It’s a well known horror movie from the early 80’s when basic cable was king, and one that Ol’ Dirty Bastard referred to in the song “Harlem World.” The film was called C.H.U.D. and 31 years after its release, Waxwork Records are releasing the original motion picture soundtrack. If you have been looking for it but can’t find it, you’ll be able to buy it on 180g audiophile vinyl in two different pressings:
Toxic Waste Puddle vinyl
C.H.U.D. Flesh with Blood Splatter
Impressive, right? The album will be out on October 3rd, and you may pre-order it directly from Waxwork Records or from Amazon.
Cool Hunting Video: Mark Mothersbaugh's Synth Collection from Cool Hunting on Vimeo.
From the Cool Hunting channel on Vimeo comes a great video of all of the synthesizers and keyboards Mark Mothersbaugh has in his collection. Some of you know him as one of the men of Devo, while others may recognize the name as the one who wrote music for Rugrats, Pee Wee’s Playhouse, or The Lego Movie. If you sing a song about a cherished poodole, it’s okay. Now you’re able to see part of his madness, a/k/a creations.
For everything he has recorded and performed since Faith No More and Mr. Bungle, it may (or may not) come as a surprise that Mike Patton has created the score for a Hollywood film. Patton was given the task of doing the soundtrack to The Place Beyond The Pines, but rather than get into his twisted vocal tales, it is a straightforward scale, or at least as straightforward as Patton can create it. The songs here sound like everything from Italian spaghetti western instrumentals to ethereal church choirs, and while an essential component are the visuals that would help match the sights with the sound, it works quite well. There are also gentle metallic moments and heaviness heard on this too, almost as if Patton is trying to tease fans of his who know what he’s capable of, but realizing that this soundtrack/score is not the time and place for any of it. Or at least Patton may be using this score for a bit of fun and tasty profit, which doesn’t hurt.
Patton’s twelve contributions on the soundtrack are complimented with songs by The Cryin’ Shames, Ennio Morricone, Arvo Part, Vladimir Ivanoff, and Bon Iver, and together it almost makes this become something close to a David Lynch-type of compilation. While the film was not a massive hit, maybe it and its music will have a greater afterlife.
Being a fan of the project known as Knitting By Twilight for a few years, the one thing I always wonder with each new release is: now what? In other words, each project goes into a completely new direction that as a writer I never know what to expect. Yet as an artist myself, this is the fun of making music, being able to take yourself in any soundscape possible. As an indie artist, it also means not having to obey the rules or follow-up on your last success. John Orsi steers the ship along with wife Karen Orsi, Manny Silva, and Mike Marando, and for the 5-song EP Riding The Way Back (it’s Twlight Time) they go progressive, pop, and experimental/avant-garde. To me, the different blends are natural and in fact I tend to enjoy music that goes all over the place instead of being too comfortable for a long duration.
The intro to “Mike’s Glacier” sounds like someone coming in, finding some random instruments and playing what they feel like, but this is before things get intense with layers of eerie-sounding keyboards, deep percussion, and ethereal guitars. Think of a very dark and sinister scene of a mindfuck thriller and this is the song you’d hear to build suspense, a bit like what Milk Cult tried to do years ago but… you know how in some documentaries they’ll claim that a killer enjoys the thrill of seeing someone who is praying for you to not hurt them, as he slowly makes his way towards his ultimate climax? It’s a digusting thought but the song builds like that, a cross between the beautiful and potentially horrid. On the more abstract side is “She’s Here”, where the Orsi’s speak to each other in minimalistic distortion via electric guitar, electronics, and percussion. In a completely different direction is “”Blue Ink For Fountain Pens”, a drumless song that is moved along by a guitar bathed in reverb, a wall of keyboards, and a nice moving melody that would fit on anything from Weather Channel incidental music to something you’d hear on a Travel Channel documentary. The aptly titled “Twirling Guitars and Glad Tambourines” sounds like something you’d catch a group of people playing at a folk festival, where you’ll want to pick up whatever you can find nearby and play along with them. It sounds like something you’d hear and play at sunset or sunrise, with Karen’s guitar work coming off as if either scaring the spirits away or bringing them in to dance.
This is perfect mind music, and while I don’t smoke, I can only imagine what this would sound like while stoned. Each song may not have a cohesive meaning, but as individual pieces they come off like pages from a sacred musical diary. Either they are songs looking for personal definition, or it’s the listener who will find comfort in the warmth of these songs, most likely a combination of both. If I was in the position of being a music supervisor or executive producer for a film, I would definitely get Knitting By Twlight for the project.