December 21, 2020
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OLDIE BUT GOODIE DEPT: Santa Claus Is Coming To Town

’tis the season for spooky Santas!

GEP Pal Will Bates of Fall On Your Sword and composer of Fessenden’s DEPRAVED and BENEATH,
delights us with his annual Christmas Audio Offering Santa is Coming to Town b/w White Christmas…
Available on iTunes,  streaming on youtube and in a limited vinyl edition.

September 24, 2020
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GEP pal Will Bates talks with Film Music Mag

Before “Away,” you took a far more nightmarish space trip with “Nightflyers.” Could you talk about your eerie work for the show?

That was also a Mike Cahill project (he directed the pilot). We talked a lot about finding a sound that could express fear but also give a sense of movement, rotation and a feeling of distance. I met a guy in Michigan who builds these extraordinarily complex hurdy gurdys, and he built me one which ended up being very prominently featured in that show that was manipulated beyond recognition! But it has that haunting feeling of oscillation we were looking for. That score was really interesting for me. It has this sci-fi horror element of course but also this feeling of loss and tragedy. That’s something I learned from working with horror maestro Larry Fessenden on “Depraved”; horror as tragedy.
January 10, 2020
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DEPRAVED score by Will Bates Now Available from Lakeshore Records

December 13, 2014
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Santa is Coming to Town…


As Santa-Con kicks off in NYC and the fat man readies himself for his big night, you might want to think about whether you’ve been naughty or nice this year…

Glass Eye Pal Will Bates of Fall On Your Sword and composer of Fessenden’s BENEATH, delights with his annual Christmas Audio Offering Santa is Coming to Town b/w White Christmas… Available on iTunes,  streaming on youtube and in a limited vinyl edition.

There’s just something a little off about that Santa…

December 6, 2014
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GEP Kicks Off Holidays with Brand New Sizzle Reel

Monster-filled Sizzle Reel now posted for all of your holiday gatherings!

Giant Fish! Werewolves! Vampires! Zombies! George Romero! Jesus!

Enjoy with eggnog.

Edit by Eric Pennycoff, music by Will Bates of Fall On Your Sword

March 21, 2014
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BENEATH on Daily Dead

DAILY DEAD: Exclusive Interview with Beneath’s Larry Fessenden by Derek Anderson 3/21/14

Director Larry Fessenden’s latest feature, Beneath, focuses on six freshly graduated high school seniors who cross paths with a massive, human-eating fish one day on Black Lake. The film is a potent blend of physical and psychological scares, and it’s getting a Blu-ray & DVD release via Scream Factory on March 25th. With the home media release coming soon, I recently chatted with Larry about his experience making Beneath.

Larry, thank you for taking the time to talk about your latest directorial feature, Beneath. To start things off, can you tell our readers what attracted you to direct this screenplay by Tony Daniel and Brian Smith?

Well, I really loved how contained the story was. It all takes place on a lake, on a tiny rowboat, and I’m a fan of the experiments Hitchcock would get up to where you sort of limit your options. He made a movie called Lifeboat that was all in one boat. That was one thing that interested me, it almost becomes like a play. And the other thing I liked is the giant fish. What’s not to like? I just loved the idea of making a creature feature. I love monsters and fish and dinosaurs and all kinds of creatures so it seemed really fun to be able to make a practical effects creature feature, and also explore how dreadful these kids are to each other. Which is kind of my viewpoint of humanity, so I got to exercise three things all at once: cinematic limitations, a monster movie, and explore human nature at its darkest.

Read whole interview at dAILY DEAD

June 19, 2013
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Film Music Mag on BENEATH Soundtrack

Probably the wackiest, and perhaps creepiest musical-design treatment that a mega-piranha has yet gotten, “Beneath” uses teeth-scraping metallic effects and berserk buzzing, so much so that the score’s subject feels like it’s about a swarm of killer bees. There’s much cleverness to be had with a solitary rowboat of fresh young meat, from country-jazz to the real, chilling deal of a solo violin and off-kilter strings that capture the seemingly placid water. Sword’s score floats effectively on Graham Reznick’s   Continue Reading »