Girl House – Original Motion Picture Soundtrack


Girl House – Original Motion Picture Soundtrack
Score by tomandandy

Lakeshore Records – 2015

I’m not a big fan of rap music but the opening song “The Enemy” by Supreme Villain (Slaine & Madchild) featuring Rite Hook, is directly connected to the movie.  Not only do the lyrics mention the character names in the movie, but Rapper/MC Slaine plays the movie’s masked killer.  Though the words of the song talk about the violent death the movie’s killer “Loverboy” dishes out, I couldn’t help but laugh when hearing the humorous way they are said.

“VHS Sex” by Com Truise is an excellent song to include in this movie.  My reasoning is that the electronic synthesized music fits perfectly in a slasher film (not a knock – remember John Carpenter’s Halloween is one of my two favorite films), which is what Girl House is.  Though the movie is modern, dealing with today’s technology, specifically an Internet Porn Site called Girl House, the keyboard sounds of this tune remind me of 80s pop-synth band Berlin, which had their first real hit “Sex (I’m A…)” in the height of the slasher era.

In so many ways Todd Michael Schultz‘s song “Good Vibrations” couldn’t have been more fitting for this picture.  The adolescent themed lyrics are totally appropriate for what’s onscreen and the movie needs the fun positive feel it generates against all the destructive carnage.

Jesse Rhodes “Let It Be Known” brings a touch of romanticism with it’s slower, down home bluesy tone.  I think it helps ground the film and helps support the burgeoning love story between “Kylie Atkins” (Ali Cobrin) and “Ben Stanley” (Adam DiMarco).

“Mountain City Anchor” by Connor Scott is a relentless techno offering that adrenalizes this soundtrack.  Furious beats back hyperactive electronica, which I believe was used  when Loverboy goes berserk.

Jesse Rhodes also performs “Love Me So Bad” another down home bluesy piece to salt & pepper the movie.

“Way Of The World” by Jack Gravina (featuring Quinn Barbini) is sort of an R&B hybrid incorporating a little rap to bring some soul to the soundtrack.

Getting tomandandy to compose the music for Girl House was a big score for this production.  The first cue “Loverboy” contains child-like melodic elements that get twisted to match what happens to the character.

“The First Time” pedals with soft innocence that gets shattered when a dastardly deed is done.

Cinematic ambience floats “In The Shower.”

“Control Room” feels anywhere but safe, as the compositional elements shift under it’s footing.

The start of “Loverboy Attacks” begins with a softer approach, before the masked madman strikes.

Drums and percussion hit hard to support “First Kill”, which are highlighted with electronic distortion.

There doesn’t feel like much “Hope”, because of the dramatic start and stop musical approach that sounds like someone’s hiding to survive.

“No Cameras” gives us (the listener) a chance to come down in intensity as tomandandy conjure the deep emotional feeling that we have survived a deadly encounter.  There’s light at the end of a dark tunnel and makes the whole experience that much more satisfying.


Level 10 Chapter One


Level 10 – Chapter One

Frontiers Records – 2015

Apparently singer Russell Allen (Symphony X, Adrenaline Mob) and producer/bassist Mat Sinner (Sinner, Primal Fear) met a few times over the years and swore to each other they’ would find the time to work together.  This album is the result.

Russell Allen & Mat Sinner © Frontiers Records 2015

Russell Allen & Mat Sinner © Frontiers Records 2015

Chapter One clicks from the get go with a metal offering that is melodically catchy and powerful at the same time.  The first tune “Cry No More” comes across like a heavier version of Whitesnake with Allen’s distinct pipes leading the way.

Alexander Beyrodt © Frontiers Records 2015

Alex Beyrodt © Frontiers Records 2015



You might find it hard to not join in the chorus of “Soul Of A Warrior.”  The slow down guitar solo reminds me a lot of something John Sykes would do and perfectly corresponds with this band’s approach of keeping a pleasant succession of sounds at the forefront.


The kick-ass pace of “When The Nighttime Comes” plays awesome against the slower track that precedes it.  Randy Black’s frantic drums and the hard-driving guitars couldn’t be placed better on the arrangement.  Mat Sinner’s bass is really the root of making it all work and cannot be understated.  It gives the sound hugeness at the bottom.

Randy Black © Frontiers Records 2015

Randy Black © Frontiers Records 2015

Russell Allen © Frontiers Records 2015

Russell Allen © Frontiers Records 2015

There’s a classic heavy rock feel to “One Way Street.”  First of all, Russell Allen tells a story with the lyrics and the band backs him to give him the proper musical backdrop.  This is another tune you are sure to get you to sing along with.  The middle slow down section is similar to the way Whitesnake did “Still of the Night” and it works just as well this time.  The guitar solo is really tasty and fits with the musical surroundings.


The distorted guitar in “Blasphemy” is heavy-duty and has that nasty Dimebag Darrell approach.  Allen growls to match the guitar nastiness, which fits beautifully with the song’s lyrical content.  The lead guitar exchange between Roland Grapow and Alex Beyrodt is pretty spectacular.

There is a comfortable metallic groove to “Last Man On Earth.

The band pushes aggression harder in “In For The Kill.”  It’s not difficult to comply with Russell Allen when he says “Scream and Shout!”  Randy Black pounds out a slightly slower tempo platform so the two guitarists to do their thing.

The musical feel established at the beginning of “Voice Of The Wilderness” is one that brings creditability to the lyrics.  The composition carries weight and Allen nails it with his voice.  The dual lead work during the solo section works for me.

Allessandro © Frontiers Records 2015

Allessandro Del Vecchio © Frontiers Records 2015

“All Hope Is Gone” has the band pouring their hearts out in despair.  Alessandro Del Vecchio’s keyboard brings a sensitive touch to support the band’s desperation.

Heavy guitars and drums lets you know that you are “Demonized.”  Russell Allen gets his voice to match the intensity of the instruments.  The guitar rhythm mid-way through reminds me of Priest.  Some of the most killer leads on this album happen in the tenth track.

Roland Grapow © Frontiers Records 2015

Roland Grapow © Frontiers Records 2015

The dark sludgy riff that opens “The Soul Is Eternal” emphasizes the song’s meaning.  The way Russell Allen’s voice is mixed in this tune is pretty cool.  Grapow and Beyrodt have some cool interaction on guitar.

I like the chunky rhythms the guitars play in “Forevermore.”  There’s no doubt that Primal Fear’s bassist Mat Sinner is leading the way mid way through.

Mat Sinner © Frontiers Records 2015

Mat Sinner © Frontiers Records 2015

Chapter One from Level 10 is a strong beginning for a band consisting of such high level of metal/hard rock talent.  It is not going to be the band members or their reputations that gets you to repeatedly listen to this.  It’s going to be the skillful harmonious rocking nature of the songs that is sure to make you do it.

Henrik Soeberg selected the new Sound Designer for “Stash”

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Henrik moved from Norway to New York three and a half years ago. He’s has been working with film and sound design since high school. He’s attended schools in Norway for sound production and has a bachelors degree in film from LIU Post. He is also a passionate horror fan and is very much looking forward to taking part in this project.  Terry adds, “Choosing the new sound designer for “Stash” wasn’t easy.  It really came down to two guys who both wanted it the most.  The reason I ultimately took Henrik was because of his expressed passion for horror films and his experience working with sound not just here in the States but Norway as well.”  Henrik will lead the considerable ADR work needed for the movie.  He’ll create foley, sound effects & sound design and later mix everything together with Michael Romeo’s music score.