Synthwave of Horror Part 4: Carpenter Brut

Welcome to part 4 of our Synthwave of Horror series, highlighting artists who dabble in the diabolical side of dance music, and creators of the most horrific of electronic horror movie scores. If you missed part one with Disasterpeace, the man behind the incredible score for It Follows, you can have a read here, then check out part 2 with horrific horror artist GosT, and part 3 with the Horror Master himself, John Carpenter.

For our fourth and final installment, we bring you Carpenter Brut. Known for his accursed electronic tracks, the darkness of ‘80s horror runs deep in his veins. In our interview, he told us about his links with the films of his youth, his place in electronic music, his home country of France, and finally his renown for the man that gave him his name—John Carpenter.

“On one hand, you have popular electronic culture music—it doesn’t make you think, and you forget it quickly. On the other hand, you have a more specialized music that requires some attention.”

How did you first get enveloped in the horror genre?
When I was a kid, horror movies were my favorite. So, I think I try to reconnect with this childish pleasure by playing music that remains in the same spirit. Specifically, I try to play music that evokes American crime series or action movies. Here, in France, we all grew up with those movies. It was either American productions or Japanese manga. That’s what our culture is mostly about. Can’t help it.

Why do you think horror music like yours, and horror movies, have such an intimate relationship with one another?
I think that the music in horror movies is the natural extension of what your eyes can see. The music increases your sensations of fear, and listening to quintessential themes can even bring movies back to life, or allow you to create your own movie while you are lying down in your bed with your headphones on. The themes for Halloween or The Exorcist freak everyone out. I’m sure it even works for people who haven’t seen those movies.

Why is electronic music so effective as horror music?
From what I understand, there are a lot of horror movies with synthesizer-based soundtracks because it was cheaper back then. Managing an orchestra is way more complicated than dealing with a bunch of keyboards. In popular culture, a synthesizer can either be cheesy or scary.

Where do you see it employed correctly?
Any bassline from a John Carpenter score sets the mood for the whole film right away. The large scale of possibility you get with a synthesizer also allows for the creation of impossible or crazy sounds. And these will often be a perfect fit for a scene that shows the madness of a serial killer, for example.

Why do you think your genre of music is more in the depths of the underground electronic scene?
In my opinion, the basic function of electro music is to allow you to have fun, to dance, to have a good time, and to blow your head off. When it becomes a little more morbid or scary, it obviously reaches fewer people. Plus, I think that most people are not interested in dancing to music that can potentially scare you. It’s worked this way since the dawn of time. On one hand, you have popular electronic culture music—it doesn’t make you think and you forget it quickly. On the other hand, you have a more specialized music that requires some attention, with unusual songs or sounds, and that obviously limits it to people who are interested in something different and want to experience something new. And we know these people are not the majority.

Is the scene different for you in France?
I don’t have any opinion on it. People do what they want, influenced or not by what is trendy. I keep an eye on that stuff from far away, but I have a job that doesn’t allow me to listen to a lot of music, so I’m not really updated. I follow what my two or three friends in the synth wave scene release, and that’s it. But I do know that French electro exports very well around the world, and that it may be the only genre in which we don’t suck too much compared to other countries.

What type of monster gets under your skin during this spooky Halloween season?
I’d say serial killers, because they can be anyone—your neighbor, a family member, etc. Apply that concept to reality, and serial killers are way creepier than any monster from outer space.

If you could do a soundtrack for any horror film in that genre, is there one you could pick?
If I had to pick, I’d go with The Texas Chainsaw Massacre or a movie in that same vein. Movies like that capture the worst of mankind; they’re as real and disgusting as horror gets.

“I just try my best to figure out a way to drive people crazy when they listen to my music. I try to provoke a reaction.”

Are there artists that have inspired what you make?
Nobody in particular, but I have a fondness for John Carpenter, of course. I like his style—simple yet efficient. For me, The Thing is the ultimate horror movie. I also like fun and gory movies—you know, Peter Jackson style. But I really get inspired from everything I have seen as a kid. I don’t watch horror movies anymore; I don’t think I’m interested in them anymore, even if they still remain the coolest genre. I still enjoy a good old Friday the 13th from time to time, though, or a good zombie flick. Can’t hurt.

I just spoke with John Carpenter as part of this series. What would you say to Carpenter, if given the chance?
If anything, I want to thank him. His vision, his rebellious side, and his fun movies have always inspired me. If he happens to listen to my music, I would be curious to know if he would find any interest in it.

Did his films and music influence the way you make music? Obviously, your name says yes.
As I said, he was indeed a big influence. He created myths in his movies, and a lot of them became popular cult classics. That’s quite something. I also like the man and his choices, the nonconformist in him who fought the big studios; he’s the DIY kind of guy who can tell a real story with limited means. He is truly a reference if there ever was one.

Can you explain the ‘80s vibe in a lot of the current electro horror music out there?
I’d say it’s probably because ‘80s horror movies were the most badass and had synthesizers in them. Can’t have one without the other. If you had to re-create the mood of ‘50s movies, I don’t think you could use a Polysix or a Jupiter nowadays.

“If some people see that, then I would not want to disappoint them by telling what I originally had in mind. People can trip on my music the way they want.”

Your music has a very visceral tone to it. How do you evoke that feeling? What feelings do you think you are specifically going for, and how would you describe them?
I just try my best to figure out a way to drive people crazy when they listen to my music. I try to provoke a reaction. I think that art in general must provoke a reaction other than “It’s beautiful” or “He is a good singer.” That’s also why I try to have the most direct, energetic and in-your-face live shows—to see if people can be in a trance. That’s just my thing. I don’t know if I am completely there yet, but I try to be as visceral as possible while remaining fun, because that’s what it’s all about.

A lot of your songs bring to mind very specific images for me, like bats, ghouls, old-school castles, etc. I can almost imagine what you wanted the listener to see with some of your tracks. Can you break down what you see in them?
I always have an idea in mind when I compose, something visual that I try to put into the music. I did not necessarily imagine castles or ghouls, but if some people see that, then I would not want to disappoint them by telling what I originally had in mind. People can trip on my music the way they want.

How about the scene in general—who else makes music like this that you enjoy?
There are a bunch of artists out there: Perturbator, GosT, Christine, Dan Terminus and Umberto, just to name a few. I am sure there are a lot more that I don’t know.

What about your involvement with Hotline Miami? I loved those games; they really captured the intensity of your music! How did you get involved with them? What did you think of them?
I actually tried to play those games, but they were too hard for me. I really suck at them, ha ha. The guys from Hotline Miami contacted me on Twitter after a dude recommended my music to them. It was as simple as that.

Can you give us a list of your favorite horror movies that feature electronic music for us to share with readers?
The theme from the first Friday the 13th; the whisperings are some of the scariest in horror, but it’s not electro. I listened to the soundtrack for the Maniac remake, and I enjoyed it a lot; it was very synth wave. Other than that, music from Goblin always works. It’s not pure electro either, but the integration of weird synthesizers gives it a really cool mix.

We’ve had a lot of the other interviewees make electro horror mix tapes for this series. Do you have any tracks you’d like to include for people to check out while they read?
Not a mixtape, but I’d say they should check out the Maniac Cop soundtrack.