A24 Music has released a new remix by Instupendo of the score track Old Home Not Yet Built from the supernatural horror movie Backrooms. The Instupendo Remix written by Kane Parsons, Instupendo & Samuel Davidson and produced by Instupendo, Parsons & Edo Van Breemen is now available to stream/download on all major digital music services. Also listen to the track after the jump. The original soundtrack album featuring Parson’s & Van Breemen’s original score was released digitally last month and a vinyl edition is now also available to order. The label has also previously released Instupendo: Live From The Backrooms (DJ Mix) inspired by the film. Backrooms is directed by Parsons and stars Chiwetel Ejiofor, Renate Reinsve, Finn Bennett, Mark Duplass and Lukita Maxwell. The movie is now playing in theaters nationwide.
Instupendo says about creating the remix: “During the movie the woodwinds seemed to melt directly into the scenes whenever they’d play, I really like that kind of thing… Kane and Edo hit the perfect chord. I tried to take the same woodwinds and melt them into my composition.”
Instupendo’s music has been a notable element of the “Backrooms” fandom, as his eerie viral track “Six Forty Seven” is frequently posted online accompanying haunting liminal-space images.
Known for scoring his own works, director-writer-composer Parsons has released several ambient electronica albums tied to his “Backrooms” series. For the film’s score, he shared composing duties with composer and immersive sound designer Edo Van Breemen; expanding on the familiar sound cues fans will recognize from the web series. Van Breemen, whose work blends his classical background with genre-bending compositions and experimental electronic textures, was a sonic match for Parsons, whose own atmospheric, ambient short film scores have amassed a devoted following.
Composing at night during post-production, Parsons would trade musical files with Van Breemen, in a collaborative back- and-forth. “Some tracks are all him, some tracks are all me,” says Parsons. To achieve the film’s penetrative and destabilizing score, the duo used old versions of Absynth and Reaktor and sampled vintage synths.
“A fair amount of the storytelling in this movie comes from the score, in the same way musical motifs can convey images or narrative across an album,” says Parsons. “Anyone who has obsessed over the soundtrack of the YouTube series will recognize some of the same musical motifs in the movie. On a sonic level, it’s a pretty great blend of what’s gone into the series so far.”
