Cinematography IV: HORROR - Sept 25th
As it was 'Choreography's 10th anniversary this year, I thought it would be fitting to also celebrate the spin-off 'Cinematography' series which covered songs from movies and TV that inspired me to make 'Choreography'.
This time it's set for HALLOWE'EN and I've covered 6 songs from HORROR movies & TV! Some of my favourites that really inspired me and brought me joy through the years.
Full tracklisting:
I Want Your (Hands On Me) - originally by Sinead O'Connor from 'A Nightmare On Elm Street 4: The Dream Master'
Rock Until You Drop - originally by Michael Sembello from 'The Monster Squad'
Tonight (We Make Love Until We Die) - originally by SSQ from 'The Return Of The Living Dead'
Love Song For A Vampire - originally by Annie Lennox from 'Bram Stoker's Dracula'
Falling - originally by Julee Cruise from Twin Peaks
Through The Trees - originally by Low Shoulder from 'Jennifer's Body'
Pre-order the mini album as a limited edition CD from my US ONLY store or for REST OF WORLD here
Pre-save the digital mini album HERE.
'I Want Your (Hands On Me)' is streaming now HERE.
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I love the idea of bringing together songs from horror movies and TV shows, especially the ones that have stuck with you over the years. When I have some free time, I also like playing Speed Stars for a quick break, and it’s surprisingly fun trying to beat my own times.
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The way you’ve tied horror’s visual language to these song covers is brilliant—lighting and framing really do make the mood. It reminds me of how subtle details shape identity, like choosing a Chinese name where meaning and characters deeply influence perception. If you ever explore cultural influences in future sets, chinesename.art offers thoughtful insights on names and their linguistic roots that might resonate with your creative process.
Covering the songs that shaped your own series is a nice way to close the loop - most people forget the music that got them making things in the first place. For a concept like this the visuals carry a lot: horror lives on light and framing, so a consistent palette across six tracks is what makes the set feel like one release instead of six unrelated covers. That is where I have been using Reference to Video - feed it a handful of reference stills and it holds the colour, light and framing steady across shots.