What happens when you throw together a fallen Mexican wrestler with serious rage issues, a just-out-of-prison ex-con with a regrettable face tattoo, and a recovering junkie motel owner in search of a kidney? That’s the premise of the berserk, blood-spattered, and wickedly entertaining feature debut from Ryan Prows. Set amidst the seedy underbelly of Los Angeles, Lowlife zigzags back and forth in time as it charts how fate—and a ruthless crime boss—connects three down-and-out reprobates mixed up in an organ harvesting scheme that goes from bad to worse to off-the-rails insane. Careening from savagely funny to just plain savage to unexpectedly heartfelt, this audacious thriller serves up nonstop adrenaline alongside hard-hitting commentary about the state of contemporary America.
ABOUT KRENG... Pepijn Caudron (aka Kreng) was raised in Belgium by a musical family. His mother played violin and his father played guitar. When he was twelve he followed their lead and began singing and drumming in several local bands, some touring the Belgian club circuit extensively a few years later. By fifteen he started experimenting with 4-track recorders and sampling. A growing interest in 20th century classical music gradually infused his work with a more theatrical feel. Kreng entered the Kunsthumaniora Brussels (an art school for aspiring actors and dancers) in 1992 and graduated cum laude. From that time until 2004 he worked primarily as an actor in theater, film and television.
After attending a performance by the Belgian surrealist horror-theatre company Abattoir Fermé, Kreng approached artistic director Stef Lernous and was hired to score their next performance. Since 2004, Kreng and Abattoir Fermé have collaborated on more than thirty plays, most of which feature little or no dialogue allowing the music to become an extra character that drives the narrative. By 2014, he has more than fifty stage performance soundtrack credits to his name.
Kreng’s peculiar world of sound also drew attention from the Norwegian record label Miasmah which approached him to release music from his soundtracks for theatre. This resulted in the critically acclaimed album L’Autopsie Phénoménale de Dieu (2009), Grimoire (2011), and the lavishly designed retrospective compilation box Works For Abattoir Fermé 2007-2011 (2012). In 2013 the 7" vinyl ... And Then in The Morning was released by the Berlin-based label Sonic Pieces. The Summoner (2015), his most personal record to date, was created around the Kübler-Ross model of the five stages of grief. After more than a decade of stage related work, Kreng returned to his lifelong passion for film soundtracks and was introduced to international audiences with the 2014 film COOTIES. His second score, for the feature film CAMINP, premiered in September 2016 at Fantastic Fest in Austin, TX, and was released by Lakeshore Records.
ABOUT KRENG... Pepijn Caudron (aka Kreng) was raised in Belgium by a musical family. His mother played violin and his father played guitar. When he was twelve he followed their lead and began singing and drumming in several local bands, some touring the Belgian club circuit extensively a few years later. By fifteen he started experimenting with 4-track recorders and sampling. A growing interest in 20th century classical music gradually infused his work with a more theatrical feel. Kreng entered the Kunsthumaniora Brussels (an art school for aspiring actors and dancers) in 1992 and graduated cum laude. From that time until 2004 he worked primarily as an actor in theater, film and television.
After attending a performance by the Belgian surrealist horror-theatre company Abattoir Fermé, Kreng approached artistic director Stef Lernous and was hired to score their next performance. Since 2004, Kreng and Abattoir Fermé have collaborated on more than thirty plays, most of which feature little or no dialogue allowing the music to become an extra character that drives the narrative. By 2014, he has more than fifty stage performance soundtrack credits to his name.
Kreng’s peculiar world of sound also drew attention from the Norwegian record label Miasmah which approached him to release music from his soundtracks for theatre. This resulted in the critically acclaimed album L’Autopsie Phénoménale de Dieu (2009), Grimoire (2011), and the lavishly designed retrospective compilation box Works For Abattoir Fermé 2007-2011 (2012). In 2013 the 7" vinyl ... And Then in The Morning was released by the Berlin-based label Sonic Pieces. The Summoner (2015), his most personal record to date, was created around the Kübler-Ross model of the five stages of grief. After more than a decade of stage related work, Kreng returned to his lifelong passion for film soundtracks and was introduced to international audiences with the 2014 film COOTIES. His second score, for the feature film CAMINP, premiered in September 2016 at Fantastic Fest in Austin, TX, and was released by Lakeshore Records.
Jeremy [Six Strings]
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