LEVITY

GOING DOWN

I just got done working overtime. I was really late going home; I checked my watch and saw that it was already almost midnight.

When I arrived at my apartment building, I pushed the button and waited for the elevator to come to the first floor. After a few minutes of waiting, the elevator finally arrived.

“Huh…?”

The elevator was almost completely full despite the late hour. There were people of all ages, from elementary school students to the elderly and young adults to the middle aged.

I was dumbfounded for a moment. The girl right in front of me spoke up as if to break my trance.

“We’re going down.”

“Going… down?”

“Are you getting on or not?”

“…It looks a little crowded. I’ll wait for the next one.”

The elevator doors closed slowly, and with a clank the elevator began moving.

I couldn’t stop shaking for some time after the elevator left.

The building I live in doesn’t have a basement.

REFLECTION

One cold winter night, sixteen-year-old Kelly Sanders was home alone, as her parents had gone out to a dinner party at a friend's house. It had been snowing all afternoon, but had just recently stopped. After studying for a while, she decides to relax a little - after all, she finally had the house to herself. She makes some popcorn, gets a nice warm, fuzzy blanket, and snuggles under it to watch one of her favorite movies. 

In their lounge room, the television is positioned a few feet in front of the glass sliding door that leads to the patio and backyard. 

By midnight, Kelly's parents are still not home, and she begins to feel uneasy, but refuses to call them, for risk of sounding like she couldn't take care of herself. 

Suddenly, her eye catches a glint of light from behind the TV, and right there, just outside the glass door, was a crazy-eyed man, grinning maliciously at her, and holding a long, narrow blade in his left hand. Terrified, the girl panics, pulls the blanket up over her head and grabs the cordless phone by her side. Kelly calls the police, and as luck would have it, there was a patrol car less than a block from her house. In a matter of seconds, two officers are on the scene and Kelly tells them about the armed man staring through the glass. 

The first officer opens the sliding door and looks around the area. After a few moments, she turns and explains to Kelly that there couldn't have been anyone standing out there, as there would have been footprints in the snow. The second officer tells her that she is probably just tired and her imagination was playing tricks on her. He beckoned at the TV where the horror movie she had been watching was still playing. 

"Stuff like that didn't help matters, either,'' he said smiling. 

Kelly smiled too, more at her own immaturity than the officer's remark, still a little shaken. 

As the police are about to leave, the male officer stops and looks behind the sofa that Kelly had been sitting on. His jaw drops and eyes widen in shock. Kelly and the other officer notice his reaction and follow his gaze; they both gasp. There were wet footprints and a discarded knife on the carpet behind the couch. 

Kelly hadn't seen the man outside he door; she'd seen his reflection when he was standing behind her.

SCREAM / HOMO HOMINI LUPUS

Scream/Homo Homini Lupus

© AJ Frena 

THE HORRIBLE MAN

I’d actually seen him on our way home from school. He looked dirty and disturbed, and stared straight at us as our bus went by. We even made jokes about him, probably as our way of pretending we weren’t afraid. He was incredibly out of place in our middle class suburb, so his mere presence felt threatening… thus our panic when the three of us got off at our stop and saw him at the corner, about to look in our direction.

He was between us and our houses, and the bus had already pulled away, so we bolted for the bushes of a nearby yard. We weren’t sure if he had seen us, but we peered through the leaves and saw him stalking our way, muttering randomly. Tim, my neighbor, insisted that he’d seen a large knife in the man’s ragged clothing. Danny, a kid I hardly knew who had just moved into the neighborhood, insisted that he was imagining it – that Tim’s glasses must have reflected the sun wrong or something. Still, we were terrified, and the sidewalk was going to bring him right by us.

It was Tim that broke and ran first, keeping low. I followed, my heart pounding, as we dove into the darkness underneath the porch of the unfamiliar house we’d been hiding near. As we squeezed our bodies against the dirt, the grimy wood pressed into our backs, barely giving us enough room to breathe. From our hiding place, we could see the disturbed man turn into the yard in front of us and begin searching around, hitting the bushes and muttering angrily.

I realized then that Danny wasn’t with us, but I hadn’t seen where he’d gone. Tim had lost his glasses back at the bushes, and he just huddled in the shadows next to me in near-blind terror. We stayed there in silence, waiting. Every so often, whenever I almost thought it was safe to come out, footsteps would creep across the wooden porch above us. Tim almost sneezed, once, but I covered his mouth and nose in stark fear.

We waited there so long that the tone of the sunlight began to change. We hadn’t heard the man searching about in awhile, and I was just getting ready to peek out, when footsteps clattered and a thud hit the wood directly above us. A split second later, Danny’s face appeared in front of us upside down, and he looked at us through the lattice. A look of shock and surprise crossed his features at finally finding us. He whispered something, but I couldn’t hear anything. He seemed to be saying “come closer,” so I figured the horrible man was still around and we had to be quiet, and I inched forward.

Danny’s features grew fearful, and he kept indicating something above us. Strangely, I still couldn’t hear him… his eyes seemed to dim then, and I inched forward a little bit more. I froze for a moment in horror, then backed up. Tim mouthed to me: “What did he say?” and I just shook my head, completely in shock. Danny hadn’t conveyed “come closer,” he had mimed “he’s up there.” The drifter was unknowingly sitting right above us, waiting, because he knew we had to be somewhere in that yard.

There was nothing to do but wait in silence, trying not to scream. I was glad Tim had lost his glasses. I lay there as darkness descended, waiting in unwavering terror and trying not to feel the glassy stare of Danny’s severed head as it rested in the grass a foot away.

Story source.

MUSIC FOR FILM: EXIT HUMANITY

Except to a cineaste, the musical score might be one of the most important aspects of film that is consistently taken for granted. Tasked with both complementing the action on-screen as well as manipulating your emotions, film scoring is essential to creating an effective tone and generating the appropriate response from its audience, whether that response is fear, melancholy, excitement, or jubilation. Regardless of the actual film’s quality – whether great or ghastly – the score is the only component of the film that will live on in perpetuity in a separate form. Some of these scores stand head and shoulders above others and deserve to be recognized. This is one of them. 

 

I can't shut the fuck up about Exit Humanity. I mean...I really can't. Sorry? (Although I'm not – I really really dug this film.) I can't help but heap praise on and enthusiasm for genre films that come completely out of nowhere and sucker-punch me with their awesome. Such is the case with this Canadian-lensed zombies-meet-the-Civil-War epic, narrated by Brian Cox and containing brief segments of hand-drawn animation. That's about where my review portion of the film ends – you can check out the above link for more on that.

I find that one of the major pitfalls of low-budget film-making is a supreme lack of resources when it comes to the musical score. Stuff composed on a synthesizer, and by someone who isn't quire ballsy enough to establish their own sound – you can hear that from a mile away. So when it comes to low-budget horror, I really only ask that the music just be serviceable. If I'm wanting for the actual film to be of decent quality – the story, the acting, and the directing – then I wouldn't allow myself to be so picky about the music. The way I figure: don't push your luck.

So when I hear music that's as beautiful as the score to Exit Humanity, composed by Nate Kreiswirth, Jeff Graville, and Ben Nudds, I just can't help but love it all the more. And I really do love this score – it might just be up there with Phantasm and The Fog as my most played. And that's pretty surprising, because so much of this score would sound right at home in a dramatic sweeping epic about war-torn lovers or some such mother movies, not a film in which faces get bitten off and zombs are shot full of holes. Naturally, since Exit Humanity does feature scenes of zombie attacks and other undead carnage, there are some tracks in there to jar and unsettle you, but the majority of these are something well beyond that. In a way, the score is genre-less – you can place any one track against any one scene in any one movie and they would work – and elevate – the actions and/or emotions on screen.

Listen carefully to "A Fresh Grave." You will hear this theme occur throughout the entirety of the score; a mixture of strings and harp get things going before it all takes a backseat to a pretty and sad piano melody. That pretty much sums up Exit Humanity the film and Exit Humanity the score: pretty and sad. (Plus ghouls.)

"Searching for Answers" is a foreboding track pulsing with heavy low piano that soon meshes with distorted and shrieking pulls on an instrument that I couldn't even decipher. Hands on cat-skin tom-toms back everything up and keep things moving while electronic warbling in the background fill in the eerie gaps. It's a pretty appropriate track to play alongside the film's protagonist waking up to discover his wife is dead and his son is missing.

"Seeking Family" dials down the horror and ups that gorgeous harp, which will drive this particular track, along with those sustained strings. With 45 seconds left in the track, it all falls silent, allowing the harp to solo before bringing it all back together again. (I sincerely hope that is a harp I am hearing, or else I am going to feel like an asshole every time I bring it up.)

With "Bitter Reunion," I hope by now you're noticing the vast collection of instruments that comprise this score, with a flute leading the charge this go-round. Unless you're writing background music for a fairy tale, or you're the feature film Titanic, the flute is very rarely relied on front-and-center when it comes to film music, and yet, here it is all the same. Once again, it's pretty, but also somewhat feverish at the same time.

Both "Looking Back" and "Moving On" revisit those same stirring strings and harp established in "A Fresh Grave." Once again, we're nowhere near horror territory here. The score exists not to give you the creeps or get your pulse going, but instead make you feel. I know! It's crazy! And in a zombie movie!

"Edward and Isaac Bond" is a superb fucking track, and the filmmakers must know it, because it appears mid-way through the film as well as a reprise during the cut-to-black end credits. This track sounds like no other in the film, driven by a banjo, of all fucking things, and it's one that builds and builds, layering in more and more instruments. It's a damn shame it's under two minutes, as I'd listen to an entire score based just on what's going on here. You can tell the second it begins that it's going in a direction completely opposite to where we'd been heading up to this point. If I were to listen to any one track on repeat, it's this one. Simply awesome.

The score takes a darker turn with "Enter the General," "Emma's Escape," and "The Witch." At this point, we're now facing our antagonists for the first time – a sort of Day of the Dead-ish band of military outlaws kidnapping the uninfected and exposing each of them to the zombie virus in hopes of finding a bloodline immune to the "scourge." Since we're in unfamiliar territory here, not only does the score get darker, but it adds some unorthodox approaches. Small trap instruments rattle in the background and make you think of small, scurrying rodents in the corners behind you. In fact, this is largely a percussive-driven series of tracks, along with those screeching strings, and all of it comes together to sound nightmarish and unnerving.

"Looking Forward" – there's nothing I can even say. To even try would make me sound like some kind of douche bag, and since I've been kind of straddling that line with this entire post, I guess I'll have to refrain. But...just gorgeous. A chorus of voices, those strings, the harp, the piano. Beauty personified. It's the stuff happy tears are made of.

Parts One and Two of "Ashes on Waterfall" bring back that melancholy feeling in a big way. I suppose that's inevitable, since this sequence has our hero traveling to Ellis Falls to disperse his son's ashes, after remembering a promise to him that he would take him there...while he was still alive, that is. Still, this father wanted to make good on that promise, and so off he goes. This track and the next are likely the most beautiful, because it's here where the narration by Brian Cox is at its most poignant and uplifting. And you take all that and marry it to the pink and purple sun-skewed sky and the billowing landscapes filled with green trees and brown wheat, and yeah: film boner.

After a few more tracks that lend themselves to the dark and deranged, our heroes break free from their prison and take back to the zombie-infested forest. "Chase" sounds like something nearly out of Batman Begins. It's relentless, though it does break every so often for what could only be described as film-score improvisation. Great stuff, and yes, perfect chase music.

"Reunion/Ending" revisits all the themes previously established, and is again bolstered by the powerfully affecting voice of your narrator Brian Cox. I even have this track ripped from the blu-ray and it appears dead last in the album. The music by itself is amazing enough, but the "farewell" of sorts using Mr. Cox's voice-over transforms it into something else entirely. I actually wish they'd release a version of the score that contains the film's voice-over. Even without the visual components of the film, the voice-over tells one complete story – like listening to an audiobook that happens to have exceptional music.

Much like the film itself, the score to Exit Humanity kinda comes out of nowhere. It's easy to read a one-sentence synopsis for the film and based on that, deduce what kind of garish death metal or keyboard-slamming music you're about to receive alongside it, but you'd be wrong. So pleasantly horribly wrong.

Grab the complete score (and how often does that happen?) for Exit Humanity right now from the composers' bandcamp page. And tell Nate I said, "hey, man."

SPIRITED