I've always had great luck finding music for our films.
Battle at Beaver Creek's score was created by myself from selections of Kevin MacLeod
Kevin MacLeod, if you don't already know, provides free music online for you to use in your films.
Thank you Kevin! Find him at incompetech.com
Battle at Beaver Creek did feature one fantastic original track by MoloKaii a rework of a Nine Inch Nails song, Demon Seed.
Check MoloKaii out here https://soundcloud.com/molokaii
Molokaii also provided the awesome theme to Deadlights, our series idea that went nowhere...
See it on our youtube page
Garf Garf was scored by Aaron Howe who goes by the name Feed Them Brains.
Feed Them Brains has a lot of material, albums x 6 I think. Aaron also gave me raw tracks of different "instruments" that I could use to build themes.
Feed Them Brains also gave us the soundtrack to the Bite, our first film.
Thanks Aaron, check out Feed Them Brains here https://soundcloud.com/feedthembrains
Aaron has waaaaay more stuff than is on his page, write him a note and demand some tracks!
Tell him Brian sent you...
ETS 400 was inspired by music. There was a moment in 2013 where two things happened that I smashed together:
1.) Choral composer Eric Whitacre released his cover of Depeche Mode's Enjoy the Silence, Mr. Whitacre offered up the song to genero.tv and I made a video for the contest, I think it should have won, but it is admittedly dark. See it here http://ge.ne.ro/watch-video/37103
2.) There was a brief "craze" of songs being slowed down a great amount, like 1000%, becoming these aural things, "something else." Choral pieces worked particularly well. I slowed Whitacre's Enjoy the Silence down 400 times, which leaves more "song structure," and plunked it over a new, moody, black and white edit of Garf Garf. ETS 400 It's a trip worth taking... on our youtube page.
Finally I come to today where I am listening to Ocean Grave by Beholding, aka Lukas Vanderlip. I've known Lukas for a few years now, shot films with him. He ran in the woods and died in a chair for me in The Dream is Ready but I never knew he was a musician, let alone a composer, producer, engineer and super genius.
I immediately fell in love with Ocean Grave and knew I had to have it for Beneath the Painted Surface. I am very pleased to announce officially that Beholding will provide a number of tracks from the album for our film. Asking was the easy part, but it turns out editing has been the fun part. The songs fit very well.
I think if the average listener heard a few snippets of each song on Ocean Grave they might say that the experience was, atmospheric, instrumental, experimental, classical, moody, maybe unusual, maybe dark. Sounds like perfect film music to me, but also more than that.
Admittedly, I have a penchant for noise, but I'm also a musician, I can appreciate a note for a note and a sound for a sound. Sometimes I drive my wife crazy listening to mountains of droning synths with some Himalayan throat singing or whatever. I'm all over the place.
With Beholding you get a bit of both. In Northward the opening track, it's obvious this isn't going to be an ordinary musical experience. Two (or is it three or four) piano's repeat a simple theme, but one of them is an out of tune, honky-tonk piano. These tracks fade in and out, right and left, becoming passengers on a rocky rowboat. Until they end, I presume because we have landed ashore.
My favourite track on Ocean Grave is featured in my add for Destanne Norris' Stellar Exhibition, currently showing at the Vernon Public Art Gallery, it is called Submerged. A man with giant hands plays big heavy piano cords, that echo and shimmer, but maybe as a whale would hear them. At first it seems like Vanderlip is not following a particular musical pattern, but he is and it is revealed beautifully. After it is revealed you'll hear it again and then you will join in loving it. The climax of the song sounds to me like a million voices singing out, over-processed pianos play a simple musical phrase, like the notes from Close Encounters of the Third Kind. It's breathtaking. If I had written Submerged, I would be very proud indeed. I have transcribed it, if anyone is interested...
But there are many interesting things on this album, I really look forward to revealing it to the world in Beneath the Painted Surface but you don't need to wait. Go here now and listen to Beholding https://beholding.bandcamp.com/
And thank you Lukas, not only for letting me use your music, but for creating it in the first place.
Battle at Beaver Creek's score was created by myself from selections of Kevin MacLeod
Kevin MacLeod, if you don't already know, provides free music online for you to use in your films.
Thank you Kevin! Find him at incompetech.com
Battle at Beaver Creek did feature one fantastic original track by MoloKaii a rework of a Nine Inch Nails song, Demon Seed.
Check MoloKaii out here https://soundcloud.com/molokaii
Molokaii also provided the awesome theme to Deadlights, our series idea that went nowhere...
See it on our youtube page
Garf Garf was scored by Aaron Howe who goes by the name Feed Them Brains.
Feed Them Brains has a lot of material, albums x 6 I think. Aaron also gave me raw tracks of different "instruments" that I could use to build themes.
Feed Them Brains also gave us the soundtrack to the Bite, our first film.
Thanks Aaron, check out Feed Them Brains here https://soundcloud.com/feedthembrains
Aaron has waaaaay more stuff than is on his page, write him a note and demand some tracks!
Tell him Brian sent you...
ETS 400 was inspired by music. There was a moment in 2013 where two things happened that I smashed together:
1.) Choral composer Eric Whitacre released his cover of Depeche Mode's Enjoy the Silence, Mr. Whitacre offered up the song to genero.tv and I made a video for the contest, I think it should have won, but it is admittedly dark. See it here http://ge.ne.ro/watch-video/37103
2.) There was a brief "craze" of songs being slowed down a great amount, like 1000%, becoming these aural things, "something else." Choral pieces worked particularly well. I slowed Whitacre's Enjoy the Silence down 400 times, which leaves more "song structure," and plunked it over a new, moody, black and white edit of Garf Garf. ETS 400 It's a trip worth taking... on our youtube page.
Finally I come to today where I am listening to Ocean Grave by Beholding, aka Lukas Vanderlip. I've known Lukas for a few years now, shot films with him. He ran in the woods and died in a chair for me in The Dream is Ready but I never knew he was a musician, let alone a composer, producer, engineer and super genius.
I immediately fell in love with Ocean Grave and knew I had to have it for Beneath the Painted Surface. I am very pleased to announce officially that Beholding will provide a number of tracks from the album for our film. Asking was the easy part, but it turns out editing has been the fun part. The songs fit very well.
I think if the average listener heard a few snippets of each song on Ocean Grave they might say that the experience was, atmospheric, instrumental, experimental, classical, moody, maybe unusual, maybe dark. Sounds like perfect film music to me, but also more than that.
Admittedly, I have a penchant for noise, but I'm also a musician, I can appreciate a note for a note and a sound for a sound. Sometimes I drive my wife crazy listening to mountains of droning synths with some Himalayan throat singing or whatever. I'm all over the place.
With Beholding you get a bit of both. In Northward the opening track, it's obvious this isn't going to be an ordinary musical experience. Two (or is it three or four) piano's repeat a simple theme, but one of them is an out of tune, honky-tonk piano. These tracks fade in and out, right and left, becoming passengers on a rocky rowboat. Until they end, I presume because we have landed ashore.
My favourite track on Ocean Grave is featured in my add for Destanne Norris' Stellar Exhibition, currently showing at the Vernon Public Art Gallery, it is called Submerged. A man with giant hands plays big heavy piano cords, that echo and shimmer, but maybe as a whale would hear them. At first it seems like Vanderlip is not following a particular musical pattern, but he is and it is revealed beautifully. After it is revealed you'll hear it again and then you will join in loving it. The climax of the song sounds to me like a million voices singing out, over-processed pianos play a simple musical phrase, like the notes from Close Encounters of the Third Kind. It's breathtaking. If I had written Submerged, I would be very proud indeed. I have transcribed it, if anyone is interested...But there are many interesting things on this album, I really look forward to revealing it to the world in Beneath the Painted Surface but you don't need to wait. Go here now and listen to Beholding https://beholding.bandcamp.com/
And thank you Lukas, not only for letting me use your music, but for creating it in the first place.
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