Director Joe Begos’ psychokinetic horror/thriller The Mind’s Eye came out in late summer and it promptly became a favorite of ours. Kalyn Corrigan hailed it as a, “…celebration of practical effects, ’80s body horror nostalgia, and buckets and buckets of blood,” while Mike Pereira called it, “…the bastard child of ‘Scanners’ and ‘The Fury’ you’ve been waiting for!”
While the movie was exciting for those who are fans of body horror, it also had a name attached that many adore for a different reason altogether: the composer of the film was Steve Moore, who is one half of the electronic duo group Zombi. He was the composer for The Guest, Cub, and other films, and he brought his signature sounds and tones to the film, crafting a sublime and hypnotic masterpiece.
Begos explains, “One of the most famous lines about filmmaking is that the sound is half the picture– with a movie like this, it’s more than that. Between the pounding telekinetic battle screeches by Graham Reznick, the offensively loud, bone snapping sound design by Josh Ethier and the pitch perfect sci-fi soundscapes of Steve Moore, I truly could not have asked for a better team to help bring ‘The Mind’s Eye’ to life sonically.”
Moore’s soundtrack is coming out tomorrow via Relapse Records (pre-order here) and to give you a taste of what you’ll be getting when you order a copy (seriously, you should do it), we’ve got our hands on the exclusive premiere of the entire soundtrack! On top of that, we did a quick interview with Moore, which you can read while you listen to the soundtrack.
You’ve been composing for films for a while now, mostly in the sci-fi and horror movies. What do you think is it about your music that attracts filmmakers of those two genres to your style?
I’ve been obsessed with film scores, mostly sci-fi and horror, since I was a kid. A lot of times it’s all I listen to. The music I make reflects this, and I guess that resonates with directors who share the same influences.
What appeals to you about composing over writing music for Zombi?
I wouldn’t say composing appeals to me any more than writing with Zombi. It’s the opposite actually. Writing and recording film scores is a dream job, but it is still a job. And most days it feels more like work than art. And there’s a lot of compromise. But with Zombi we are free to do precisely what we want.
‘The Mind’s Eye’ is full of gore, violence, and terror. What drew you to the feature?
There really wasn’t anything about the movie that didn’t draw me in. I really liked Almost Human, so when Joe got in touch I was already interested. And the script was insane. I couldn’t believe they were going to do all practical effects and stunts.
What was it like working with Joe Begos?
Joe is good people. He was very open to my ideas and had valuable, insightful feedback. Great director, would do business again A++++
By now, it’s becoming rather commonplace for sci-fi and horror to feature the “retrosynth” sound. Why do you think this style has made a comeback?
I think it’s in part due to the large number of horror and sci-fi films being made now. It’s much easier to make a movie now than it would have been 20 or 15 or even just 10 years ago, especially in the sci-fi/horror realm. Also the technology necessary to approximate the sound of a John Carpenter film score is inexpensive or free, and requires very little commitment.
I feel like it’s becoming false to place the current trend of synth-based scores under the moniker of “retrosynth”. If you could call it something else or if you have already have a different name, what would it be?
I always refer to the music I make as “Beautiful Music,” or BM’s for short. Not that it’s necessarily beautiful, but that beauty is the only intent. But I don’t consider my music to be retrosynth. I use vintage synthesizers, but my intent is almost never to make something that sounds convincingly old, I’m more interested in something that’s atemporal. Something you can’t place. Like reaching a dead end in a maze, I’m trying to find a way forward by going back a few forks and trying something new.
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