Two backwoods hicks discover a time machine in the woods. Instead of betting on sports or gaming the stock market, they use it to hunt each other. Repeatedly. The friends’ twisted game soon spirals out of control.

To match the story and visuals of this experimental mind-bender, director Tate Young and I wanted a score that was just as aggressive, strange, and terrifying.  To give it an utterly unique sound, I put strict parameters on my approach:

  • The score would be made of self-recorded “found sounds” and non-instruments
  • Conventional instruments could be used only if used in unconventional ways

  • No commercially available sounds or sampled instruments could be used

  • The nastier, uglier, and awful sounding - the better

I spent days recording power tools including reciprocating and circular saws, a disc sander, and a hammer drill, the sound of rosined fishing wire resonating the strings in my upright piano, used a violin bow to play pieces of metal I harvested from an old 1940 radio, made a pizza pan “gong” and plastic bin drums, and played, resonated, and otherwise abused all sorts of instruments, junk, and tools.  

The results were processed and the resulting score composed of these eerie, haunting, and often hideous sounds.

The whole adventure was captured by Tate, and is now a documentary that shows not only the strange process of scoring this film, but is also a look at the artistic process, the power of experimentation, and following your own vision down whatever path it leads.  The Music of Madness is coming soon to VOD.

"...understands how to extract what he needs from a director to understand the needs of the project..."

- Jonathan Robbins, Creator/Director