Mixing “Mermaid Island”

15253496_10154546362535590_8174361638750836192_nWith a new year just around the corner, one thing I look forward to continue is my role as lead audio engineer on the conveyor belt of horror films by Mills Pictures. The first was psychological thriller “Alien Psychosis”, followed shortly after by  “Big Foot”, and now I finally get to sink my teeth into their latest flick about zombie mermaids.

Our Approach

While my colleague Thomas Beckman dives deep into the heart of the filmscore composition, I create a reel of music inspired by the scenes in the film. This ‘production music’  serves as customized repertoire for editing into the film score, augmenting the classical composition with zippy post-production, but it also goes into my personal catalogue… a win-win!

In this instance, Thomas recorded a harpsichord player in a large church, capturing select classics and an inspired off-the-cuff collection of demonic flurries. The latter provides ample transitional moments to edit into the film. The former contains the essential building blocks for much of the film’s music.

One Song’s Story

One of the harpsichord pieces was the hauntingly beautiful “Moonlight Sonata” by Beethoven. Although the melody’s in 6/8 time, I had the idea to chop sections of the piece into a 4/4 groove and then re-harmonize the arrangment to make different chord progressions. Next, I created an electrified heavy-metal backing with drums and guitars, along the lines of Evanescence. For a final touch, I called upon Thomas to deliver some crunchy string pulses. Aptly named “Bitchfishing”, this piece serves the penultimate scene in the film and I am proud to add it to my catalogue.

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