Carpenter Brut teams up with Seth Ickerman once again to create another visual and sonically pleasing masterpiece. If you haven’t already, check out the film “Blood Machines” by Seth Ickermen, and the music video to Carpenter Brut’s “Turbo Killer”. Both solid pieces of work. Watch the new Carpenter Brut video below:

† CARPENTER BRUT – SPEED OR PERISH † Directed by Seth Ickerman (Official Music Video)

NewRetroWave could not be prouder to bring you “The Phantom Machine”, an action-packed feast for the senses. Set in a post-apocalyptic future, the video follows a lone traveller who crosses paths with a deadly force known as the Phantom Machine.

Directed by Jendo Shabo of Helios films and starring Shane Morris in the lead role, The Phantom Machine is nothing short of a tour-de-force in indie filmmaking and an awe-inspiring example of a passion led by pure passion and dedication.

Along with the film release, Waveshaper has also released an EP/Maxi-single  with a movie edit of the track along with the movie’s intro and outro.

For fans of Seth Ickerman’s Blood Machines and Masebrothers’ Cyborg : Deadly Machine, here’s one short you’re definitely not going to want to miss!!

The Phantom Machine EP is out now on Bandcamp and Spotify.

Though their appearances have been fewer and further in-between as years have gone by, fervour and interest in the duo remained unwavering. From talks about an ‘Alive 2017’ live tour, a new album in 2021 to the most recent rumours about a possible appearance during The Weeknd’s Superbowl Halftime Show, not a year has gone by without some form of speculation about the French duo’s return.

To begin to describe Daft Punk’s impact would amount to enumerating several generations’ worth of musical evolution, from the French Touch movement to modern hip-hop. Needless to say, the debt owed by the Retrowave scene is immeasurable, outweighed only by the legacy the group will have left behind. With aching hearts and decades worth of cherished memories in our minds, NewRetroWave reached out to some colleagues and friends in the Retro scene to pay tribute and share their testimonials about what Daft Punk’s music means to them.

As for me, Daft Punk was one of my earliest and fondest childhood memories.  In an age where vanity trumps substance, they are a reminder of all the miracles that music can achieve when fueled by passion and integrity. Having been shunned by French music executives too stubborn to dream, the duo has gone on to reach stratospheric heights that their naysayers still dream of even coming close to. More than mere commercial success, the story of Daft Punk is a musical tale unlike anything the world has ever seen, an intergalactic transmission of love and unity for the whole world to hear.

Favorite track : Something About Us.

To me, Daft punk were a huge influence on my music taste. Way back in the 90s before synthwave and even electroclash was popular they were doing retro (80s) inspired house music. They were a precursor for my musical tastes to come in the next 2 decades. With the Tron : Legacy soundtrack they really showed how versatile they can be making one of the best OSTs of all time.

Favorite track : Da funk

Marko Maric
(Synthetix Sundays host)

To me, Daft Punk is the mother of all epic French Electronic music. I have admired Daft Punk for years and beyond, especially as a teenager when I was lost and didn’t know which musical direction I should be heading. Then Daft Punk came along and made my heart dance. Releasing timeless songs that will stand the test of time. What an inspiration! All songs are safely stored in my random access memory.

Favorite Track : Around The World

NINA

To me Daft Punk is an Electronic Force that shook the world.

They really opened my ears to electronic music when I was younger. Sure, there were other electronic acts who were making music, but the Daft Punk sound really resonated deeply with me. Around the World was on constant repeat in my house that it would drive my parents mad! lol. They are a huge inspiration to many and ultimately have had a HUGE influence in music.

 

Favorite Track : Around the World

DJ Ten
(Artist, Founder of NewRetrowave & NRW Records)

I love the composer/director combo! I’m not a musician but I like to think that you kind of turn into one whenever you direct a film by guiding and influencing the work of the artist set with the task of composing the score.

With Daft Punk, I feel like these two worlds were intimately linked. You can obviously see it in their Interstella 5555 film that draws directly from their own repertoire, but this relationship also transpired through the robot personas that they portrayed in their music videos and in real life.

I think that the news of their separation had such a strong emotional impact on some of us because it felt like the end of a great film we’ve been sitting through for nearly 30 years…

In that regard, the ‘Epilogue’ video was a perfect way to end the feature film.

Favorite Track: Aerodynamic

Seth Ickerman

To me, Daft Punk is the real good reason to be proud of France. We once brought Kavinsky to headline an electronic music festival in Normandy. He mostly played his friend’s music, throughout his set with the occasional Rage Against the Machine track every now and then. That night, we were treated a 100% pure Kavinsky-type set. He also played some Justice and all1800 people went crazy! Being the organizer, I was busy sorting a bunch of different issues when I suddenly heard the crowd go even crazier and saw the pit go wild. Kavinsky had just followed up Justice with a Daft Punk track. It must have been ‘High Life’ or ‘Crescendolls’, I don’t quite remember. It was a song off of Discovery. We were in a small province of about 100 000 inhabitants, 15 years after the album’s release… The mere fact that one of Daft Punk’s friends came and played one of their songs made everyone lose their minds! That’s the power of Daft Punk, the legend. One year later, after diving deeper into Kav’s album, his history with Oizo [Mr.Oizo, aka Quentin Dupieux], Guy Man … I started Retro Synth Fury with Johann of Drive Radio [aka Absolute Valentine]. Since then, all of the artists we received at our RSF shows unanimously mention Daft Punk as one of their biggest influences.

To me, Daft Punk is my entire childhood. From when I was five, I was competing in gymnastics and I would hear Da Funk play every time during the intermissions. They would also play ‘Around the World’ and even some tracks by Jean-Michel Jarre!

Favorite Track : DIGITAL LOVE – Daft Punk represents my first love. When Discovery came out, there came a downpour of hits on every French radio station : there was obviously ‘One More Time’,  a more discrete ‘Aerodynamic’, then came ‘Digital Love’… Every day around 5pm, I’d sit at my windowsill and wait for the girl I had a crush on to pass by my street, and ‘Digital Love’ would play every single time she’d pass by.
I didn’t understand a word of English at the time, I didn’t even remember the name Daft Punk. But with time, I realized that the lyrics to the song were the exact reflection of what I was feeling at the time. It’s amazing to realize how universal their music is. Even without understanding their lyrics, their music manages to convey a message. Lyrics aren’t typically  all that important in electronic music, but even on that aspect they managed to hit a bullseye.

Anthony Retro Synth Fury

To me, Daft Punk is the best live show I’ll ever see. Seeing them in the Nîmes Arena was an unforgettable experience. I discovered their music through Homework and they made me realize that it was possible to make music at home, and that’s how my home studio was born. I also really loved the Tron Legacy Soundtrack, a great score from top to bottom that still influences me to this day.

Favorite track: Harder, Better, Faster, Stronger

Absolute Valentine
(Artist, founder of Lazerdiscs records, co-founder of Drive Radio)

To me, Daft Punk is audio engineering that changed electronic music forever. Their use of filters and compression is unmatched and more influential than any other electronic sound in the last 30 years.

Favorite song: Crescendolls

Starcadian

To me Daft Punk is the genesis. As one of my earliest experiences with electronic music, their sounds were immediately captivating and set me on the path leading to where I am today. The friends I would meet, the interests I would develop… who I would eventually become. The Robots are partly responsible for all of it. Adieu my friends.

Favorite Track: High Life

Andrew Zistler (NewRetroWave Music Editor)

To me, Daft Punk is 1995, when I was 12 years old. I didn’t really listen to music at the time, but I’d occasionally skim through the radio channels on my parent’s old stereo system. One day, I came across ‘Da Funk’ on what must probably have been NRJ Radio. I remember being struck by the sounds, by the overdriven TB and the super heavy rhythm and bass section. Back then, we didn’t have Shazam or the Internet to identify songs, and it took me ages before I found out what I had just heard. It was one of my biggest frustrations at the time!

Favorite Track: I think that my favorite track is ‘Something About Us’ for its terrific bassline. I’m fortunate enough to own speakers through which they sound particularly good, and it’s always a pleasure to re-listen to that song. Furthermore, the song appears on one of my most cherished albums, an that album continues to inspire me to this day.

Maethelvin

To me Daft Punk, was some sort of melancholic tea cake of Marcel Proust. There was a bunch of stuff that annoyed me with Daft Punk, but the whole electronic and especially all the retro-driven electronic scene owe them a lot. They democratized electronic music to an audience larger than anything we saw before and largely popularized the concept of faceless musicians, which, as you can imagine, vastly participated in my vision for Carbon Killer. Their most melancholic tracks that I initially didn’t really like, are for years now, evocating the slowly fading memories of a warmer time in my life, and I do enjoy a lot to give them a listen as a way to time travelling to those moments… Godspeed, robots !

Favorite Track : If you want to travel too, listen to « Something about us »

Carbon Killer

To me, Daft Punk is my youth. The first track I heard was ‘Da Funk’, and then ‘Around the World’. I didn’t know what a vocoder was. Homework felt like a revolution. Discovery was an evolution.
Favorite Track : Veridis Quo

Makeup and Vanity Set

Daft Punk to me is music I’ve been carrying in my record bag since the release of Homework and Discovery. As a dj I love playing Daft Punk in my set. Whether it’s ‘One more time’, ‘Aerodynamic’, ‘Revolution 909’ or ‘Robot Rock’ to name a few.. for me each Daft Punk track is a gem. Play one of these or any of their tracks in a club with a good soundsystem at the right moment, at the right time.. you reach total euphoria. Daft Punk’s music gets the crowd going! People love it. Honestly I think it just feels right to me for them to close the book. They’ve done it all there’s nothing more to add, proof or show.. this is it and it’s epic!

As a club night organizer. “Daft Punk vibes” is what I tell people not familiar with electronic music, when describing our Night Arcade club nights in Amsterdam. Who doesn’t know Daft Punk!

Favorite track: Short Circuit

Devereaux 85
(DJ & founder of Night Arcade Nights at Melkweg Amsterdam)

To me, Daft Punk represents an era, a generation! I’ve always been drawn to their distinctive sound, it’s unique and instantly recognizable. I love all of their albums but the one that left the biggest impression on me was Discovery. Their collaboration with Leiji Matsumoto is simply magical and so organic. It was a big influence on me for my Supernova albums. I discovered Daft Punk in the Nineties when I was starting out as a DJ. I had heard a few of their tracks off of Homework that really left an impression on me, but ‘Rolling & Scratching’ is the track that got me definitely hooked! People would go wild whenever I’d play it live. The groundwork was set and that’s when I knew that I needed to follow in their tracks. I was lucky enough to see them onstage in Nîmes in 2007. It was simply fantastic… an unforgettable audiovisual experience. I also got to meet Pedro Winter in Cannes, who had a great role in their career and who is a terrific guy.

Beyond their musical input, the band were unanimously loved for doing what they felt like doing! They turned down huge deals and collaboration offers that any artist would go crazy over and they set their own rules. They didn’t follow anyone, they’re the ones that people followed. They left with beauty and class and the whole world is paying tribute to them. As for me, I thank them for their career. The world will have known a great (French) group whose music we’ll keep playing over and over and bobbing our heads to.

Favorite track: That’s really tough. I’m torn between Digital Love (the Supertramp gets me every time) and Too Long (And Romanthony’s magical voice on Discovery).

Morgan Willis

To me Daft Punk is the reason I got into electronic music and also into producing…heck even my mask is heavily inspired by them 🙂. They are and always will be my gold standard when it comes to electronic music, be it production, song writing or style.

Favorite Track…jeez, thats hard, but it has to be Robot Rock 🙂

Powernerd

To me Daft Punk is all about evolution. Constantly evolving their sound and changing the industry with every release. They were pioneers and true game changers, reviving long dead genres back into the mainstream for new listeners with fresh ears. It was the soundtrack to my youth. Beautiful memories featuring a Daft Punk backing track. It’s a sad feeling knowing I’ll never see them live. It’s been one hell of a ride. Thank you for the music.

Favourite Song: Technologic / Aerodynamic

James Secker
(Film Producer & Director, Organiser at Retro Future Fest)

To me, Daft punk is a duo that established themselves as an internationally recognized household name from the very start of their career. Through their combination of quality and simplicity, they paved the way for a number of French producers alongside Air, namely Justice and Kavinsky. Without Daft Punk and Pedro Winter’s management, these acts would have probably never made it outside France. When pretty much 95% of successful acts in France sound more or less like carbon copies of what’s going on in the U.S, it’s a real pleasure to see French artists making an international breakthrough and setting a precendent with their own style.

My first great memories of the band happen to be their first ventures on screen, namely with their all-round great music videos for Da Funk and Around the World. Through their slick, unconventional and very artsy visual aesthetic, people quickly picked up on their need to do things differently, to add a certain depth that was often lacking with most popular electronic music acts. They steered clear of pop music clichés where everything is about money and sex, whether implicitly or explicitly.

My favourite release of theirs is paradoxically one of their least popular ones, the Tron Legacy Soundtrack. I didn’t really like the film but the Soundtrack is sublime. I’ve listened to it hundreds of times and I will never grow tired of it. It’s definitely one of their most Cyberpunk and epic releases. Before I started Fixions, I’d spend a lot of time listening to that album as well as the first Fever Ray album, so those two albums are huge influences for Fixions.

Favorite track: Outlands

Fixions

To me, Daft Punk embodies the mystery, the coolness, the world-class musicianship, the groove in electronic music. Those instant hits you can’t help but dance to. Incredibly catchy tracks that effortlessly stay in your head for days and days.

Favourite track: Instant Crush (feat. Julian Casablancas)

LAU
(Artist & founder of Aztec Records)

Last time we met, you had just launched the first Kickstarter campaign back in 2016. How’ve things been going since then?

Raphaël : We’ve been holding up, but it’s been complicated at each step of the way. We estimated our first Kickstarter campaign goal according to our reach and it was a great success. The film isn’t only being financed by Kickstarter. We’re currently working on a budget that’s around half a million euros. We’ve had to find other sources of financing through our producer at Logical Pictures. It was tricky for them, too, considering that this music-heavy project doesn’t quite fit any standard format and that we didn’t want to compromise on that end. To top it all off, it’s also a costly project to pitch. Before shooting, we had to make sure everything fits within reasonable boundaries to get things started.
We had the resources for about fifteen days of shooting, which was pretty tight for us. We went through a few 1st AC’s (First Assistant Director), because a lot of them didn’t think it was possible. We had to find someone crazy enough to understand what we were after and bear with us. The shooting went well, actually. We found the right people who were on the same page, but it was pretty tough. We had a very tough schedule and we had to constantly come up with solutions and workarounds to fit everything in. We had to cut a few things we managed to shoot what we needed to shoot.
Savitri : We prepared a lot beforehand since it’s a special effects film and we had to know precisely which shots we were going to shoot. Changing an angle or technique adds up a ton of effects in post-production. You can’t really improvise on the set.
R : We used film sets, we filmed outdoors, we shot at night… we went through all of the tricky situations but we got through it with some luck. We dodged a storm!
S : We shot outdoors for three days and it was bad weather on the third day, but it’s true that it could’ve been worse.
R : Coppola used to say that no matter if it rains or snows, you should still shoot. You’ll justify it later. [Laughs]

Last time you explained that this project was characterised by hybridisation of your « garage-film » work such as Kaydara and a more professional workflow. How did you perceive this newfound work organisation?
S : It was indeed a fifty-fifty mix between both worlds. We had a full team on set and everything, it was great. We were able to focus on work as directors and we didn’t have to handle everything as we did on Kaydara. The « garage » aspect came from the fact that we built the sets three months beforehand ourselves. We handle the special effects too, although we do have people helping. We still handle a lot of aspects. There’s an artisanal side t

o our work that makes sure that our film will end up being made, only we sometimes need to do things ourselves. The shooting was great, but there was inertia that we weren’t always able to control. We used to work at our own pace on our garage projects, so we’re not as comfortable working this way. There’s a whole team behind us that cannot work more than nine hours per day.
R : We had a lot of different crew members come into work for a few days before passing things over to the next team. We weren’t able to keep the same crew for the whole duration with the budget we had, let alone pay for overtime. We had to respect their personal lives.
S : We had to make the most out of what we had, which made things intense. Being a director basically consists in explaining what you’re after. The same goes for special effects. Our inertia is different. It takes more time to get what we’re after. It’s great to have people lend a hand but it’s also complicated, you struggle to get what you’re after. When we were in our garage and no one cared, we were free to do whatever we wanted. We had the space to go through with everything, there were no limits.
R : Working on such an ambitious p

roject forces us to compromise on quite a few things we would have never done in our garage. With that being said, making a film that didn’t look like one of ours was completely out of the question. It’s a struggle to keep the balance. We’re very attached to our artistic integrity and we’re not making this film for money so that that’s all we have. This film isn’t going to make us rich [Laughs].
S : Our job as directors is to focus on explaining our vision so as to translate our world into images. This is a hugely ambitious project that would have taken us an extra two or three years to finish, had we done it in our garage.
R : Roughly the same time it took for Kaydara, basically [Laughs].

Would you call this ‘Do-it-yourself’ approach a passion or rather a necessity? Would you still keep this same approach for a multi-million dollar film project?

R : Not like this. We’ve suffered too much on this project, quite frankly. It’s about finding the right balance, which we didn’t have on this one. I don’t know what we were smoking when we wrote the story! [Laughs]
S : It’s mostly due to the fact that we come from the « garage » world, where everything is possible. There’s no money but all you need is time. Everything is possible to us, really, but when it comes to creating an economically viable product that needs to fit within a certain budget, it’s a whole other story. Our production company still backed us, nonetheless. When you see how much such a project costs, it simply doesn’t make sense to make a film like this, considering that it’s not going to make any money.
R : It’s our gift to humanity! [Laughs] I’d hate to sign for a 200 million dollar movie where I don’t have my creative liberty. Actually, maybe not, I’d probably think about it if I were offered the opportunity … [Laughs]. Nevertheless, the genre films from the Seventies and Eighties that I loved had an artistic identity to them. It’s all about balance. Making a film with such a tight budget compared to its level of ambition is extremely hard to pull off. You basically destroy your social life. You can easily do some things better with a bit more money. There’s no use in having a disproportionate amount of funs, only enough to get things done properly. We’re a lot more lucid now when it comes to what we need to make our films.
S : There are no miracles. A bigger budget means less freedom, as producers want to take fewer risks. Even big directors have to face this. We’ve got some freedom, but a tighter budget also comes with a certain number of other constraints. Making a movie necessarily means making compromises. It’s impossible to make the exact movie you had in mind, and you have to accept it.
R : Bear in mind that we’re making a fifty-minute movie with roughly half a million euros, which is nothing compared to what we’re doing from a technical standpoint. Our first estimates from special effects companies had us looking at half a million euros for half the film, with all technical specs stripped to a bare minimum. We’d have needed twice the budget and we wouldn’t have had the results we were after either. I don’t even think it would have even worked out.
S : People who’re great at what they do don’t work for cheap.

The movie has gone from a thirty-minute format to fifty minutes. Which aspects did you choose to develop with this extra runtime?

R : The movie hasn’t necessarily been developed, plot-wise. It’s just that the movie is very visual and the cinematography is very stylised, so everything took an entirely different aspect than initially planned when it came to actually piece things together.
S : We storyboarded the whole film with a thirty-minute 3D animatic, but it was impossible to tell exactly how long everything was going to last. Once you’re on set, everything finds its own dynamic and its own pace.
R: Our style is a little more old-fashioned, with a more contemplative pace, so things lasted quite a lot longer. Each small addition ended up accumulating, which led us to this fifty-minute edit. We didn’t shoot anything more, it just naturally evolved that way.

How’s the collaboration going with Carpenter Brut? Is the Soundtrack finished yet?

R: Almost! It was a new experience for both of us. He had already done stuff for other directors but never a proper score. He’s said himself that he’s more of a song composer. It was a special learning experience and we had to find our marks as well. I think he found himself a little bit constrained on certain aspects. It wasn’t easy, but I think we’ve reached a cool balance. I don’t think he would’ve written this score on his own, it’s something different. We pushed each other outside of our comfort zones, and the result is a fairly hybrid piece that you don’t really come across in movies nowadays anymore.

So the film was scored with the images in mind?

R: Yes, which made things pretty tricky. You can’t really understand much from simply watching the first edit.
S: The actors are interacting without anything around or in front of green screens. It can be tough to understand what’s going on. It’s easy for us because we know animatic by heart. It was also tough to write the music while the film is being made, as changes required adjustments on both ends.
R: He would sometimes send us a first demo and we’d explain what the scene would look like to help him make edits and adjust the tracks. It shaped up bit by bit in that way.

Did you adapt the edit to the rhythm of the music?

R: It’s really a language. It’s really complicated to make any changes because of the special effects. You need to be precise, which is a constraint. On his end, changing something in the music can also come with a certain number of constraints. That’s the tricky part when it comes to creating both the film and the score simultaneously. Sometimes he’s changed things, sometimes we’ve adapted.

How did this DIY approach of yours come about? Was there any particular work that inspired you?

R: We never really purposely drew inspiration from anyone when it comes to our way of making films. We simply wanted to tell stories and do what we wanted, so we learned everything and progressed for that purpose. Savitri made a lot of models, which came in handy for our Sci-Fi films. He then developed his skills in 3D animation because we needed it. We make things because that’s what we want to do, really. If we were given the means to not have to handle certain aspects of production, we’d simply keep an eye as art directors. We want to keep and respect our artistic vision. There are too many constraints in doing everything ourselves. It’s a waste of time.
S: We just don’t have a choice. We want to make films with the means that we have.
R: It’s fun to make models and the artisanal side is always interesting, nonetheless. Films suffer when there aren’t enough practical effects and too much green screen. We chose to shoot with an old Panavision lens with heavy optical aberrations because that’s the image we like in Eighties films. It’s awesome but it causes a lot of problems. The image isn’t all smooth but that’s what gives it character, though does make things complicated in terms of special effects.
S: The artisanal aspect is awesome. It’s great to be able to do everything from start to finish, but I’d gladly take the opportunity to simply focus on the artistic side of things while others work on rendering the visual effects and building sets and props. We’ve done enough. It would also harness better results. We handle everything because we don’t have a choice, and this approach has its limits. It’s great, but I can’t wait to simply work on the artistic side. We gained another level in order to go further, as we have with each film. What we want is to focus on our vision, not necessarily craft it with our own hands.
R:  Having done all of this will also help us in leading our teams.
S: … and understand the process better. Bad special effects aren’t necessarily the fault of the designer. It’s also part of the director’s vision. If a visual effect doesn’t work, it’s also his fault.
R: There are films with huge budgets with botched special effects. Money isn’t the issue. The issue is with artistic vision and choices.
S: Having the means to your ambitions is also a talent, it’s part of the game, too.

Was it hard to share your workload with a team?

S: It was complicated.
R: We don’t trust people! [Laughs].
S: People can’t read your mind, so they sometimes do the opposite of what you want [Laughs]. Redirecting people requires time and the skills to lead people in the right direction. Other times you just don’t have the resources to keep someone long enough to finish the work they started.
R: That’s what our weekends are for. We enhance and adjust certain things.
S: There’s also a certain balance between what we do and the teamwork. Everything blends together into something coherent nonetheless.
R: Savitri goes over everything during the colour grading process, for instance.
S: We’re working day and night for free because we want to and because it’s our film.
R: We also have obligations towards our backers. We need to deliver something and we can’t simply spend six years in our garage.
S: We also want something substantial, too. We don’t want to lower our standards. We’re working hard on maintaining them, even though it’s completely absurd to spend so much time on a film that’s not going to earn us anything. It’s already great that we’re able to do this, though. It’s impossible to make films like these in France. We didn’t get a single French grant as of yet.

When do you think the film will be finished?

R: We’re sure that we’ll finish it this year. Our Kickstarter campaign will help pay for a few more VFX artists to help us optimize certain things.
S: The film will be done this autumn but we don’t know yet when exactly it will be released.

Any closing words?

S: Thank you to everyone who supported us on this adventure and to all of those that have yet to support us! [Laugh]

Interview conducted and translated by Robin Ono
A huge thank you goes out to Alexis and Seth Ickerman for making this interview possible.

Don’t miss out on this opportunity and join the adventure. Visit Blood Machines’ Kickstarter page to learn more!

Seth Ickerman

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Announced back in 2016, Seth Ickerman’s sequel to the explosive music video to Carpenter Brut’s Turbo Killer made major waves across the Retrowave and Genre film fanbase, garnering the support of over three thousand backers who helped get this dream project off the ground via a highly successful Kickstarter crowdfunding campaign.

Blood Machines promises to expand on the gorgeous, action-packed universe that made Turbo Killer into a viral success and follows the story of two space hunters, Vascan and Lago, on their journey to uncover the mysteries behind Mima, a ghostly female apparition that escaped from a machine.

Given what we know about the team at work on this project and what we’re seeing in these first images, it is fair to assume that the Ickerman and Carpenter Brut combo is set on delivering a heck of a thrill ride that our eyes won’t soon forget.

The visual effects look nothing short of phenomenal and every aspect of the trailer grabs you tight and pulls you into the films’ dark, grindhouse-like style. So lucky backers may rest assured in seeing these first images; Blood Machines is looking as promising ever and seems prone to exceed some of our initial expectations!

For those who’ve missed their chance to be a part of the initial crowdfunding campaign, there is still time to jump aboard and join the journey. The film is currently in Post-Production and is looking for backers to finish the final edit, which currently exceeds the thirty-minute runtime that was initially announced.

If you’d like to contribute to the project, head over to www.bloodmachines.com, pledge your support and get some of the many exclusive perks reserved exclusively for backers, including t-Shirts, Blu-Ray/DVDs’, the Original Soundtrack, a copy of the Script, original Artbooks, and much, much more!

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