year. Following the example set by composers such as Bruno Coulais (Oceans, Winged Migration) and George Fenton (Planet Earth, Life), Aaltio underscores the drama and emotions of this wildlife adventure with broad but sophisticated brush strokes. Several themes are heard throughout the score, and the sheer beauty of these tracks are contrasted by playful scherzos showcasing inspired writing for flutes, woodwinds and pizzicato strings and majestic fanfares for brass, strings and percussion. 

5/5 I have become a huge fan of Panu Aaltio's work over the last year and over this year I have been changing and growing to fit the environment... as I lead into "The Tale of a Forest". It is another wonderful piece from this composer who before this released "Dawn Of The Dragonslayer" [READ REVIEW], which has become one of my personal favorites. He has grown as well to this release shaping his style to fit this documentry and I say "Bravo!"

I wanted to share the trailer and I think I have... it's beautiful!
-Jeremy [Retro-Z]


Screamworks Records: DeadGirl [2012] - Joseph Bauer

DeadGirl [2012]
Music By:  Joseph Bauer

Released world-wide in theatres and on DVD in 2009, Marcel Sarmiento’s Deadgirl tells the story about two high school boys who discover an imprisoned woman who cannot die. The novel plot receives an inspired musical treatment courtesy of Joseph Bauer, a talented film composer who has penned several impressive low budget horror scores for titles such as Brutal and Blackwater Valley Exorcism, as well as the current holiday comedy Elf-Man. Bauer always brings a sense of sophistication to the films he scores: an example in the score for Deadgirl are the fine themes and unexpected melodic elements, such as the brief but charming ‘Makeover Waltz’.

5/5 Starting with a hint of innocence, then the change up to a very decent horror score... while maintaining it's innocent theme. This turning out to be a score that will lead us into the new year checking over our shoulders, okay look!
-Jeremy [Retro-Z]

Howlin' Wolf Records: The Dead [Score]

The Dead [Score]
Available: October 25, 2012
Released By: Howlin' Wolf Records
Composer: Imran Ahmad

For Ordering/Details: [Click Here]  

Info: Howlin' Wolf Records is very proud to present THE DEAD by British Indian Film Composer and Music Producer Imran Ahmad (composer for the award winning documentary MAYOMI). THE DEAD directed by The Ford Brothers, Howard and Jonathan Ford, is an acclaimed and unique zombie film shot on location in West Africa, which follows the journey of an American mercenary/engineer and an African militia officer as they struggle to survive a zombie pandemic and reconnect with family amidst a world in chaos and turmoil. The music for THE DEAD is a hauntingly, beautiful score composed by Imran Ahmad, rich with percussion, flutes, and acoustic ancestral textures provided by Gambian kora player Jally Kebba Susso with stirring and evocative chants/vocals by Eritrean singer Saba Tewelde.

Zombies, Zombies and more Zombies!
Howlin' Wolf Records has released their 13th score late last month to a soon to be cult classic film "THE DEAD" and I am proud to be able to share it with you. Listen to the sample below and then move on over and pick up a Cd today, this one is going to go fast!
-Jeremy [Retro-Zombie]


The Roxy Gunn Project "On With The Show"

On With The Show [2012]
Info: The Roxy Gunn Project... is an eclectic, energetic rock band from Las Vegas, Nevada that is fronted by the soulful, warm voice of Roxy Gunn and backed up by a driving, edgy hard rock guitar sound. The Project’s goal is to share their music with as many people as possible and gain a solid world-wide fan base; show by show, song by song. Roxy Gunn Project songs deliver thoughtful, yet sassy lyrics and emotion-wrenching lead guitar work that can only be described as a rebirth of rock and roll in its purest form.

The Roxy Gunn Project releases their debut album "On With The Show" on December 12th and I cannot tell you how thrilled I am to hear it. Each song brings you closer to the next one and all carries a rocking good time, you will not be disappointed. With a fresh sound with strong never boring trip, you will be pleased... It features a couple tracks from the film "Road To Hell", where not only do they provide songs... they are in the film.

5/5 My newest favorite band/group this year is definitely "The Roxy Gunn Project"... what is not to love about them? Do they... Rock, check... are they Awesome, check... New album out this week, check!

Last thing.. check out the interview that did here at the "Howlin' Wolf"
-Jeremy [Retro-Z]

The Roxy Gunn Project

Imran Ahmad Interview: by david j. moore

Imran Ahmad

by david j. moore

   Classic zombie films don’t always produce classic scores, but occasionally a classic zombie opus features music that helps define the film. Imagine George Romero’s Dawn of the Dead or Day of the Dead without the iconic source music or original scores composed for them and what you’d have is an incomplete film. 

   When directors Howard and Jon Ford hired composer Imran Ahmad to compose an original score for their epic zombie apocalypse film set in Africa, they found a collaborator who completed and enriched their film. Their collaborative effort, known simply as The Dead, is the result of what the Ford Brothers’ described as “guerrilla filmmaking,” but more importantly, Imran’s contribution gave the film its sound and its singular voice. Without his score, The Dead simply would not be complete … or as iconic.


David J. Moore: Imran, thank you for doing this interview …

Imran Ahmad: Many thanks David. It's a pleasure.

David J. Moore: Tell me a little bit about how you became involved with the task of scoring The Ford Brothers’ film The Dead.

Imran Ahmad: I met the directors, Jon and Howard J. Ford in London.  Howard sent me a web link to the initial trailer just as the film was going into post-production for sound.  I was thrilled at seeing images of the African landscape, (shot on 35mm), which was the stunning backdrop of the story.  So I immediately composed a short music demo inspired by these images.  I also felt that the music would somehow be an enchanting presence in the story.  Howard and Jon were really excited with the demo and my ideas regarding the music score and so I came on board the film.

David J. Moore: You’d previously scored a few short films and documentaries. What was it like for you to really explore the feature-length world of The Dead?

Imran Ahmad: Working on the short films were of invaluable experience.  I worked with some very good directors and learnt a great deal about filmmaking in general.  The Dead was definitely an opportunity to explore a longer musical narrative and due to the unique visual language of West Africa, it was a chance to explore a rich musical landscape for a movie of this genre.

David J. Moore: Would you talk a little bit about how you prepared to assemble your cast of musicians and singers who contributed to the score?

Imran Ahmad: The Ford Brothers wanted the movie to be original in every way possible including the score.  They were very keen to communicate the fragile sense of hope the characters were left with in this post-apocalyptic world.  Also, in one of my initial conversations with Howard, I described the intended music as arising from nature itself and turning the environment into a twisted and distorted reality.  So musically I wanted to develop a delicate sound for the inner journey of the main characters and use experimental vocals and percussion for the natural world and the horror.  I worked with a singer friend of mine, Saba Tewelde, from Eritrea in East Africa.  She had the exact vocal dichotomy I was looking for to represent the natural world becoming corrupted … something beautiful and unforgiving.  Her vocal tones pursue the two main characters throughout the film giving them no chance of respite.

David J. Moore: The Ford Brothers talked a little bit about you and your substantial contribution to The Dead on the commentary of the film. They called your music “natural” and that the audience of the film is more than intelligent enough to know how to feel during any given scene. Would you talk about some of the decisions you made in scoring the picture in terms of allowing the audience to discover their own feelings while watching the film instead of telling them how to feel with your music and decisions you made in the sound design of the film?

Imran Ahmad: The challenge was for the music to carefully embody the main characters' individual thoughts and to also convey it ambiguously to a certain degree.  We wanted the audience to become self-aware and contemplative in such moments.  These decisions evolved throughout the scoring process as the Directors and I attempted to calibrate our intention for each applicable scene with music.  For example, there was music in the scene when Lt. Brian Murphy is talking to Sgt. Daniel Dembele in the car for the first time.  We later removed the music as we didn't want to imply any kind of relationship between the two as they are unknown to each other at this point.  And also we didn't want to highlight Brian's vulnerability.  So later on in the story, when Daniel and Brian are leaving the airport and implicitly committing to help each other, the music here has a stronger underlying effect of an emerging friendship.  In another scene there was music when a zombie walks underneath the tree that Brian is sleeping in.  The Directors removed the music and used the sound ambience to convey a moment that any noise Brian makes in the tree could be heard by the zombie.  The audience can relate to this tension in their own way and so it was more effective.

David J. Moore: The film allows the audience to absorb many nuances of African culture and local language where the movie was filmed. How were you able to incorporate African and ethnic influences into your score? Was it an easy process, or did you really have to involve yourself with African cultures, or research?

Imran Ahmad: I was very honoured to work with a kora player, Jally Kebba Susso, who is from The Gambia in West Africa.  The kora is an ancient African stringed instrument – very beautiful sounding.  Jally comes from a long tradition of kora players – 75 generations.  He brought the wisdom of his ancestral experience, which is embodied in the kora playing and the singing that he performs.  The words that Jally sings right at the end of the movie loosely translates as "we are One, we all come from the same Mother."  So there are these African musical nuances that are present in the consciousness of the film throughout.

David J. Moore: The Ford Brothers described their process of filming The Dead as “guerrilla filmmaking.” How would you describe the process of your work as the composer on this film?

Imran Ahmad: By the time I met The Ford Brother for the first time, the guerrilla filmmaking was over!  I would’ve loved to have gone out to Ghana and Burkina Faso to research music, although the filmmakers had a very challenging time on the shoot.  My process began by establishing the reality of this particular story.  For me this film is like a neo-realistic take on what it would actually feel like to be involved in the main characters' situation.  They do not want to kill the living dead as some of them are people they were emotionally connected to.  Daniel is distressed at having to slay his own people.  Also they're up against the unbearable heat, lack of food and water, and tiredness, which they could possibly die from.  The zombies in a sense are another force of nature.  The main characters need to rely on their primal instincts in order to survive.  Based on this I primarily wanted to experiment with vocals and percussion – two of the most ancient and primitive instruments known to human beings.  It had to sound earthy and natural as the music was representing, in essence, a spiritual force.  The counterpoint to this would be the light of hope carried within the characters.  This is what led me to discovering the delicate voice of the kora, which would represent the internal journey of Brian and Daniel.  After establishing the musical language for this film's reality, it helped me to continue the process in creating themes and new sounds.

David J. Moore: There’s very little dialogue in the film. The audience receives information through the images and through the sounds and music of the film. Your score, essentially, is the voice of the film. Would you talk a little bit about bringing your own voice as a composer into the wide-open space of this film? Would you say that your score is the voice and sound of The Dead?

Imran Ahmad: Yes, I believe the score is the voice and sound of The Dead.  Due to the little dialogue and laconic exchanges between the characters, the music and sound naturally become more apparent to the audience.  The music is another presence in the story.  In terms of bringing my voice into the film, I composed using Indian musical scales and most of the live woodwind that you hear on the score is played on an Indian flute (bansuri) by flutist Alex Teymour-Housego.  Even though we are in Africa and there are zombies, this is a very human story and I felt the bansuri would still be able to express universal feelings of longing and memories.

David J. Moore: There’s a lot of percussion going on in your score. There are many scenes of the slow-moving zombies getting closer and closer to the two main characters, and each of those scenes is heightened by the fast rhythms and beats on the soundtrack. You create a lot of tension and heat with your score. Would you describe some of your choices to enhance the experience of suspense in certain scenes?

Imran Ahmad: Firstly I would like to thank my friend Sass Hoory who performed great live percussion on the soundtrack.  I really wanted to experiment with vocals to heighten suspense and tension.  I worked with Saba and another singer friend of mine, Claudia Foston, from Ghana.  In the scene when Daniel meets Brian for the first time and is pointing his gun down at him, there is an unsettling broken and crying breathing sound as Daniel does not trust him.  Conversely, in the scene on the beach, in the section just after the man on the beach gets eaten, (played by Howard Ford!), you can hear the tense screaming – that's Claudia.  In fact throughout this whole scene she is gasping, crying and shrieking.  It was my aim to embody these unsettling vocal sounds throughout the score.

David J. Moore: Would you talk a little bit about the sound design of the film? There are whole scenes without music, but there’s definitely noise on the soundtrack filling in the spaces.

Imran Ahmad: The sound design was created by Andrew Wilkinson and Francis Ward Lindsay who both did great work.  We purposefully had scenes without music as this absence also creates an unsettling silence and threat that you may experience if you were alone in an unknown natural environment in that given situation.  It was a great way of connecting the audience with the African wilderness.  As half the world now lives in cities, we seem more disconnected from nature so it was great to let the environment be a living entity in the story.  There were great uses of sound design throughout the film.  In one scene the sound design was used to express the heat and delirium that Brian is experiencing when he is lying ill in bed while the witch doctor is whispering an incantation from the top of the hill.

David J. Moore: The Ford Brothers mention on the commentary that they are not fans of using too much music in films. They said they’d “put in more music than they thought they would,” which is a compliment to you. Did they ask you at certain points in post-production and in your scoring process to keep adding more music, or did you come to them with more music than ended up being used?

Imran Ahmad: We had established the music cues at the spotting session and I did compose more music than was used in the film.  There is one complete cue and a few unused sections of cues that I have shaped and added to the CD soundtrack.  After all the music was placed into the film, it was a process of stripping away cues or sections of cues from the relevant scenes that didn't need it.  Also, I worked closely with Andrew as we knew that at key points in the film there could be both music and sound effects used to achieve the same effect.  However, some of the decisions to use either sound or music was made by the Directors at the final dubbing session.  

David J. Moore: Your score for the film has moments of hope and release when both of the main characters refer back to the photographs they have of their families. Talk a little bit about giving these two characters their own moments of hope in the score.

Imran Ahmad: This was a very important moment in the story.  We had to convey their internal motivations as the audience is about to embark on this journey with them.  In fact this is one of the rare moments where they have a chance to express their inner feelings and grief.  It's cathartic in a sense as they need to steel themselves before venturing into the unknown.  This is why the music is heartfelt as the feelings towards their respective families are pure and filled with hope.

David J. Moore: There is a scene when the actor Rob Freeman, who plays Lieutenant Brian Murphy, realizes the journey he has ahead of him. When he sees how far he will have to go for the prospect of safety, the music swells, one of the few times your score has a swelling point. Try to describe your process of scoring that moment in the score.

Imran Ahmad: This is another important moment in the film as we wanted to convey at this point that Brian is now a changed man from who he was at the start of his journey.  He's alone and in order to continue he has become incredibly resilient and hardened.  The music is a variation of the main theme expressing how far he has come along on this journey and that his future is still unknown.

David J. Moore: In the end title of the film, you have more space to really bring out your themes and motifs. This is where listeners and viewers of the film can really enjoy your music uninterrupted by images. Talk a little bit about writing the music for the end titles.

Imran Ahmad: An earlier version of this piece of music was actually the initial demo I had sent to Howard Ford.  They really liked it but there was nowhere appropriate to place this music in the film due to its pace.  However, we found that it worked for the end titles as the Directors wanted to hint that the journey may not be over and that the real journey is about to begin.

David J. Moore: Will you be scoring The Dead 2 for the Ford Brothers?

Imran Ahmad: Yes!

David J. Moore: Tell me what you can of The Dead 2 and where your score will be headed thematically for that film.

Imran Ahmad: The Dead 2 will be another journey story taking place almost parallel to the timeline of the first movie.  We have yet to talk about the direction the music will take.  However, I personally would like to build on musical themes that I began in The Dead, and if you have seen the teaser trailer you will know why there will also be a strong Indian influence!

David J. Moore: Is there anything else you’d like to add?

Imran Ahmad: Please check out the following short documentary I made on composing the music for The Dead.  There are insightful interviews with the musicians Jally Kebba Susso and Saba Tewelde. “The Music Behind The Dead” -

David J. Moore: Thank you, Imran, for taking the time to do this interview.

Imran Ahmad: Thank you, David!


With DJANGO UNCHAINED coming out soon I figured I would give you guys a review of a "DJANGO" film. Director Guilio Questi's DJANGO KILL! is not a true "DJANGO" film. To cash in on Sergio Corbucci's popular film the studios or whoever decided to change the title and add the name "DJANGO" to the film so fans of the original could flock to the theaters and scream "WTF" at the screen. I guess in Italy there is no such thing as copy right infringement. You could call your movie whatever you want with the names of other characters from other movies with the same likeness and there is nothing anyone can do about it. In the case of films like DJANGO and SARTANA there are several films with the popular characters' names in the titles but have nothing to do with the originals. It is kind of a neat experiment to see the many different versions of the same film but from other directors. DJANGO UNCHAINED seems to be more like an homage to those films rather than the original DJANGO even though Franco Nero makes an apperance. Before you cry 'Foul' remember that Sergio Leone's best film (In my opinion) A FIST FULL OF DOLLARS is a complete ripoff of YOJIMBO. Of course you all knew that to begin with. I was just trying to sound smart.  (Click here to read the rest.....)

If you are looking for other Italian Westerns that are related to DJANGO UNCHAINED then I recommend DJANGO of course and THE GREAT SILENCE.  Both are directed by Sergio Corbucci and both are in my top ten favorite films of all time.

Here are links to my older reviews.



Judgehydrogen - Days of the Dead [Interview]

So over the last weekend I was able to go to the "Days of the Dead" convention and meet some cool and interesting people... people you know or should know. I want to thank everyone and introduce a great talent "Judgehydrogen"... and share his story along with great Musick!

I hope to bring you many other great voices from this convention and wanted to thank Judgehydrogen for being the first... thank you!
-Jeremy [Retro-Zombie]

-Tell us about yourself and your current project?
Judgehydrogen: First of all, I would like to thank Howlin’ Wolf Records for this interview. I am very pleased to answer your questions. My musick is inspired by apocalyptic myths, industrialization, and technology. We are in contention with ourselves. How is survival possible when we embrace outdated cosmologies and posses powerful weaponry that could easily decimate the earth? If we are to survive we must cast away religion and embrace our “true nature.” Once this is done, our use of technologies will not be driven by religious deceptions. We have one Earth and that is all. These concepts are the inspirations of my visual art as well. So far I have released three albums: “Atheistic God,” “Cult of Blood,” and “Revolutionary Suicide.” “A Body of Water” is from my first album “Atheistic God.”

Currently, I am working on a series of albums. I have always been greatly inspired by Coil’s “Musick to Play in The Dark” Vol 1 & 2 and their “Unnatural Histories” series. I will be releasing the title of the series soon. The musick on these works are dark ambient, neo-classical, industrial, and un-categorizable. I have enough work to fill about 5 albums.

-How did your track "A Body Of Water" become included in the film "Sinister" and how did that feel from phone call to seeing it used in the film?
Judgehydrogen: Another excellent question my friend. Initially, one of Scott Derrickson’s (the director of the film) agents contacted me through MySpace of all places. I rarely go on there. I have about 5,000 spam messages and it is very difficult to operate. So obviously, I didn’t receive the message. Eventually Scott Derrickson (The Exorcism of Emily Rose, Hellraiser Inferno) himself emailed me directly. After that it was very simple. He described the “pool party “scene where my song “A Body of Water” would appear in the new film “Sinister” starring Ethan Hawke and I was very interested. Derrickson also used “A Body of Water” extensively in the red-band trailer which was very exciting as well. I was very nervous up to the release of the film because I could not believe my musick could be in such a huge production.

-How was your experience at "Days Of The Dead", did you get to meet a celebrity that you looked forward to seeing at the convention.
Judgehydrogen: “Days of the Dead” was an excellent convention. The fans and staff are unequaled. I sold out of most of my albums and sold many of my artworks. I must remember that Chicago is a musick city and I should bring more of my albums especially since the release of “Sinister.” I did get to see Tony Todd. He is in two of my favorite films: “The Thing” and “Requiem for a Dream.”

-What is next?
Judgehydrogen: I have many projects and announcements for 2013. I plan to attend many horror conventions as an artist, release new musick and art, and have musick in more films. You will have to watch and see my friends. Soon you will see what my eyes have seen.


“A Body of Water”

Monstrous Movie Music: The Brain From Planet Arous/Teenage Monster [2012]

The Brain From Planet Arous/Teenage Monster

Monstrous Movie Music

The Brain From Planet Arous/Teenage Monster (MMM-1968) proves that dreams can come true. Walter Greene’s amazingly inventive score for the 1957 John Agar/Joyce Meadows B-movie classic is here in amazing fidelity and in its 43-minute entirety. Easily the greatest score for a film about a giant, evil, floating, sex-crazed brain from outer space, the music provides endless fun and incredible artistry. Greene scored the movie without a string section, instead incorporating four saxophones into his powerhouse orchestra.

In case this isn’t more fun than your brain can stand, 1957’s Teenage Monster might not be a classic flick, but Greene’s background score can now be heard on its own.

5/5 I cannot express to you all, no matter what this label should release... you will not be disappointed!! 75 glorious tracks... of classic films....
-Jeremy [Retro-Z]


Boss [2013] - Brian Reitzell

Lakeshore Records will release Boss – Original Television Soundtrack digitally on December 18th and in stores on January 29, 2013.  The soundtrack features original songs composed by Brian Reitzell featuring appearances by Nicolas Godin and Jean Benoit of AIR, Jim James of My Morning Jacket, Paul Buchanan of The Blue Nile, Jonathan Meiburg and Lucas Oswald of Shearwater, and Tim Rutili of Califone, with tracks by Robert Plant, Mark Hollis, and Wilco.

As composer, producer, and/or music supervisor, Brian Reitzell’s films include Sofia Coppola’s The Virgin Suicides, Lost in Translation and Marie Antoinette; Roman Coppola’s C.Q.; Peter Berg’s Friday Night Lights; Marc Forster’s Stranger Than Fiction; Rian Johnson’s The Brothers Bloom; David Slade’s 30 Days of Night; Mike Mills' Beginners and Thumbsucker; Catherine Hardwicke’s Red Riding Hood.  Reitzell comes from the world of being in bands and often likes to collaborate with artists outside of the film world on scores. Having worked with such artists as Kevin Shields (My Bloody Valentine), Britt Daniel (Spoon), Dustin O'Halloran, Fever Ray to name a few. He played drums with the bands Air and Redd Kross - recording and touring extensively, often working on films at the same time. His current projects include Gus Van Sant's Promised Land, Sofia Coppola's The Bling Ring.

Boss stars Kelsey Grammer in his Golden Globe®- winning role as fictional Chicago Mayor Tom Kane, a man who holds sway over just about everything in Chicago – except his own life.   Estranged from his wife and daughter, he is left with no one to turn to when he learns he has a degenerative brain disorder.  It’s a secret that threatens to rip everything from him and in order to maintain his power, he governs as he always has – ruthlessly.  

Produced by Lionsgate for STARZ, the series earned a Golden Globe® nomination for Best Drama Series for its debut season and recently concluded its second season.  Boss also stars Connie Nielsen, Hannah Ware, Jeff Hephner, Kathleen Robertson, Troy Garity, Rotimi, Jonathan Groff, Sanaa Lathan and special guest star Tip Harris.  


Lakeshore Records

Days of the Dead: The Human Centipede Reunion

Days of the Dead: The Human Centipede Reunion

Never ever... ever want to see this film, I can tell you that straight up and for sure. I met some great people from the films Human Centipede (First Sequence) and Human Centipede II (Full Sequence), I even told them I never wanted to see it, maybe that is why they didn't get back to me for an interview. ;)

Great people... I warn you now the trailers mad...mad I tell you.
-Jeremy [Retro-Z]


Days of the Dead: FRIGHT NIGHT REUNION [1985]

Days of the Dead: FRIGHT NIGHT REUNION [1985]

So being a fan of this film "Fright Night" in 1985 I could not tell you how much fun it was to be able to talk and mingle with the cast. I only wish I could have gotten a full cast together shot, it still was a great time for me and for all attendees. Thank you again "Days of the Dead" and my new Fright Night friends... 

Yah, I wish....
-Jeremy [Retro]


Anime and More... Never a shortage Here at Kollision Con!!

One or Two Familiar Faces!
Okay... plenty of stuff happened at this year's "Kollision Con" @ Pheasant Run Resort in St. Charles, Illinois... and we were lucky enough not to miss it. So I wanted to share some of the photos and great people we were able to meet. Also you can "CLICK HERE" to see more coverage and more codsplay... and we wanted to thank the good folks for putting on a great show, see you all next time. Enjoy!

Kollision Con

Look Below... Go ahead...
-Jeremy [Retro-Zombie]

Do you want more?