Fortunately for me this didn’t inspire a murderous rage or head splitting headache under the sling blade I at times swing wildly like Mark McGuire at audience members every time I watch a horrible film. In fact I liked this movie. I actually liked The Editor.

            Directed and written by Adam Brooks and Matthew Kennedy. This isn’t just any cookie cutout comedy slasher film because its equal parts an homage and parody of the entire Italian giallo genre.

            Giallo – is a 20th-century Italian slasher genre of literature and film. In Italy, the term simply denotes thrillers, typically of the crime fiction, mystery, and horror subgenres, regardless of the country of origin. In English-speaking countries, however, the term “giallo” is used to refer to a particular style of Italian-produced murder mystery film which often includes elements of horror fiction and eroticism (similar to the French fantastique genre).

                Without spoiling the plot – a well-known and talented film editor is hard at work on the next great slasher film. He is four fingers shy of a shadow puppet convention and his life is falling to pieces. His wife is a mental case and his only obsession is his craft. Until a series of murders starts halting the production of his new movie and all clues are pointing at him.

                Greatest part of the film is the complete lack of snobby film making. We know it’s a parody; we know it’s a comedy. The jokes are perfect little exploitation gems. The makeups FX are actually really good. Imagine a mix between a Mad TV bit with some Garth Marenghi’s Dark Place, Kids in the Hall and a dash of Looney Tunes. It manages to poke fun at not one but multiple giallo films in every shot while, simealtaneously providing a blood soaked whodunit that’s, well, quite decent. You’ll see “homages” to Mario Bava, Lucio Fulci, Dario Argento and Lamberto Bava. It’s the comedic alternative to what Hélène Cattet and Bruno Forzani are doing with the genre by redefining and pushing limits with films like AMER (2009) and the haunting hallucinatory The Strange Colour of Your Body’s Tears (2013).

The Editor  stars: Paz de la Huerta, Adam Brooks, Matthew Kennedy, Udo Kier, Laurence Harvey, Samantha Hill, Tristan Risk, Conor Sweeney.

You can check your local on-demand pay per view channels to see if your provide is carrying the film or check for local screenings or online.

            Long story short : Go check it out and keep your fingers off the butcher knife and on that rewind button.

RP: Thanks for taking some time out to speak with me today Rich, How are you?

I am great! You caught me right in the middle of the Game Developer’s Conference. This is generally the busiest week of my year, when people from all over the world who work on games all congregate in San Francisco. I participated in a talk this afternoon and have a friend from Kyoto sleeping on my couch.

RP: Can I start by saying how phenomenal your score is for ‘It Follows’, it’s certainly one of the most eerily unsettling soundtracks I’ve heard for quite some time and I strongly believe you’ve established yourself alongside some of the greats. Can you tell us alittle about how you became involved in the project and how excited you were to get the gig?

Wow! Thank you for the kind words. I scored a game called FEZ a few years ago. David loved the music and reached out to me via e-mail. Our initial discussions were straight-forward. We talked logistics and expressed our interest in working together. David touched base right before he started filming and then we fell out of touch for a year. When he came back to me, prepared to start scoring, I had a lot of work underway and did not have much time. I turned him down at first, but he could tell that I wanted to work on the film. After much discussion, I gave in to his persistence. I’m glad I did! We at first talked about exploring an aesthetic with guitars and other acoustic instruments. Over time, we realized that synths had the versatility we needed.

RP: I understand that after ‘It Follows’ was accepted into the Sundance Film Festival, you were left with considerably less time than anticipated to finish the score for the movie? Are you the type that works well under pressure?

Yes. As stressful as it was, I think I tend to strive under pressure.

RP: In many Thriller/Horror movies, music plays such an integral part in creating tension and adding to the creepiness. When you consider movies like Jaws and Halloween, it’s hard to imagine them without their iconic scores. When you first watched ‘Its Follows’ were you happy with how well your music worked in partnership with the movie and did you succeed in scaring yourself?

I feel like the music works well, but I have to approach it from an almost academic perspective. I’ve watched the movie so many times at this point and first saw it with no music and no post FX. I saw the potential for it to be quite scary, but I think I’ve been too involved to experience it that way.

RP: Are you a fan of horror films in general?

I have only seen a handful of horror films in my whole life. I really enjoy this style of horror, though. I’m excited to explore the genre some more. I like how minimalistic the visuals in the film are.

RP: Can you tell me alittle about your creative process for this film and what sort of equipment and software you used?

I do my production work ‘in the box’, as they say. My software tool of choice is Logic. I am a self-professed minimalist. I don’t like having lots of things around that I don’t use on the regular. I’ve had a few synthesizers over the years, but I sold them all. I keep two MIDI keyboards. I have a tiny one on my desk and a huge one with piano keys next to me. I also have an upright piano, and that is my prized possession. I find the difference between digital and analog synths minimal. I still like to go to acoustic instruments when that need arises.

RP: Were you able to take your own approach when creating the music for ‘It Follows’ or did David give you a specific type of sound or musical reference point that he was looking for?

David and his editors created a thorough temp score that became my bible for the film. John Carpenter, Penderecki, and John Cage were all present. Some of my tracks from FEZ were also part of the temp score. For scary scenes, I tried to make the music as dissonant and weird as possible. I pulled out as many stops as I could to one-up the temp cues in every way. For tracks like “Detroit”, I was channeling the ominous arpeggios of bands like Goblin.

RP: I read somewhere that you came from a family of Musicians, was electronic music something you grew up on or was it something that you discovered later on in your life?

I grew up on pop radio, Christian music and The Beatles. Synthesizers are present in all of those things in different amounts, but it didn’t capture my attention until my late teens. Guitar and drums were my first musical interests.

RP: Before you began creating electronic music, it is true you had aspirations to be a guitar wielding rock star?

Haha, I don’t think I ever saw myself becoming a rock star, but I loved to rock out. As a budding guitar player, I was big into bands like Tool and Rage Against the Machine. I loved playing pentatonic, odd-metered power chord riffs. There was something spellbinding about distorted guitar. I also had a glorious amp, a Fender Vibrolux Reverb from the 60’s. I was dumb enough to sell it about five years ago. I spent a few years making guitar recordings before getting more into computer music. Those experiences were the foundation of my music education. I went to Berklee College of Music later and learned a lot there as well.

RP: If you could pick one movie (old or new) that you would love to write a score for, what would it be and what would you do differently?

I might try to remove the orchestral underscore from Guardians of the Galaxy. I think I would have preferred more of that 60s and 70s music. I might try to incorporate some back-catalogue instrumental jams into the more incidental moments.

RP: Throughout your career, you’ve also composed a tonne of rad soundtracks for games, like ‘Fez’ ‘Famaze’ and ‘Krunch’, were games something you’ve always wanted to work on?

I’m not sure I realized I could get paid to write music for games until somebody asked me to do it. Haha.

RP: How does creating music for a game vary to doing a movie?

Scoring film is in some ways a nice reprieve from working on games. I’m working on music for a game right now that allows you to be a subway designer. I stare at code every day and try to make each interaction within the game world symbiotic. It can be intense, but the results are often rewarding. Scoring linear media for me tends to be more zen than problem-solving. The structure of a film is more of a known quantity, and I can just paint on the canvas. The linearity of scoring film makes it easier for me to wrap my head around.

RP: What are your plans for the rest of 2015? Do you have any new projects on the horizon you can tell us about?

Right now, I am working on a guest directed episode of Adventure Time. I’m also working on that subway game. It’s called Mini Metro. After that, I’ll be diving into a Miyazaki-inspired dungeon crawler called Hyper Light Drifter. A Flatland inspired Japanese garden game called Miegakure is also on my horizon. In case you can’t tell, I love how different those all sound and are!

RP: How do you like to spend your time when you’re not making music?

It’s nice to get a question like this. I try to lead a simple life. I have a solid routine, a small group of friends and a few hobbies. I love to play ice hockey. I paint with friends on weekends and try to make it to yoga once a week.

RP: If you had to pick a favourite 80’s movie, album and game, what would you pick?

The first movie that came to my head was St. Elmo’s Fire. I had a thing for Ally Sheedy’s character. The first game that came to my head was not made in the 80’s, but I did play way too much Excite Bike. I don’t think I can pick a favorite 80’s album. I’m not sure there is one, to be honest! I appreciate the aesthetic, but most of my favorite albums are from other decades.

RP: Last but not least, which character from The Breakfast Club would you say you are most like and why?

It’s been a while so I think I need to re-watch it. That said, I remember relating a bit too all the characters, once they open up to each other.

The ‘It Follows’ soundtrack will be released digitally on March 10th, CD March 24th and Vinyl April 7th Via Milan Records, for more on Disasterpeace, check out his website www.disasterpeace.com

Futurecop! – Growing (feat. Timecop1983 & New Arcades)

http://youtu.be/PBLXsm9qqEE

It’s not just one time travelling cop, but two! Solid production, as you would expect from the legendary Futurecop! is bolstered by the synth wave mainstay Timecop1983 and New Arcades for some synth policing magnificence. Nostalgia galore and the bittersweet lovesick feeling – this track has it all.

Timecop1983 – Breaking Waves (feat. Phaserland)

http://youtu.be/fkpu9ZDtzYs

Very non-boring and sleak, Timecop has been prolific this year and this is one of his better 2014 tracks. There’s that Rosso Corsa breeziness and levity that you imagine coupled with shots of carefree high school kids playing beach volleyball.

Highway Superstar – Take My Time (featuring Dana Jean Phoenix & Chris Page)

http://youtu.be/LaSw4rVJy08

Highway Superstar (whose album I reviewed back in January) really brought the good synth wave vibe with this electric duet between Dana Jean Phoenix and Chris Page that sounds better with each listening. A dancey exchange between two lovers hits all the right notes in that 80s power pop way.

Timecop1983 – Dreams feat. Dana Jean Phoenix

http://youtu.be/VOj-USZaz4Q

Yes, Timecop1983 again. This track, also taken from Cop’s last album Journeys, is a good example of high-sheen synth wave production that doesn’t delve into the emmentaler, if you catch my drift. Dana Jean, one of the top vocalists in our beloved music scene, lends her magic and the whole thing just takes you there.

College feat. Nola Wren – Save the Day (Official Video)

http://youtu.be/4bnb8ti0JGU

College returned in 2014 with this collab with Nola Wren and it has everything you may expect from the untouchable Frenchman: minimalistic synth soundscape, a wistful vibe, non-cliche structure. Personally I find it just a teeny bit tinny and too reminiscent of the somewhat disappointing 2013 Heritage LP (albeit not instrumental).

New Arcades – Don’t Let Go (feat. Chloe Pamplin)

http://youtu.be/Z4MYjcVx7Zw

The incredible synth hook is only marred slightly by the generic male vocals. That big stadium sound is worth gold. Has a tinge of that Futurecop!-esque nostalgia tinged throughout (not a surprise as New Arcades is signed to the FC’s label). Perfect for listening on a sunny winter day to warm your synth heart.

Jordan F – Losing Touch (feat. Rromarin)

http://youtu.be/GKLQqW_SwkM

Jordan F surprised everyone with his strong LP release this September but before that in March he released an EP that included this very interesting collab with Rromarin. The somewhat repetitive structure of the track can be forgiven for the sheer nostalgia oozing out of the speakers and singer’s sultry vocals.

Nightcrawler & Diana Gitallog – The Legacy

http://youtu.be/tYL1LYtmlVs

Nightcrawler’s album Metropolis was released earlier in 2014 and while it had some interesting collaborations, most of them were forgettable. Not this one though. Pure outrun epicness; this mini synth-phony mixes Nightcrawler’s dystopian vision with Diana Gitallog’s prowess for sticky synth hooks into something good.

STARFORCE & Action Jackson – Time Shock

http://youtu.be/LJCJpG_qETw

Pure outrun gem, Time Shock has all the elements of a great synthwave collaborations – this one between the strong artists STARFORCE and Action Jackson. Intrigue, neon lights, sports car chases, retro-futuristic feel, this track packs many powerful audio images into its 4 and a half minute length.

Tommy ’86 feat. Sally Shapiro – Why Did I Say Goodbye

http://youtu.be/8qaFr9LW9jA

Sally Shapiro turns everything she touches with her super unique voice into gold and Tommy ‘86 is a lucky fella to have collaborated with this maiden of the synth wave seas. Of course, it wouldn’t be a S. Shapiro record without that exquisite italo sound her vocals are doused in.

Do you ever get nostalgic thinking about the days when you actually made a mixtape? Do you miss the auditory experience of lying in bed and listening to an album on a Walkman with all the hiss and flat tones to layer the journey? Well, just like the renewed interest in Vinyl collecting, the cassette format has also gained somewhat of an underground following. Independent artists now have option when deciding to release a physical recording of their music and fans don’t have to break the piggy bank or have snatch music online. Cassette tapes are a very cheap and easy option. And thanks to small DIY labels like The Jade Palace Guard and online boutiques like Sanity Muffin releasing tapes by local artists and re-issues of obscure and originally tape or vinyl only releases. I am sure tapes aren’t going anywhere but girlfriends come and go.

9.) The Return of Freaky Cut-up’s and Abstract Visual Art 

If you recall in a previous episode of Remember This, I like most of us grew up watching VHS tapes and public access television. There were music videos, graffiti compilations, interviews with obscure artists and foreign language footage as well as a healthy serving of smut and freakshow collages. It pleases me to see that corner of creativity and clandestine art still exists today and online. Perfect examples being: CDTcrew and their catalogue of edited compositions of 80’s rarities and drug fueled party tapes; and Philadelphia street artist, Viva Lux with his esoteric visuals of graffiti, metaphysics and urban life. I look forward to this approach to visual art growing with the retro scene as its darker mirror image.

8.) The EL REY network

For you out there reading this, check your cable guide and see if you have Robert Rodriguez’s latest and probably his best idea ever – his own cable channel. In spite of a rough launch with that god awful Dusk Till Dawn series (so bad it makes the original look like a masterpiece) the channel has exploded into every retro lovers must watch new thing. Just recently I’ve seen Spanish dubs of Blade Runner, an entire Godzilla Kaiju Christmas marathon, every single kung-fu movie playing all day and retro 80’s and 70’s exploitation films playing unrated and with limited commercials. They even have their own luchador wrestling program. Need I say more?*extra points for their New Years Day 12 episode Miami Vice marathon.

7.) TMNT

No, No, I haven’t seen the reboot/remake of Teenage Mutant Ninja Turtles; I am 32 years old and probably won’t till it’s on cable. However, the hype surrounding this film by the people around me who remember watching the cartoons and playing with the toys (probably stolen toys from me) has earned this film a place on my list. Outside of an Old School Hardcore show, I’ve never seen more aged and bitter men literally turn into juveniles as they did when they saw the first trailer earlier this year. The special effects look nice and Megan Fox as April O’Neal is a nice touch… even Shredder looks cool. It can’t possibly be a bad movie.

6.) The Launch of the “Big Trouble in Little China” & “Escape From NY” comic books

When BOOM studios teased Big Trouble In Little China I literally clicked my heels Dorothy style. Finally, we get to see what happened after the great battle below San Francisco’s Chinatown and the defeat of David Lo Pan. Did Jack Burton survive his encounter with the Wild Man stowed away in the back of the Pork Chop Express? The gentlemen responsible for bringing back the cult classic in comic book form are none other than Eisner award winner Eric Powell (The Goon) and film director John Carpenter himself. Escape From New York, also from BOOM, continues the adventures of Snake Plissken, after the events of the first film and not the 90’s sequel, as he embarks on a road trip with a group of thieves to the free state of Florida, as it has secede from the United States.

5.) White Bird In A Blizzard (2014)

It’s no surprise that I am a Gregg Araki fan. White Bird In A Blizzard is an indie adaptation of the book by the same name starring Shailene Woodley, Eva Green, Christopher Meloni and Shiloh Fernandez. Set and taking place mostly in 1988, it’s part mystery and part sexual coming of age drama and maybe his best film since Mysterious Skin. Eva Green stands out as a miserable housewife coming apart at the seams trying to maintain the illusion of marital bliss while envying her daughter. It’s beautifully shot in Araki’s signature color palette and immaculate lighting. Plus the soundtrack, the soundtrack is a mix of lush melancholy and nostalgia. Artists featured on the soundtrack include Cocteau Twins, New Order, Depeche Mode, Jesus & the Mary Chain, Souxsie & the Banshees, Talk Talk, Echo & the Bunnymen, Love & Rockets, Everything but the Girl, Soft Cell, Tears for Fears, The Cure, Psychedelic Furs and features additional scoring by Robin Guthrieand Harold Budd.

4.) “Vortex” from John Carpenter’s Lost Themes

John Carpenter’s films have a place our memories and nightmares. They are inseparable from our childhood and our ideas of what a horror movie is. They orbit in our Top 10’s punctuated and invoked by his music scores and themes; from the frantic piano scales of Halloween to the droning evil of The Thing, I am sure his soundtracks were a major influence on many retro producers. So his first piece of original music in thirteen years should be a big deal let alone the announcement a few months ago that Sacred Bones records would be unleashing his first studio album. The first single, “Vortex” is classic Carpenter with his eerie progressions and buildups. Anyone who is anyone should give the whole package a listen when it’s released in February 2015.

3.) The Second life of Neo-Noir

The sub-genre that was born in the late seventies and grew legs and rooted in the eighties with Blade Runner, Thief, Manhunter, Cruising etcetera, was almost a clichéd hack of itself during the nineties, excluding gems like City of Industry, LA Confidential, The Grifters, Bad Lieutenant and a few others. Neo-noir is and has been back in its prime with both urban and rural settings, neon lights, lens flares, bad people doing bad things and dangerous women turning the gears in a f’d up amoral world of vice and anti-social behavior. Nicholas Winding Refn further brought back the genre to its retro roots by incorporating synth-music back into it, adding that much needed layer or urban decay and sleaze again. Now that Winding Refn’s Drive and Only God Forgives have set the bar for new editions in the genre, like Rockstars GTA V, perhaps someone in our retro scene will become the next Tangerine Dream or Giorgio Moroder. Time will tell.

2.) Real Hoverboards

After Tony Hawk righteously pranked half of social media with his fake hoverboard video; a lot of people had their dreams of gleaming the cube like Marty McFly squashed. That is until Hendo Hover started development on the world’s first prototype hoverboard. Using electro-magnetic repulsion, the board can lift off the ground a mere few inches but it’s a start. The people building on this concept have a kickstarter page with a video and some details as to how this little miracle works. Who knows maybe with some funding we can have a hoverboard that runs on water.

1.) THE GUEST (2014)

My personal nominee and winner of the best 80’s psychological action thriller not made in the eighties with the best John Carpenter/ Tangerine Dream soundtrack not made by either goes to Adam Wingard and Simon Barrett’s movie THE GUEST. Starring in the lead as the devil may care lead is Dan Stevens, also starring Maika Monroe, Brenden Meyer and The Wire’s Lance Reddick. This film is so unexpectedly good I wouldn’t even know where to begin. Pretty much takes neo-noir elements of Drive and blends them into this well made, almost two million dollar, B-movie splashed with equal parts The Stepfather (1987), Watchers (1988) into a fun, funny and very entertaining joy. The soundtrack on this is Amazing as well, featuring NRW artists Perturbator, Gatekeeper, S U R V I V E. I also heard songs from Front 242, The Sisters of Mercy, my favorite D.A.F. song “Der Mussolini” and some I’ve never heard before like “Anthonio” (Berlin BreakdownVersion) by Annie. It’s a fun two hours and the best thing of it’s like since 2011’s Hobo with a Shotgun.