Your Music

[LoboLives]

Kevin Peek is probably best remembered by most people as a member of the instrumental group Sky, but film fans know he also created some wonderfully unique electronic scores during the early 1980s. One of the most interesting is his soundtrack for Battletruck (also known as Warlords of the 21st Century), a post-apocalyptic action film that arrived in the wake of Mad Max but carved out its own identity through its bleak atmosphere and distinctive music.

What makes Peek's score so fascinating is the way he blended rock guitar, synthesizers and emerging guitar-synth technology. Rather than relying solely on traditional keyboards, he often used processed guitar sounds to create textures that felt both mechanical and organic. The result is a soundtrack that sits somewhere between progressive rock, electronic music and film scoring, perfectly suited to the dusty wastelands and armored vehicles of the film.

For my version, I decided to strip things down as much as possible and focus entirely on my borrowed Ibanez RG and Roger Linn's AdrenaLinn III. While Peek used a Roland guitar synthesizer for many of the sounds heard in Battletruck, I wanted to explore just how far the AdrenaLinn could be pushed on its own. The track makes extensive use of the pedal's filter sequencer synchronized to the onboard drum machine, along with one of Roger's factory "Guitar Synth" presets. For the lead work, I leaned heavily into mid-focused chorus tones and tempo-synced delays to capture some of that futuristic early-80s character.

It's honestly amazing how much sonic territory the AdrenaLinn III can cover by itself. Between the rhythmic filtering, drum beats, amp models, synth-like textures and delays, it almost feels like an instrument unto itself rather than just a guitar effects pedal.

Hope you enjoy!

© Everett Dudgeon 2026
℗ Everett Dudgeon 2026


https://www.youtube.com/watch?v=DuDS5XxTMTM

[Soundquest]

No synth pics, rather space shots from my backyard.  Nevertheless, some spacy synth music from the Moog Muse and later in the video, some P12/Muse/Pro3

https://youtu.be/1dLnL4_zAW4

[Manbird]

No synth pics, rather space shots from my backyard.  Nevertheless, some spacy synth music from the Moog Muse and later in the video, some P12/Muse/Pro3

https://youtu.be/1dLnL4_zAW4

Fantastic. The music was gorgeous and, of course, fit the visuals.

[LoboLives]

Deathsport (1978) is one of those wonderfully strange post-apocalyptic films that could only have come from the late 1970s. Produced by Roger Corman and directed by Allan Arkushr, it's often described as a spiritual successor to Death Race 2000, but the soundtrack gives it a personality all its own.

Composer Andy Stein, an accomplished American saxophonist and violinist, blended jazz, funk and electronic textures into one of the most distinctive scores of the era. According to Claws & Saucers, Allan Arkush knew Jerry Garcia from the Grateful Dead's Fillmore days and invited him to contribute guitar passages for the soundtrack. Those guitar licks were then processed through a synthesizer, creating an eerie fusion of rock guitar and futuristic electronics that perfectly complements the film's bizarre world.

For my version, I once again used my friend's Ibanez RG running through Roger Linn's incredible AdrenaLinn III. This time I leaned heavily on many of Roger's factory "Sci-Fi" presets to recreate the film's otherworldly atmosphere. Many of the strange teleportation, alien and space-like effects you're hearing are nothing more than the guitar running through the AdrenaLinn, which continues to amaze me with just how experimental it can become.

About halfway through, I included a funk-inspired breakdown as a nod to Andy Stein's jazz-fusion sensibilities. Everything in that section (the analog bass, funky drum groove and Moog-style lead) is coming from the Tempest, with the Ibanez adding rhythmic accents and texture over the top.

I'm really happy with how this one turned out. Deathsport has always been one of my favorite post-apocalyptic films, and Andy Stein's wonderfully quirky score deserves far more recognition than it gets.

Hope you enjoy!

℗ Everett Dudgeon 2026

https://www.youtube.com/watch?v=LRWys5qqhiA

[Soundquest]

No synth pics, rather space shots from my backyard.  Nevertheless, some spacy synth music from the Moog Muse and later in the video, some P12/Muse/Pro3

https://youtu.be/1dLnL4_zAW4

Fantastic. The music was gorgeous and, of course, fit the visuals.

  Thanks manbird!

[LoboLives]

Siege (1983), also released under the title Self Defense, is one of Canada's great hidden gems of the 1980s. Based on true events, the film is set in Halifax during a police strike and follows a group of ordinary people trapped and hunted by a violent gang after witnessing a brutal attack. It's a tense, gritty thriller that feels grounded and believable, and much of that atmosphere comes from the wonderfully restrained electronic score by Peter Jermyn and Drew King.

Rather than going for flashy melodies, the score relies on brooding synthesizers, pulsing bass lines and sparse rhythmic patterns to build a constant sense of dread. Like many early-'80s electronic film scores, it's difficult to know exactly what equipment was used, but the sound certainly evokes the era of Oberheim polysynths and punchy Roland drum machines. Whatever the setup, the result is a moody, understated soundtrack that perfectly complements the film's bleak urban setting.

For my version, I kept things intentionally simple. The Tempest loops a single-bar pattern throughout, combining an analog bass line with a 909-inspired beat driven heavily by the iconic clap sound. Rather than recreating the synth melodies with keyboards, I decided to reinterpret many of those parts using my friend's Ibanez RG running through Roger Linn's AdrenaLinn III.

Most of the guitar tones come from Roger's excellent custom RLD (Roger Linn Design) amp models. The main riff and rhythmic accents use a crunchy, slightly overdriven amp paired with a classic phaser, while the soaring bends floating above the mix are treated with generous reverb and tempo-synced delay to capture some of the haunting atmosphere of the original score.

It's a deceptively simple piece of music, but I think that's exactly what makes it so effective. Sometimes a strong groove, a memorable motif and the right atmosphere are all you need. I'm really pleased with how this tribute came together, and I hope it encourages a few more people to discover both this fantastic Canadian thriller and its wonderfully underrated score.

Hope you enjoy!

℗ Everett Dudgeon 2026

https://www.youtube.com/watch?v=bwPv7Wcwe9w

[Manbird]

New single from my forthcoming album. That's Terry Edwards (PJ Harvey, Nick Cave, Spiritualized) on sax. Honestly, I can't remember what synths I used except for the Taiga at the very front of the song, the drone thing. It's a murky track and I haven't had enough coffee to make myself open the Logic file!

I hope you guys dig our little dry, daytime party vibe!

https://www.psychedelicbabymag.com/2026/07/anton-barbeau-shares-new-video-for-who-wants-to-party-from-new-album-come-home-to-me.html

[LoboLives]

Stone Cold (1991) is one of the great cult action films of the early '90s. Starring former NFL player Brian Bosworth as an undercover cop infiltrating a violent outlaw motorcycle gang, the film delivers exactly what you'd expect: explosive action, memorable villains, outrageous stunts and just the right amount of over-the-top attitude. Backing it all is a powerful score by Sylvester Levay, a composer equally at home writing orchestral drama and driving electronic action music.

Levay's score perfectly captures the film's blend of hard-edged rock energy and early-'90s cinematic electronics. Pulsing synthesizers, pounding percussion and soaring melodies sit comfortably alongside the film's heavy guitar aesthetic, giving Stone Cold a musical identity that stands out from many of its action contemporaries.

For my version, I wanted to lean even further into the rock side of the soundtrack. My friend's Ibanez RG handled all of the guitar work, running through Roger Linn's AdrenaLinn III using the excellent Soldano amp model for a thick, aggressive tone that felt right at home with the film's biker aesthetic. The Prophet X supplied the bass and powerful drums all sequenced and arranged in Digital Performer.

This was a lot of fun to put together and gave me an excuse to really open up the guitar while still paying tribute to Levay's memorable theme. It's a soundtrack that doesn't get talked about nearly enough, and I hope this cover shines a little more light on one of the most entertaining action films of the era.

Hope you enjoy!

℗ Everett Dudgeon 2026

https://www.youtube.com/watch?v=nldniX7Tnv4