Guest Blog: soundtrack spotlight - Midsommar

This week’s soundtrack spotlight goes to Midsommar. The score to the film is expertly delivered by Stranger Things composer Bobby Krlic also known by his stage name Haxan Cloak. 
The film starts with a very minimal score, starting with a few plucked strings, then begins the discordant droning strings for the scene in which Dani’s family are found dead, building to an intense crescendo that mirrors Dani’s crying. This successfully creates an atmosphere of overwhelming despair. This bleak opening sets the tone for the rest of the soundtrack and narrative.
Most of the film is then bereft of musical accompaniment until a brief use of music at the end of the mushroom tripping scene when Dani’s trip starts to go bad.
Mellow repetitive music is used when the group first enters Midsommar, set as ambient relaxation music but even this puts the viewer on edge, due to the quick repetitive nature of the melody creating a sense of unease.
Contrasting from the general tension filled drones is a gentle whimsical melody that plays when the group is being shown round the sleeping barn.
The minimalist restraint of the soundtrack with long periods of silence is used to great effect to make the pieces of music much more effective, a good example of this is the silence during the meal and then when everyone gathers at the rock face for the ceremony the drone begins to crescendo again before cutting out entirely at the climax of the scene, leaving the characters screaming against the now very pronounced silence.
The music takes a more melodic turn during the final scenes, with the discordant drone underneath until the sacred building is in full flame at which point the drone takes over.
This soundtrack is a perfect example of the minimalist technique being used with discordant drones to really embody a sense of dread, I urge everyone to give this film a good listen.

INTERVIEW: Annie Knox talks about her debut novella and all things horror

PH - I had the pleasure of asking actor, writer and director Annie Knox some questions about her debut novella, and her love of the genre. Below is the interview in full, enjoy!

Please tell us a bit about yourself and your relationship with the genre?

AK - So I’ve always loved horror a lot- even as a kid I absolutely loved ghost stories- but as I got older I think I started to use horror and other genres (psychological dramas, thrillers, stories with dark themes) as a way to explore the world and my relationship with it. I’m a huge fan of authors such as Stephen King, who don’t just write scary ghost stories but who explore the humans and the characters and look at both the darkness and the light in the situations they create. 

I also love horror movies as well as books, and I love to work with dark scripts, both as a writer and an actress. They’re so much fun to explore and they really make you push yourself to the extreme and they help you to find some really deep and hidden parts of yourself. 

There’s just something really captivating in fear I suppose! 

PH - What was your introduction to the horror genre?

AK - Book wise definitely Stephen King- the first one I read was ‘Salem’s Lot’ and it remains a firm favourite, and then I remember reading David Gatwards ‘The Dead’ trilogy, and then ‘The Shining’. Movie wise I started off on ‘What Lies Beneath’ and then the original ‘Halloween’. 

PH - Where do you get your inspiration?

AK - So many random places! Sometimes it just happens, like I’ll be walking down the road and see a pigeon and my brain will be like imagine catching and eating that (which is especially weird because I’m a vegan), and then two minutes later into walking I’ll be imagining some dystopian, post-nuclear war future where mutant pigeon cannibals rule the world. I can’t explain why that happens in my head haha!

Sometimes it’s simpler- things I see or hear that just spark an idea. Sometimes thinking about things I could have done in certain situations or the impact certain situations have had on me. 

PH - Who are some of your favourite people working in the genre at the moment (both in the book world and in film)?

AK - Film- from the people I’ve worked with, some I would definitely call out are Andre Harrison (Ocular Noir Films) for originality with his amazing ideas! I’m a huge fan of Mycho films and both their horrorverse and their work ethic. And myself of course, haha! Bookwise- there are so many gems but David Wong is a massive stand out for me (John Dies at the End, Don’t Touch this Book it’s Full of Spiders). 

 PH - Please tell us a bit about your new novella?

AK - Dimension is something I’ve worked on for years and years and years now! I had this nightmare when I was really young where my bathtub floor opened up and I fell through with all the water into this weird haunted house. A bunch of my friends from primary school were there too, and the walls were covered in roots and vines that came to life and started to trap and suck everyone into the walls one by one. There were pumpkins everywhere (something that doesn’t feature in the book haha!) and I couldn’t find my way out and the plants kept grabbing at me. I always remember it because it freaked me out so much. At the very end, I think just before I woke up, I’d somehow gotten out and I was climbing up this hill opposite the house to try and get away, and when I turned back I could see people watching me from the porch on the front of the house. 

Anyway, that was the birth of Dimension, which became a short story, and then over the years I would randomly find it and rewrite it. I actually had a draft of it when I was about sixteen that I entered into an anthology competition and the host got back to me to tell me he loved the story but it just didn’t quite fit, and so I got upset and hid it away again. And then a few years later rewrote it again, and then over and over. Last year I subbed it to like forty agents and publishers and got rejections from everyone who replied. And then in the end I thought even if it’s not good enough to publish traditionally, I can’t hold this to myself for the rest of my life because I worked so hard on it and I’m really proud of it and what I put into it personally, so I got my friend Ben to do the amazing cover art and just put it out there. I hope everyone likes it because it feels like it’s such a big chunk of me at this point haha! So many random little influences from my life growing up went into it as I revisited it over the years. 

PH - And are there any other projects you're involved with at the moment that you'd like to talk about?

AK - You know sadly pretty much everything I had planned has fallen victim of the #coronacancel. It’s a bummer because I had one of my busiest ever months as an actress prepped to go!! But I’m making the best of it and working on a Covid19 themed anthology with my friend Dare Emmanuel, which we hope to release next week. I’ve got about 18 other book ideas I’ve been meaning to work on since then so it’s a challenge to see how much I can get done in that time! I hope everyone enjoys the book and stays safe.

PH - Dimension is released on the kindle store today 27/03/2020 so go ahead and pick it up.

Thank you again to Annie Knox for being the first Positively Horror interview.

Below is a list of links to Annie's work to check out:

Annie's showreel:
https://vimeo.com/395231716
Debut novella Dimenion:
https://www.amazon.co.uk/dp/B0868X185B/ref=cm_sw_r_apa_i_XJCFEbMG3VPJ9
Cat and Mouse short film written and directed by Annie:
https://youtu.be/85L2gjSe4tY
Pandamonium from Mycho Entertainment featuring Annie:
https://www.amazon.co.uk/dp/B07ZW8N3BQ/ref=cm_sw_r_apa_i_5VCFEbAF3DN3F

The 90s slasher revival

Though there were some early nineties films that hit big in the slasher sub-genre, like Candyman, the nineties slasher revival didn't start until the release of Scream.

After Scream, and then I Know What You Did Last Summer, the slasher revival snowballed, with a handful of low budget indie releases to every big budget release. Film companies like Film2000 were pushing out plenty of the low budget slashers, and there is a treasure trove to be found down that rabbit hole.

My upbringing in horror was during the nineties and I jumped with both feet into the slasher genre. Sarah Michelle Gellar was one of my favourite actors because of Buffy, so getting to see her in slasher flicks like I Know, and Scream 2 was a joy.

The slasher formula is certainly well used, and not many slasher filmmakers at the time were out to break the mould, but there is always so much fun to be had with a cool villain and a gory body count.

As the 2000s got underway the slashers started to slowly lose popularity and ultimately with the rebirth of the zombie film fell off the radar.

There are still great slashers being put out today, mostly indie films, but with the occasional big budget theatrical release too. Just check out the work of Mycho Entertainment to see that the sub-genre is still alive and kicking!

Guest blog: soundtrack spotlight - Phenomena

This week’s Soundtrack spotlight goes to the classic Dario Argento film; Phenomena.
A lot of the 70s and 80s Giallo and Italian horror films and certainly a lot of Dario Argento films have a signature progressive electronic sound, the reason for this is Claudio Simonetti's Goblin.
Goblin is an Italian prog rock band that are responsible for many of the soundtracks from the Italian Giallo and horror genres, with Claudio Simonetti having a close working relationship with Dario Argento and working on many of his films, including all instalments of the Three Mothers trilogy.
Some suggest that Phenomena was Argento's attempt to blend his Giallo and horror styles together which makes it a perfect introduction and example of the musical techniques employed in these films.
The opening credits gives is the first taste of that signature synth sound.
Some other great moments in the soundtrack is during Jennifer’s first sleepwalking scene leading up to the second death, Be the second sleepwalking scene, beginning in the same way as the first and then becoming a much more percussive rock sounding piece when Jennifer is following the firefly.
Completely contrasting from this is the very minimal bass pulsing during the scene in which professor McGregor gives Jennifer the sarcophaga fly, and the single tone drone during professor McGregor's death.
The minimalist drone style also creates really great tension during the scene in Frau Bruckner's house.
Once you have checked out this great movie you will be ready to jump into others from the genre!
All in all, Dario Argento films are worth a dive, and indeed so is Claudio Simonetti’s Goblin who often play their soundtracks live at film screenings.

#twinning: an appreciation of the Soska sisters.

The Soska sisters came onto the scene with their low-budget indie grindhouse film Dead Hooker in a Trunk. This film showed their passion for the genre and their unabashed determination in their endeavor to be film makers. When watching dead hooker in a trunk you can see the heart in it and it's a hell of a fun ride.

Fast forward a few years and the twins unleash their next feature on the world. This time, a body horror called American Mary, that soon became a modern cult classic. This film will be talked about for years to come and has cemented the Soska sisters as essential names in horror.

The sisters have also released some great, action packed films through WWE, including the slasher sequel 'See No Evil 2' and the brutal revenge film 'Vendetta'.

Last year the Jen and Sylvia took on the task of remaking the Cronenberg classic Rabid. Their version is a magnificent modernization with style, substance and bags of gore!

Add to their feature filmography a host of shorts and comic book work both with marvel and on their own and you've got plenty of twisted twins goodness to keep you going.

The online presence that the sisters have must be mentioned here too. They hold a blood drive PSA every year during women in horror month, showcasing great shorts.  They are wonderfully accommodating with their fans on social media, taking the time to converse with people all over the world, and they stand up for what they believe in and are very outspoken about it, not shying away from difficult topics that they feel strongly about.

To finish, I'd just like to say that Jen and Sylvia Soska are also an absolute pleasure to meet in person. I was lucky enough to meet them at a screening of Rabid last year, and not only do they take their time with all of their fans to give a wonderful memory of the meeting, they are genuinely excited and enthusiastic to be meeting with the people that appreciate their work and all they do.

I look forward to all the amazing things that the twisted twins will bring to the genre in the future!

Guest blog: soundtrack spotlight - Ring

This week’s soundtrack spotlight is not only one my favourite horror films but one of my favourite soundtracks out of any genre.  The score is composed by  prolific anime composer Kenji Kawai, who has many titles under his belt including the original Ghost in the Shell and it’s sequels and even the live action remake.
Kawai's score is minimal, discordant and perfect for building tension. The minimalist techniques can be heard from the very onset of the film with the strings on the opening credits.
Good examples of the music building tension are when Yoichi walks upstairs at the funeral and the Crescendo When Reiko spots the tape on the shelf at the hotel, leading into Reiko watching it and we hear the Music on the video itself.
As the film progresses parts of the soundtrack take on a more rhythmic, percussive synth effect, beginning when Reiko and Ryuji are studying the video together, and when they are searching for Sadoko's body.
The highlight of the soundtrack is the scene in which Sadako climbs out of her well and crawls out of Ryuji's TV, the suspense is incredible.
Every horror fan should give this film another watch and give the soundtrack the attention it deserves.

Into every generation...

This week marked twenty three years since Buffy the Vampire Slayer first graced our screens. As well as being a hell of a lot of fun, the show made groundbreaking strides in television and dealt with some heavy subject matter throughout its run.

After the original film, which is a wonderful comedy horror, Joss Whedon wasn't finished with the concept and a few years later took it to the small screen. Thank goodness he did because the show is highly regarded by many, myself included, as the best show to ever air on television. 

Because of the episodic layout of the show with an overlaying arc that gets revisited throughout the season, it is infinitely rewatchable, and as an audience we can get different things from it on every rewatch. 

I first started watching at ten years old and so, growing up with the show over the years, I have been able to pick things up from it from the points of view of all the characters. When I was younger I could put my self in the position of the school going monster fighters, and now, as an adult and parent I can see things more clearly from the point of view of the adults in the show.

In conclusion,  don't you think it's time you gave Buffy another watch? 

Guest blog: Soundtrack Spotlight - Hellraiser II

This week’s soundtrack spotlight is Hellbound: Hellraiser II.  Christopher Young, composer of the first Hellraiser, returned with a bigger sound to represent a visually bigger film.  With the first film dealing with cenobites from hell being granted access to our world, the second film allows the characters to visit the hell from which the cenobites originate.  Christopher Young’s score takes on this transition perfectly.
A striking visual of the hospital paired with the full orchestral crescendo makes a powerful and immersive scene.  Another shining point of the soundtrack is the slightly atonal circus music used during Tiffany’s nightmare which really helps to capture the chilling and ethereal disjointed nature of the scene.
The monolith Leviathan that resides in the centre of the labyrinth of hell also has an immense horn sound which includes the Morse code for 'God'.
Christopher Young is a prolific horror composer with some other awesome titles to his credit including A Nightmare on Elm Street 2: Freddy’s Revenge, The Exorcism of Emily Rose, Drag me to Hell and the fantastic soundtrack to Sinister and many others, so if you haven’t checked out his work, it’s certainly worth a listen.

Spooky fun for all the family.

There is something wonderful about sitting down with a nice, safe, spooky but not scary,  family friendly horror film. The kind of film that deals with horror themes, but in a non-threatening way.

It has been said in the past that horror is not a family genre, and that these kinds of film cannot be classed as such, but I disagree. A film like monster house has as much right to be celebrated in the genre as a gory slasher flick.

Hotel Transylvania and Hocus Pocus can be great introductions to the genre for young children, and as adults we can get plenty from them too. It is heartwarming to see our youngsters getting into the misadventures of icons like Dracula, and the Wolfman, and they are well made, funny films.

What is considered a family friendly film differs from country to country. In the USA films like poltergeist are classed as family friendly, but in the UK the film has an age rating of 15. And gremlins started life as a 15 in the UK, but these days has a PG rating.

Over the years, even 18 or R rated films have been marketed to younger audiences with animated series of the films being made. Tales from the cryptkeeper, the toxic crusaders and so on are all based on adult films, but the cartoons are a lot of fun for everyone to enjoy.

Sometimes it's nice to stay within the genre that we love, but enjoy something completely light hearted and tame, and there is nothing wrong with that. There is a time and place for films like martyrs, but when you're not feeling like taking on that much there is always the option to kick back with the Munsters!