MusicByD4D

I am currently composing music for my next upcoming re-score concept soundtrack album - "Horror Re-scored 4: Terror Has No Shape". The movie chosen is The Blob (1988 remake). While it does cross over to the Sci-Fi genre from which I will also be selecting various movies to re-score, The Blob is a perfect gateway cross over movie as it is both Horror and Sci-Fi. This cue introduces some material that while on the surface sounds like urgent action music with some stingers, they are important motifs that represent both the blob itself and the twist that occurs just before the finale act of the film. The repeating rhythmic pattern on the violas will be heard consistently throughout the score and relates to the twist. The stabbing notes by the high strings relates to the "mystery" aspect of what is killing people throughout the first half of the story. The music as heard in these clips are not the final mixes but hopefully will provide enough interest for listeners to want more. I will offer more behind the scenes insights at a later date, for now just enjoy the music. MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe) #theblob1988 #theblobremake #rescoringmovies #horrorjunkie #scifi #actionmusic #horrormusic #sounddesign #d4dthecomposer #d4disgruntled #conceptsoundtrackalbum #newalbum #comingsoon

I am currently composing music for my next upcoming re-score concept soundtrack album - "Horror Re-scored 4: Terror Has No Shape". The movie chosen is The Blob (1988 remake). While it does cross over to the Sci-Fi genre from which I will also be selecting various movies to re-score, The Blob is a perfect gateway cross over movie as it is both Horror and Sci-Fi. This introduces a short motif that represents the emotional aspect of the narrative, something missing in the original score which focused solely on creating spooky atmospheres, suspense, chases and stingers. It has a bitter sweet yearning for something more in life for certain people feeling trapped in the small town as well as a slight ominous and foreboding tone that is hinting at horrible events that are about to unfold. The music as heard in these clips are not the final mixes but hopefully will provide enough interest for listeners to want more. I will offer more behind the scenes insights at a later date, for now just enjoy the music. MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe) #theblob1988 #theblobremake #rescoringmovies #horrorjunkie #scifi #actionmusic #horrormusic #sounddesign #d4dthecomposer #d4disgruntled #conceptsoundtrackalbum #newalbum #comingsoon

I am currently composing music for my next upcoming re-score concept soundtrack album - "Horror Re-scored 4: Terror Has No Shape". The movie chosen is The Blob (1988 remake). While it does cross over to the Sci-Fi genre from which I will also be selecting various movies to re-score, The Blob is a perfect gateway cross over movie as it is both Horror and Sci-Fi. This cue showcases the dark and atmospheric sonic soundscape associated with the blob itself. There are gurgling and growling sounds from the lower brass sections & synth sounds, various overlays of atonal string effects and synthetic droning sounds as well as echoing effects from various percussion instruments. There are the usual loud and harsh pounding stingers to punctuate certain dramatic moments as well. The music as heard in these clips are not the final mixes but hopefully will provide enough interest for listeners to want more. I will offer more behind the scenes insights at a later date, for now just enjoy the music. MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe) #theblob1988 #theblobremake #rescoringmovies #horrorjunkie #scifi #actionmusic #horrormusic #sounddesign #d4dthecomposer #d4disgruntled #conceptsoundtrackalbum #newalbum #comingsoon

pumpkinhead,stanwinston,supernaturalhorror,horrormovies,horrormoviemusic,soundtrack,rescore,alternatescore,filmcomposing,scoringmovies,neebieconposer,conceptsoundtrackalbum,soundtrackalbums,classichorror,d4disgruntled,d4dthecomposer,shorts

#shorts For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for the final climax of the film. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

#shorts For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for the final climax of the film. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for the sequence where the survivors find refuge in the ruins of a church. While there, they learn of the legend behind Pumpkinhead just before Pumpkinhead catches up with them. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

#shorts For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for the sequence where the remaining survivors learn they are marked for death. However, an unexpected intervention by the father who marked them tries to stop Pumkinhead to no avail. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

#shorts For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for the sequence where another victim of Pumpkinhead is shoved through a window and those inside watch helplessly. Moments later, one of them comes face to face with Pumpkinhead inside the cabin. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ======= MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for when all hell has broken loose. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for the birth of Pumpkinhead sequence. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for the scene where the father goes deep into the woods at night in search of something he has to dig up and take bak to the woman who will help him with his retribution. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for the scene where the father's neighbor refuses to assist in retribution for the death of his son. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for the scene where the father's son dies in his arms while trying to comfort him at home. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features music I created for the scene where the father's son gets fataly injured in a motocycle accident. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features more of the father son music developed into something more rhythmic and driving for the scene where they both open up the roadside market shop to start the buusiness day. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features heartfelt music I created for the scene that introduces the audience to the Father & Son characters early in the film. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features the music I created for the childhood memory sequence of the father's earliest encounter with a victim of Pumpkinhead. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features the music I created for the childhood memory sequence of the father's earliest encounter with a victim of Pumpkinhead. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

For this 3rd re-score project, I composed a complete alternate score for Pumpkinghead. This track preview features the music I created for the "Main Titles" sequence and features all the main musical ideas that will be heard in subsequent cues. None of the original copyrighted material by Richard Stone is used in this project. The musical ideas are all mine and original to this project. ABOUT THE APPROACH As always, I approached this album as though I had been the one to score it originally. While I love the movie, I hated the score. It lacked any real sense of "primal aggression" and "obssession for revenge" resulting from the unfortunate loss of a father's son by the actions of outsiders. I crafted a score that not only adds these missing elements but also transitions from a father's love for his son, to a bitter sweet moment of personal loss, transition into a thirst for revenge before a final moment of regret by the father for the actions he took. MY APPROACH I created an architecture to the score. I wanted to focus on the them of obsession and arevenge by way of bittersweet moments that would would evolve into harsh aggression and then end with a regretful tone. This was acheived by focusing on the main storyline of a father's loss of his son due to the actions of outsiders which becomes a thirst for revenge. Only one of the outsiders is truly responsible for the accident and failed to take ownership, but the group is unfottunately collateral damage. The main titles exemplify this musical architecture. It introduces all the major musical ideas that will get developed throughout the score as well as the overall tone. Haunting pianos, rip roaring horns, pounding tribal drums, an array of atonal string effects, synth chorus, sound effects, and acoustic instruments round out the ensemble to help tell this dark journey into madness. For the country folk, I avoided the use of steroetypical "country twang" and created something that hinted at such locale but was not "on the nose". I used harmonicas, banjos and fiddles but in a different manner. I also scored the music to the scenes where the original "bluesy" music was more like source music playing in the background. At times when we are presented with scenes of the other family that the father engages with in the story, I simply use a quick upward plcuking of the banjo and echoing mandolin like steel guitar. Just like the original score did, I used a simlar approach of utilizing the instruments used for the country locale and incorporated them with the darker atmospheric music. This helped to exmeplify the father's journey from a loving and sane man to one of absolute vengance. The "revenge" motif is heard the most throughout the score in a dark mode but it originally starts as an upbeat yet slightly bittersweet theme early on when the Father and Son characters are introduced and we see their interactions in subsequent scenes leading up to the accident that ultimately kills his son. From that point forward, the theme goes back and forth between bittersweet and dark hatred before ultimately playing out completely in its obsessive and repeating manner as the "revenge" begins. There is a rising 3 note motif that is used for Pumpkinhead itself. It is heard in 2 forms. Mostly it is heard on roaring horns during attacks while at other times it is heard on a haunting piano and chorus in higher ranges for when Pumkinhead is off screen and is being talked about. The tribal drums resmeble the primal impulse for anger and revenge being pent up insde the father. That is why it is heard alot throughout the score. For the scenes where the "legend" of Pumpkinhead is spoken, I use the most simplistic of music. The echoing steel guitar that sounds like a trilling mandolin, soft clanging metal and drone synths. For added atmosphere and stingers, I incorporate both echoy percussion and atonal string effects. The strong effects encompass the slapping of bows, scratching strings harshly, glissandos, harmonics, and high range trills. All of the musical ideas come full circle during the climax of the film. Each in a final statement as the stroy comes to a close.The cliffhanger takes on a very bitter sweet moment revealing a twist to the story that reveals more to the legend of Pumpkinhead not spoken about at all in the film proper before transitioning into an End Credits suite that expands on some of the major thematic material heard in the film. ============== MUSIC PRODUCTION CREDITS Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) ADDITIONAL CREDITS Edited by: D4Disgruntled (aka Matthew C. Hightshoe) Graphics by: D4Disgruntled (aka Matthew C. Hightshoe)

I composed this cue as a submission to a Production Music Library that focuses more on film music than pop, rap and EDM music submissions. Inspire by music for reality shows such as Life Below Zero and other similar shows and movies, I wanted to do something that had more of an "ancient" and "primal" feel. Also, after acquiring a Virtual Instrument Package from Danheim Music: I was able to bring my ideas to fruition. This library had a bunch of sounds that were created from things in nature, specifically out in the wilderness, such as tubes, horns, tree branches, rocks and antlers and more. I added some additional Gaelic female voices and electronic EDM stuff for rhythmic elements. Sadly, it was not what they were looking for at that time. That did not detour me as I have been submitting additional cues for review. I did submit to two other library companies my "general portfolio" to see if they would sign me as a regular contributor of music to their library. Sadly, they too rejected me outright. That just means I stand out too much and am not generic enough for them. No worries. I continue composing additional music for Richard Band on his scores and will someday soon get to do my own films and rise up through the ranks.

Just completed my latest Concept Soundtrack Album. This is my 3rd Rescore Album in my ongoing series of rescoring horror movies. The film I chose to re-score was "Pumpkinhead". The music in the background is from my album and segments of 2 different cues. There is over 60 minutes worth of music on the album. Got my website to preview tracks and if you like it, buy it! The album is available for purchase as a Digital Album from my website and is is on sale now for $5 until 11:59 pm PST on 5/16/2023. Coming soon will be several short video clips containing select tracks synced to the scenes for which they were composed.

Here is my 2nd submission to the Winter 2022 Indie Film Music Contest. I entered the contest near the end of the submission period. This cue is the 2nd of 2 cues I submitted for this contest. There are 2 clips from this short animated / live action movie for which I composed music for and submitted. This clip continues the story so it was only natural that I continued my musical ideas further. Even the end credits (while still using the same meldoy) makes us of new musical lines. About My Approach ------------------------------------------ I continued the same appraoch taken i the first clip / submission. I still create more of a sound design score than a traditional orchestral one. I try to play up the isolation that might be felt by the main character. Since it is unclear whether the character is human, robotic, a hybrid, etc. I went with a more forgiegn robotic feel. Again, I used all the same palette of electronic intruments from the previous submission / clip. This ensemble encompasses whaling sounds, techno rhythmic loops, the glissando crescendo synth strings, metallic scrapes, clangs, thumping bass line, drones and the sci-fi beeps and boops to evoke the isolation and hopelessness being felt by the main character now trapped in such desolation. The drums hint at the primal instinct to survive. They play under the moments of the character trying to figure out how to repair the ship. The main theme when heard at the end represents the character's attempts at trying to survive at all costs. It is sort of heroic sounding but not really. This is intentional. But for this segment, the theme becomes more of a motif, truncated to the first four notes of the theme which then gets repeated for action and hor various hits. The main theme is heard in its entirety over the end credits but with a new set of musical rhythmic lines and the meldoy ends on different notes than before. This time the cue ends with a more finalized feel unlike the way the previous cue ended which sounded more like a cliffhanger. About the short film ------------------------------------------ Time Trap (2013) Director Michael Shanks Writer Michael Shanks Stars Scout JanssonMark Taylor After losing control of his engines, bumbling spaceman Fripp finds himself at the mercy of his malfunctioning spaceship. A thrilling descent through an asteroid belt ensues, after which he finds himself marooned on a post-apocalyptic Earth. Without a working spacecraft, the interstellar time-traveler must dip into the dead planet's history in order to find a way home MUSIC PRODUCTION CREDITS --------------------------------------------------- Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) VIDEO CREDITS Video clip was supplied by the contest committee for use in this contest.

Been busy with personal projects, installing a new composing workstation, reorganizing the work space and new VSTs over the past 2 months while working on my next album. But I found time to compose this little diddy for the January 2023 @RyanLeach composing contest. ABOUT THE ILLUSTRATION PROVIDED (Illustration by Daniel Terrado https://www.artstation.com/danielterrado ) The story I get from the illustration is one that is not a race specifically but of a personal vendetta between the 2 main racers who are seen "glaring" at each other. Their personal battle is occuring in conjunction with an fast approaching storm which can be interpreted as well as an analogy for the conflict about to ensue between them. MY MUSICAL APPROACH My approach with the music was to represent both the strom and the personal conflict while also evoking the harsh isolation, desolation and cold landscape. The cue starts out evoking what I imagine the characters would feel out in the middle of nowhere and witnessing a major storm incoming. With little time to think things through, the racers sense they need to flee the area or they will get trapped out there and die. Contrary motions of the strings creating a harsh dissonance build up to techno-like rhythms and tribal shouts and drum hits as the racers all flee. Then the repeating rhythms build in aggression as the 2 main racers still feel the need to battle it out while outrunning a storm that is fastly appraoching behind them. The cue ends with an abruptness to represent that the storm overtook all of them and they all died.

**** Please remember to Like so that I might be able to win the Popular Vote Prixe in addition to the Main Contest. Thanks! **** Here is my submission to the Winter 2022 Indie Film Music Contest. I entered the contest near the end of the submission period. This cue is one of 2 cues I submitted for this contest. There are 2 clips from this short animated / live action movie for which I composed music for and submitted. I will be uploading and submitting the 2nd cue in the next week. About My Approach ------------------------------------------ I am all about trying new things musically. While I know that this animated film is actually a comedy and I have seen the entire short elsewhere here on YouTube, this clip on its own has comedic moments but for the most part is a suspenseful action sequence. So I apporached it more seriously. It was all about energy and propulsiion for me. For the overall soundscape, the goeal for me was to try something different and more alien like. I really like the 1950s styled sci-fi signal beeps and bops to depict outerspace and qory weird outerspace. But then I utilize it within the score elsewhere and will be using it in part 2 (my second submission). In fact, I will be continuing the development of all the material in this cue in the next submission cue to provide a coherence and relation between the 2 entries. I wanted to avoid using percussion that sounded like normal techno or symphonic instrumentation. There is some with the looping bass sequences and the appregios during the flight through the narrow alley but otherwise most instruments I wanted to sound alien and not human. The direction is more like sound design as you cannot really tell what is the actual sound effects used in the short and what is score in some cases. While there is a theme introduced in the beginning and reprises at the end, there is not much room or time during the action to develop it extensively. The second cue will do that. All the material introduced in this cue will get furthered developed in the next entry which continues the story of the short film. About the short film ------------------------------------------ Time Trap (2013) Director Michael Shanks Writer Michael Shanks Stars Scout JanssonMark Taylor After losing control of his engines, bumbling spaceman Fripp finds himself at the mercy of his malfunctioning spaceship. A thrilling descent through an asteroid belt ensues, after which he finds himself marooned on a post-apocalyptic Earth. Without a working spacecraft, the interstellar time-traveler must dip into the dead planet's history in order to find a way home MUSIC PRODUCTION CREDITS --------------------------------------------------- Music Composed and Performed by: D4Disgruntled (aka Matthew C. Hightshoe) Mixed & Engineered by: D4Disgruntled (aka Matthew C. Hightshoe) All Intellectual Property, Copyrights and Licenses regarding the music submission are owned by: D4Disgruntled (aka Matthew C. Hightshoe) VIDEO CREDITS Video clip was supplied by the contest committee for use in this contest.