Electronically produced sound has been available to adventurous film composers since the silent era. Among the earliest electronic instruments were the Ondes-Martenot (invented in 1928), which produced a characteristic quivering sound by varying the frequency of oscillation in an array of vacuum tubes, and the trautonium (1930), a monophonic synthesizer-like instrument in which sound generation was based on neon tubes and modulated by the action of fingers on a metal resistor wire.
Later, the clavioline (1947) was the first electronic keyboard instrument to reach a mass market, boasting a five-octave range derived from a single tone generator; its rich buzzy timbre can be heard on Joe Meek’s classic single “Telstar” (1962) and the work of jazz maverick Sun Ra.
Among the more obscure instruments, the ANS synthesizer (1937) was perhaps the most unusual: created by Russian engineer Evgeny Murzin, it modified sine waves photo-electronically by means of five glass discs, through which light shines as the player scratches patterns on an outer surface coated with non-drying black mastic. It can be heard on Edward Artemiev’s score for Andrei Tarkovsky’s sublime Solaris (1972) and the Coil album “ANS” (2004).
The earliest and best known of these pioneering instruments is the theremin (developed in 1920), which produces a distinctively eerie tone shifting up and down in pitch according to the position of the operator’s hands in relation to a pair of magnetised antennae. It made its soundtrack debut in a 1931 Soviet film called Odna (“Alone”), for a sequence in which a woman gets lost in a furious snowstorm.
Miklós Rózsa was the first film composer to use the theremin in the West, in the otherwise orchestral scores for Alfred Hitchcock’s psychological thriller Spellbound (1945) and Billy Wilder’s drama about alcoholism Lost Weekend (1945).
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The theremin also turned up in Robert Siodmak’s The Spiral Staircase (1946) and was incorporated by composer Ferde Grofé into Kurt Neumann’s Rocketship X-M (1950), after which it became strongly associated with science fiction, thanks to Bernard Herrmann’s influential score for Robert Wise’s classic The Day the Earth Stood Still (1951) which involved the use of both treble and bass theremins.
The same year, Dimitri Tiomkin added theremin to his score for Howard Hawks’ The Thing from Another World (1951), which could be said to mark the first use of electronic sound in a horror movie.
The first film to boast a completely electronic score was Forbidden Planet (1956), featuring sounds created by husband and wife team Louis and Bebe Barron, the latter a student of American avant-garde composer Henry Cowell. During 1952-53 the Barrons worked with John Cage as engineers on his first tape work “Williams Mix”, a four and a half minute piece which took over a year to complete.
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In 1956, having realised the limited commercial potential of avant-garde composition, they put feelers out to Hollywood and were commissioned to produce twenty minutes of sound effects for Forbidden Planet. When the producers heard the astonishing results they signed the couple up for the whole score. Using a variety of home-built electronic circuits, principally a ‘ring modulator’, the Barrons further manipulated the results by adding reverberation, delay and tape effects. Such was the sheer novelty of their work that, at an early preview of the movie, the audience applauded the sound of the spaceship landing on Altair IV.
Forbidden Planet – spaceship landing:
Alfred Hitchcock turned to electronic sound again in 1963, for his innovative horror film The Birds. This time he decided to dispense with an orchestral score altogether and opted for Oskar Sala’s ‘Mixtur-Trautonium’ to create synthetic birdcalls, along with an abstract electronic soundtrack by Sala and Remi Gassmann.
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Sala also provided an extraordinary trautonium score to Harald Reinl’s 1963 West-German horror-thriller Der Würger von Schloß Blackmoor aka The Strangler of Blackmoor Castle.
Distinguished by complex harmonic arrangements of pure electronic sound, and some striking approximations of brass and woodwind, Sala’s music for this better-than-average ‘krimi’ deserves more attention – a twelve-minute suite from the film can be found on the Oskar Sala compilation CD “Subharmonische Mixturen”.
In the mid-1960s, American physics graduate and electrical engineer Doctor Robert Moog unveiled an invention that was to revolutionise the field. The first commercially available ‘synthesizer’ as the term is understood today, the ‘Moog’ was smaller, cheaper and far more reliable than previous examples. Before this the only synthesizers in existence were enormous, unwieldy, custom-built machines like the RCA Mark II Sound Synthesizer, installed at Columbia University in 1957.
Robert Moog, with the assistance of New York recording engineer Wendy (at the time ‘Walter’) Carlos, launched his first production model – the 900 series – in 1967, with a free demonstration record composed, recorded and produced by Carlos herself. (She created an even greater sensation in 1968 with “Switched on Bach”, an album of synthesized Johann Sebastian Bach pieces, and went on to record music for Stanley Kubrick’s A Clockwork Orange and The Shining).
1968 was the year in which George A. Romero’s Night of the Living Dead was unleashed upon unsuspecting audiences. And at the heart of this seminal modern horror film, electronic sound is deployed to suggest unutterable horror: when would-be heroic young couple Tom and Judy are killed, and zombies attack in graphic detail, a deep, distorted oscillator drenched in white noise and reverb underlines the severity of the scene and amplifies the taboo-busting power.
The rest of the score consists of library orchestral tracks, sometimes slathered in echo to add a hallucinatory edge; only this one key scene utilizes pure electronics. It’s an artistic decision that would reverberate through the genre for years to come, setting the seal on the synthesizer as the instrument of choice for representing abject physical horror.
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Meanwhile, synthesizers were rapidly finding a place in rock music. San-Francisco based musicians Paul Beaver and Bernie Krause set up a booth at the Monterey Pop Festival in June 1967 to demonstrate the Moog and soon found themselves in demand for studio session work, leading to a recording contract with Warner Brothers and a commission to provide electronic music for Donald Cammell and Nicolas Roeg’s psychedelic masterpiece Performance (1970). During the production of Performance, Mick Jagger recorded a Moog score for Kenneth Anger’s 11-minute short Invocation of my Demon Brother (1969); the giant Moog synthesizer seen in the Roeg/Cammell film is the one he used.
Mick Jagger (and Moog) in this rare promo film for Performance:
Keith Emerson of prog-rockers Emerson, Lake and Palmer was another early customer; his personal feedback and consultation helped Roberg Moog to refine the instrument and probably paved the way for the Minimoog, a monophonic three-oscillator keyboard synthesizer launched in 1970. Portable and relatively affordable, it was popular with touring rock bands and soon found its way into recording studios used by film composers, thus becoming one of the first synths to feature on low budget movie scores.
A synth highlight from Keith Emerson’s score for Dario Argento’s Inferno (1980):
Prominent among the ‘early adopters’ to make a mark on the genre in the 1970s was Phillan Bishop, whose bleep-and-bloop approach lent avant-garde menace to Thomas Alderman’s The Severed Arm, Willard Huyck and Gloria Katz’s Messiah of Evil and Chris Munger’s Kiss of the Tarantula.
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The Severed Arm, featuring music by Phillan Bishop
Carl Zittrer also deserves a mention; he went free-form crazy on Children Shouldn’t Play with Dead Things and then cohered a little for the superior Deathdream, both for director Bob Clark.
By now a pattern was beginning to emerge; synthesizers signified madness, extreme situations, encroaching terror, and the chilly derangement of the psychopath. All of these elements come together in the score to The Last House on the Left, an assortment of country bluegrass tunes augmented by crude but effective electronics (from a Moog and an ARP 2600), played by Steve Chapin and the film’s lead psycho, musician-turned-actor David Hess.
In 1973, Robert Moog associate David Borden was commissioned to record the soundtrack to William Friedkin’s soon-to-be smash The Exorcist. As it turned out, only a minute of his work was used, with Friedkin instead making the inspired if seemingly unlikely choice of Mike Oldfield’s progressive rock epic “Tubular Bells”.
The enormous success of The Exorcist, and the impact of “Tubular Bells”, echoed through the film scores of the 1970s, and with synthesizers now part of the furniture in many a recording studio and film post-production suite, an explosion of electronic sound pulsated through the horror genre.
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In fact, not only Mike Oldfield but progressive rock as a whole was a driving force in pushing synthesizers to the forefront of 1970s film composition; bands like Yes, Genesis, Van Der Graaf Generator, King Crimson and Emerson, Lake and Palmer deployed electric organs, Minimoogs and towering stacks of ARP and Buchla technology, and this would inspire an Italian band which was to become one of the foremost exponents of electronics in film scoring: Goblin.
Goblin lent innovative jazz-rock stylings to Dario Argento’s brutal, beautiful Deep Red (Profondo rosso, 1975), but really hit the musical motherlode on their second Argento collaboration, Suspiria (1977), a tumultuous score built around a circling melody that drags “Tubular Bells” into a cackling synthesized whirlwind.
Their exciting, arpeggiator-driven scores for Luigi Cozzi’s grisly but loveable alien invasion flick Contamination and Joe D’Amato’s sleazy gross-out Beyond the Darkness considerably enhance the films, while the influence of disco (more on that later) supercharges their contribution to Argento’s masterpiece Tenebrae (only three members of Goblin play on this recording, hence the film’s ‘bit-of-a-mouthful’ credit to “Simonetti-Morante-Pignatelli”).
The advent of ever more affordable synthesizers locked step with the rise of the slasher movie, and the two proved a match made in low-budget heaven. In 1978, John Carpenter was putting the finishing touches to his third feature, Halloween.
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There was no way he could afford an orchestral score, but he was a dab hand with a synth – as his previous film Assault on Precinct 13 had shown – so he elected to write and perform the music himself.
The result helped a simple slasher film to become one of the biggest independent hits of the 1970s. For the main theme, Carpenter employed an insistent metronomic pulse, but with a twist; the piano taps out five beats to the bar (shades of prog-rock again). Meanwhile, the synthesizer provides a rapid ‘ticker-ticker-ticker-ticker’ in the background, creating a jittery sense of things moving at the periphery of your attention, perfectly in keeping with Carpenter’s menacing widescreen framing.
The template set by Halloween would sustain many of Carpenter’s future films, The Fog being an especially wonderful example:
It would inspire a new generation of soundtrack composers; in particular, Fred Myrow and Malcolm Seagrave, whose breathtakingly inventive score for Phantasm (1978) drew on avant-garde electronics, progressive rock, Carpenter-style repetition, and even disco (an influential musical form when it comes to movie soundtracks, and one whose leading lights embraced the synthesizer wholeheartedly).
Tim Krog’s score for another surprise low-budget horror hit, Ulli Lommel’s The Boogey Man (1980), also deserves mention for its lush melancholic synth arrangements.
Videodrome (1983) saw Canadian director David Cronenberg’s resident composer, Howard Shore, using a new computer instrument called the Synclavier to blur the line between synthetic orchestrations and a real string section. The resulting ambiguity mirrored the film’s unsettling philosophical core: were the characters having real experiences or hallucinations; were the instruments real, or artificial?
As the 1980s got underway, the sampler emerged as the big new concept in musical composition, and the post-modern fallout of sampling has persisted ever since. One could argue that synthesizers were historicised by the advent of sampling, and it’s difficult now to escape a sense of nostalgia or deliberate quotation of the past when using the classic Moogs or ARPs on record.
However, as more recent films such as Under the Skin (2014) have shown, electronic sound synthesis, whether based in sampling and software manipulation or ‘traditional’ synthesizer programming, continues to offer creative support to the extreme visions of horror and fantasy filmmakers.
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Filmography:
The following is a selected list of significant horror or horror-related film soundtracks featuring synthesizers either exclusively or prominently. The relevant composer is noted alongside.
Clearly, there are many, many more low budget productions that utilise a synth score. If you feel a particular soundtrack has merit, email us, or add a comment below.
1958:
Devil’s Partner – Ronald Stein (two scenes)
The Bloody Vampire (Mexico) – Luis Hernández Bretón
1963:
The Horror of Party Beach – Wilford L. Holcombe (underwater scenes)
1964:
The Gorgon (UK) – James Bernard (Hammond Novachord)
1967:
The Sorcerers (UK) – Paul Ferris
1968:
Behind Locked Doors aka Any Body… Any Way (USA) – Harvey R. Kugler
1969:
Troika – David Johnson, Fredrick Hobbs
1970:
I Drink Your Blood – Clay Pitts
Mark of the Witch – Whitey Thomas
1971:
Endless Night – Bernard Herrmann (Moog synthesizer for main theme)
Let’s Scare Jessica to Death – Orville Stoeber
1972:
Children Shouldn’t Play with Dead Things – Carl Zittrer
Deathdream aka Dead of Night – Carl Zittrer
The Last House on the Left – Steve Chapin & David Hess
Season of the Witch – Steve Gorn
The Severed Arm – Phillan Bishop
Sisters – Bernard Herrmann (Moog synthesizer for main theme)
1973:
The Legend of Hell House – Delia Derbyshire and Brian Hodgson of Electrophon Ltd
Messiah of Evil – Phillan Bishop
1974:
Beyond the Door – Franco Micalizzi (opening scene)
Black Christmas – Carl Zittrer
Corpse Eaters – uncredited
Deranged – Carl Zittrer
The Devil’s Possessed – Carlos Viziello
Help Me… I’m Possessed! – uncredited
Killdozer – Gil Melle
Legacy of Satan – Arlon Ober, Mel Zelniker
Phase IV – Brian Gascoigne
The Reincarnation of Peter Proud – Jerry Goldsmith
Satan’s Children – Ray Fletcher
Seizure – Lee Gagnon (part-synth)
1975:
Alucarda aka Sisters of Satan – Anthony Guefen
Deep Red – Goblin
Demon Witch Child – Victor y Diego
The Keeper – Eric Hoyt
Kiss of the Tarantula – Phillan Bishop
1976:
The Alien Factor – Kenneth Walker
The Astral Factor (part-synth) – Richard Hieronymous
Dark August – William Fischer
The Demon Lover – Don Gutz, Jerry Skolasinski
Death Trap aka Eaten Alive – Wayne Bell, Tobe Hooper
Drive In Massacre – uncredited
The Redeemer – Philip Gallo, Clem Vicari
Savage Weekend – Dov Seltzer
Werewolf Woman – Coriolano Gori
1977:
Cathy’s Curse – Didier Vasseur
The Child – Michael Quatro
Full Circle (partly synth score) – Colin Towns
Haunts – Pino Donaggio
Prey – Ivor Slaney
7 Notes in Black aka The Psychic – Bixio, Frizzi, Tempera
Shock Waves – Richard Einhorn
Suspiria – Goblin
Shock – I Libra
1978:
Barracuda (The Lucifer Project) – Klaus Schulze
Blue Sunshine – Charles Gross
Halloween – John Carpenter
Phantasm – Fred Myrow and Malcolm Seagrave
Dawn of the Dead – Goblin
Jennifer – Porter Jordan
Terror – Ivor Slaney
Vampire Hookers – Jaime Mendoza-Nava
1979:
Beyond the Darkness aka Blue Holocaust – Goblin
The Driller Killer – Joe Delia
Don’t Go in the House – Richard Einhorn
Forest of Fear aka Bloodeaters – Ted Shapiro
Satanwar – William Kueker
Zombie Flesh Eaters – Fabio Frizzi
Terror Express! – Marcello Giombini
1980:
Anthropophagus – Marcello Giombini
The Beast in Space – Marcello Giombini
The Being – Don Preston
Blood Beach – Gil Melle (part-synth)
The Boogey Man – Tim Krog
Burial Ground aka Nights of Terror – Berto Pisano
Cannibal Holocaust – Riz Ortolani
City of the Living Dead – Fabio Frizzi
Contamination – Goblin
Death Ship – Ivor Slaney
Don’t Go in the Woods – H. Kingsley Thurber
Fiend – Paul Woznicki
The Fog – John Carpenter
Maniac – Jay Chattaway
Mother’s Day – Phil Gallo & Clem Vicari Jr
Patrick Still Lives – Berto Pisano
The Shining – Wendy Carlos and Rachel Elkind
To All a Goodnight – Richard Tufo
Zombie Holocaust – Nico Fidenco [Doctor Butcher M.D. version – Walter Sear]
Zombie Lake – Daniel White
1981:
Absurd – Carlo Mario Cordio
The Beyond – Fabio Frizzi
Bloody Moon – Gerhard Heinz
The Burning – Rick Wakeman
Cannibal Ferox – Robarto Donati
Dark Night of the Scarecrow – Glenn Paxton
Final Exam – Gary Scott
The Forest (part-synth) – Richard Hieronymus
Galaxy of Terror – Barry Schrader
Hell Night – Dan Wyman
The House by the Cemetery – Walter Rizzati
Humongous – John Mills-Cockell
Inseminoid – John Scott
Just Before Dawn – Brad Fiedel
Lady, Stay Dead – Bob Young
The Nesting – Jack Malken, George Kim Scholes
Night School – Brad Fiedel
Possession – Andrzej Korzynski
Scanners – Howard Shore
Strange Behavior aka Dead Kids – Tangerine Dream
1982:
Android – Don Preston
Blood Song – Rob Walsh
The Deadly Spawn – Paul Cornell, Michael Perilstein, Kenneth Walker
BoardingHouse – ‘Teeth’
Cat People – Giorgio Moroder
Creepshow – John Harrison
The Entity – Charles Bernstein
Evilspeak – Roger Kellaway
Forbidden World – Susan Justin
Honeymoon Horror – Ron Di Iulio
Manhattan Baby – Fabio Frizzi
Mongrel – Ed Guinn
Next of Kin – Klaus Schulze
Nightbeast – Rob Walsh, Jeffrey Abrams
Slumber Party Massacre – Ralph Jones
Tenebrae – Simonetti-Morante-Pignatelli
The Thing – Ennio Morricone, John Carpenter, Alan Howarth
The Sinister Doctor Orloff – Jess Franco [as ‘Pablo Villa’]
Turkey Shoot – Brian May
Unhinged – Jonathan Newton
1983
Angst aka Schizophenia – Klaus Schulze
Attack of the Beast Creatures aka Hell Island – John P. Moxey
The Devonsville Terror – Ray Colcord
Eyes of Fire – Brad Fiedel
Fatal Games – Shuki Levy
Friday the 13th Part III – Harry Manfredini and Michael Zager
Halloween III: Season of the Witch – John Carpenter
The Keep – Tangerine Dream
Mountaintop Motel Massacre – Ron Di Iulio
Sledgehammer – Ted Prior, Marc Adams, Philip G. Slate
Spasms – Tangerine Dream
Videodrome – Howard Shore
Xtro – Harry Bromley Davenport
1984:
Children of the Corn – Jonathan Elias
The Dark Side of Midnight aka The Creeper – Doug Holroyd
Don’t Open Till Christmas – Des Dolan
The Jar – Obscure Size
Monster Shark – Fabio Frizzi
Murder-rock: Dancing Death – Keith Emerson
A Nightmare on Elm Street – Charles Bernstein
Rats: Nights of Terror – Luigi Caccarelli
Razorback – Iva Davies
Runaway – Jerry Goldsmith
Sleepwalker – Phil Sawyer
The Terminator – Brad Fiedel
1985:
Blood Cult – Rod Slane
Confessions of a Serial Killer – William Penn
Cut & Run – Claudio Simonetti
Day of the Dead – John Harrison
Deadly Intruder – John McCauley
Evils of the Night – Robert O. Ragland
Fright Night – Brad Fiedel
Future-Kill – Robert Renfrow
The Galaxy Invader – Norman Noplock
Ghoulies – Richard Band
Girls School Screamers – John Hodian
Massacre in Dinosaur Valley – Claudio Simonetti
Nail Gun Massacre – Whitey Thomas
Nightmare Weekend – Martin Kershaw
Phenomena – Goblin
The Strangeness – David Michael Hillman, Chris Huntley
1986:
The Abomination – Kim Davis, Richard Davis and John Hudek
April Fool’s Day – Charles Bernstein
Blood Hook – Thomas A. Naunas
Body Count – Claudio Simonetti
Breeders – Don Great, Tom Milano
Chopping Mall – Chuck Cirino
Class of Nuke ‘Em High – Ethan Hurt
Combat Shock – Buddy Giovanazzo
Deadly Friend – Charles Bernstein
Evil in the Woods – Burt and Joe Wolff
“Geek”! aka Backwoods – Skeet Bushor
Gothic – Thomas Dolby
The Hitcher – Mark Isham
Night of the Creeps – Barry DeVorzon
Revenge – Rod Slane
Revenge of the Living Dead Girls – Christopher Reid
The Ripper – Rod Slane
Spookies – Kenneth Higgins, James Calabrese
Tahkhana – Ajit Singh
TerrorVision – Richard Band
The Wind aka The Edge of Terror – Hans Zimmer, Stanley Myers
The Wraith – Michael Hoenig, J. Peter Robinson
1987:
Beaks: The Movie – Stelvio Cipriani
Blood Diner – Don Preston
Brain Damage – Clutch Reiser and Gus Russo
Creepshow 2 – Les Reed, Rick Wakeman
Demonwarp – Dan Slider
Epitaph – John Gonzalez
Killing Birds – Carlo Maria Cordio
Open House – Jim Studer
Psychos in Love – Carmine Capobianco
The Shaman – Richard Yakub
The Serpent and the Rainbow – Brad Fiedel
Sorority Babes in the Slimeball Bowl-O-Rama aka The Imp – Guy Moon
The Soultangler (USA) – Hypnolovewheel
Street Trash – Rick Ulfik
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Video Violence – Gordon Ovsiew
1988:
The Blob – Michael Hoenig
Curse of the Blue Lights – Randall Crissman
Fatal Pulse – Martin Mayo
Fright Night Part 2 – Brad Fiedel
Graverobbers – Katherine Quittner
The Hackers – David Christopher, Milly Duncan
Halloween 4: The Return of Michael Myers – Alan Howarth
Headhunter – Julian Laxton
Hollowgate – John Gonzalez
The House on Tombstone Hill aka Dead Dudes in the House – William B. Riffel
I Saw What You Did – Dana Kaproff
Iced – Dan Milner
Killer Klowns from Outer Space – John Massari
The Last Slumber Party – John Brennan, Danilo Bridgens
Lone Wolf – Jon Kull
Night of the Demons – Dennis Michael Tenney
A Nightmare on Elm Street 4 – Craig Safan, John Easdale
Not of This Earth – Chuck Cirino
Offerings – Russell D. Allen
Trapped Alive – Michael Mark
The Urge to Kill aka Attack of the Killer Computer – uncredited
Vampire in Venice – Luigi Ceccarelli
1989:
Beasties aka Bionaut – Darrell Devaurs
Dark Heritage – uncredited
Halloween 5: The Revenge of Michael Myers – Alan Howarth
The House of Usher – Gary Chang, George S. Clinton
MoonStalker – Douglas Pipes
Nightmare Beach – Claudio Simonetti
Skinned Alive – J.R. Bookwalter
1990:
Demon Wind – Bruce Wallenstein
Nightmare Concert (A Cat in the Brain) – Fabio Frizzi
Metamorphosis: The Alien Factor – John Gray
1991:
Intensive Care – Paul Natte
1992:
The Washing Machine – Claudio Simonetti
1993:
Demon Dolls – Killer Circus
1995:
The Dummy – Killer Circus
Halloween: The Curse of Michael Myers – Alan Howarth
1996:
The Dentist – Alan Howarth
1998:
The Dentist 2 – Alan Howarth
Psycho Santa – Steve Sessions
2004:
Saw – Charlie Clouser
2008:
Slaughtered (Australia) – Hook
2009:
All Hallows Eve – Jon McBride
2010:
Resident Evil: Afterlife – Tomandandy
2011:
Zombie Ass: Toilet of the Dead
2012:
Beyond the Black Rainbow – Norm Li
Night of the Living Dead: Resurrection – James Morrissey
Room 237 – Jonathan Snipes
2013:
LFO – Antonio Tublén
2014:
Let Us Prey – Steve Lynch
Starry Eyes – Jonathan Snipes
Excess Flesh – Jonathan Snipes
It Follows – Disasterpiece
Late Phases – Wojciech Golczewski
2015:
Bastard – Kyle Hnedak
Live-Evil – Shawn Lee
Secret Santa – Andre Becker
Sinister 2 – tomandandy
We Are Still Here – Wojciech Golczewski
2016:
The Barn – Jason English; Rocky Gray
Beyond the Gates – Wojciech Golczewski
The Belko Experiment – Tyler Bates
Fender Bender – Nightrunner
Inoperable – Jonathan Price
Let’s Be Evil – Julian Scherle
Sequence Break – Van Hughes
Shadows of the Dead – Wojciech Golczewski
She Wolf Rising – Tom Burns
Tonight She Comes – Wojciech Golczewski
2017:
Christmas Blood – Kim Berg
Death on Scenic Drive – Starsky Partridge
Game of Death – Julien Mineau
Housewife – Antoni Maiovvi
Ouija House – Jonathan Price
Shhhh – Umberto
Sick for Toys – David L. Small
2018:
1 Must Fall – Joe Stockton
Bloodline – Trevor Gureckis
The Campus – Darryl Blood
Exposure – Joshua Luttrell
Killer Kate! – John E. Hopkins
The Night Sitter – Rob Himebaugh
Trespassers aka Hell Is Where the Home Is – Jonathan Snipes
Winterskin – S.T.R.S.G.N and Europaweite Aussichten
Wretch – Joe Stockton
2019:
The Furies – Kirsten Axelholm and Kenneth Lampl
Pumpkins – Will Metheringham
The Last Laugh – Jon Bash
2020:
Archaon: The Halloween Summoning – David Joshua Adkins
Fear PHarm – Eros Cartechini, Sam Hallenbeck
I Am Lisa – Natalia Perez
Shadow in the Cloud – Mahuia Bridgman-Cooper
Vampire Virus – Matt Akers
Stephen Thrower, MOVIES and MANIA
Steve is the author of Beyond Terror: The Films of Lucio Fulci; Nightmare USA and both volumes of Murderous Passions: The Delirious Cinema of Jesus Franco and one half of experimental musical duo Cyclobe.
Extensive additions to filmography by Daz Lawrence and Adrian J Smith
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