I’ve always thought if you can keep the audience off balance with music in a stressful scene it will help make that scene stronger and more effective. That motif was used a lot with constant changing time signatures in order to help prevent the audience from settling in rhythmically and getting comfortable with what’s happening. Throughout the film I used a minor 9th motif, whether it’s plucked on the string instruments or heavily bowed on both the cello and violin. The more the story evolved, the more elements I would introduce musical material in both the organic realm and in the area of synth-and-percussion. For a lot of the underlying tension I relied on synth and dissonant wavering drone sounds which can be immediately heard in the opening cue of the soundtrack. Right from the beginning I needed to create atmospheric tension and dread. It was basically all a matter of how we were going to get there. There is no secret of where things are going to lead. Kevin Riepl: From the start of the film, we know something is up. Would you describe your technique in combining these multi-layered tonalities and textures into a sonic fusion that supports the film’s frightening storyline and enhances the audience’s fear factor when watching the film? Q: The score maintains an atmosphere of growing apprehension and dread. Keeping the score somewhat organic was born from the idea of the story taking place on a remote island in the Caribbean. Since the film was written as a prequel to the other films, the director asked me to come up with something that would fit the beginnings of the story and help support the location. To create that sound, I took six unstrung steel guitar strings, tied them together at the string ball end, and used them as a rhythmic instrument inside the cavity of the Djembe. Throughout the score you’ll hear this rattling metal sound either to convey a rhythm or tension. The reason I say upside down is because rather than using its skin as a traditional percussion instrument, i used it more for its empty interior cavity. Some of my chosen instruments were a banjolele (an instrument that is a combination of a banjo and ukulele), violin both plucked and bowed, a cello which was plucked, bowed, hit, smacked and mangled, a bowed acoustic guitar, and an upside down nickel plated Djembe. With that in mind, I chose some instruments and sampled sounds I would use as the core sound for the film. Kevin Riepl: Prior to starting on the score I had already decided I wanted to try to keep it as organic as possible and not very traditional, in respect to not keeping it limited to traditional orchestra. Q: How did you develop your creepy musical design for CABIN FEVER: PATIENT ZERO? Did the fact you were scoring the third film in an ongoing franchise affect your approach to the score, or did the filmmakers offer you a free hand in scoring the film? MONSTERS, Eric England’s black comedy-thriller GET THE GIRL, and Battleborn, the new first-person shooter from the creators of Borderlands. animated movie BATMAN UNLIMITED: MECHS VS. Animation’s movie BATMAN UNLIMITED: ANIMAL INSTINCTS and BATMAN UNLIMITED: MONSTER MAYHEM which were both nominated for Outstanding Achievement in Music at the 2016 Annie Awards. Riepl as well is noted for composing the epic, signature scores for blockbuster video games including Gears of War, the Unreal series, Aliens: Colonial Marines, and many more. In addition he has scored cult hit sci-fi shorts such as ATROPA, HENRI, and RUIN. His engaging, hybrid, and atmospheric scores have enhanced numerous films including THE NIGHT CREW, CABIN FEVER: PATIENT ZERO, SILENT NIGHT, CONTRACTED and THE ABCs of DEATH. Kevin Riepl is an award-winning composer writing for multiple entertainment genres. The Horror & The Hero Film Music of Kevin Riepl
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