• Steve Moore – Cub Soundtrack



    Steve Moore – Cub (Soundtrack)
    Released by: Relapse Records
    Released on: October 16th, 2015.
    Purchase From Amazon

    One of the coolest aspects of Jonas Govaerts’ horror film Cub was the soundtrack from Steve Moore (he of Zombi fame). Moore played every instrument on every song, so it’s very much his music but it isn’t so far removed from what he does with Zombi that fans of that act won’t appreciate it.

    The opening track, Intro & Credits, immediately conjures up memories of vintage soundtracks from the likes of Goblin and John Carpenter, that pulsing, proggy, synth-heavy sound is imminent mere seconds in and sets the mood beautifully. As it fades out and the drone of the second track, Casselroque, fades up, the pulse of the opener gives way to a more ambient track where the music comes in waves. It gets darker and more layered as it progresses – listen to this one with the lights off alone in the dark, it’s pretty spooky.

    Arrival uses synthesized organ sounds mixed in alongside the more electronic sounding keyboards to create a repetitive but short ninety-seven second mood piece while The Treehouse, considerably longer at over six minutes, definitely channels Moore’s Euro horror and Italian movie soundtrack influences in a big way. There’s a constant, repetitive keyboard sequence here that is the ‘spine’ of the song and audible throughout over which Moore is able to use softer, less repetitive separate interludes to create a genuinely atmospheric soundscape.

    Werewolf is quick, at under two minutes, but it’s a bit more abrasive, pulsing and even piercing with its high pitched keyboards rolling over a bass heavy backbeat. The Truck, at just short of three minutes, starts off calm, cool and collected but builds fairly diligently into a more intense track that proves unsettling and sounds uneasy. Perfect horror movie material, this one.

    The lengthiest track on the record is the eleven minute epic entitled The Hunt. It starts off with a barrage of weirdly mixed ambient noise, then goes fairly quiet for a stretch only to build back up to weirdly mixed ambient noise territory again. This one isn’t as musical as the other pieces, it’s more of an atmospheric mood piece. As such it doesn’t work quite as well when removed from the movie as the other pieces do, but it’s great background music and it succeeds in getting under your skin a bit.

    Sam Vs. Kai is three and a half minutes and it’s very much a selection of chase music. This works quite well outside of the context of the movie but just by listening to it without actually seeing the film beforehand you can definitely get the vibe as to what would be happening. It’s a great composition – brooding, tense and somewhat dreadful but very musical and beautifully mixed. Finale, as you’d guess, is the big finish. It sort of brings the record full circle, back to the Carpenter-esque opening track and it ends a fantastic soundtrack record just as strongly as it began.