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

[LoboLives]

With the great Sam Neil's passing I wanted to pay tribute to one of his greatest films: John Carpenter's In The Mouth Of Madness.

This isn't a 1 to 1 cover of any of the cues by Carpenter and Jim Lang but there's definitely an influence and a hint of the main melody from the film.

Like Carpenter's collaboration with Jim Lang on Body Bags the synth lineup for this was

Digital Performer software running on a Macintosh Iicx computer.

EIVxp
Forat F16.
Hammond B3,
Wurlitzer electric piano,
MicroMoog,
Roland MKS80, D550,
Prophet VS,
Yamaha DX and TX series,
EMU Proteus 1 and 2,
Korg M1r and M1rex,
AKAI 612

I spoke with Jim Lang not too long ago and he also told me

"The lead guitar on the main title and end credits is Dave Davies from the Kinks. I believe he played a Les Paul on that. The rhythm guitar I can’t recall. John Carpenter played the guitar on "Robby’s office" from the score. I think that might have been a Gibson 335 or something similar. Otherwise all the “guitar” sounds were me playing a synth- probably a DX7 or something similar- or samples of my friend Danny Jacob.".

For this tribute my Sequential Prophet X was handling most of the heavy lifting in regards to the atmospheric pads and choirs and scary sound effects. All done using the onboard 8Dio Factory Samples.

My borrowed Ibanez RG handled the guitar work and was running through my Roger Linn Adrenalinn iii guitar pedal on a custom RLD amp "Intense". There's also some electronic percussion from the Adrenalinn as well.

Like the original score, everything was sequenced via Digital Performer as well.

I think this turned out quite well. I hope you enjoy,

R.I.P. Sam Neil (1947-2026)

© Everett Dudgeon 2026
℗ Everett Dudgeon 2026

https://www.youtube.com/watch?v=Il2RJ_Rp5Uo

[Soundquest]

Ok, Lobo Lives, that's a Creepy track, well done.

[LoboLives]

Ok, Lobo Lives, that's a Creepy track, well done.

Thank you!

[LoboLives]

Combat Shock (1984) is one of the most uncompromising independent films ever made. Directed by Buddy Giovinazzo and starring his brother Rick Giovinazzo as the haunted Vietnam veteran Frankie, the film is a relentless descent into urban decay, poverty and psychological despair. It isn't an easy watch, but its raw honesty and documentary-like grit have earned it a devoted cult following.

Rick Giovinazzo pulled double duty on the production, not only playing Frankie but also composing the soundtrack. Much like the film itself, the music rejects convention in favor of something deeply unsettling. A menacing blend of throbbing synthesizers, dissonant guitars and live experimental instrumentation, the score feels less like traditional film music and more like an extension of Frankie's fractured mental state. It's harsh, abrasive and relentlessly oppressive—in exactly the way the film demands.

For my tribute, I wanted to embrace that same sense of unease. The Dave Smith Tempest serves exclusively as an analog synthesizer, with the onboard analog distortion and tuned feedback deliberately pushed into harsh, unstable territory to create an oppressive sonic landscape. My friend's Ibanez RG was run through Roger Linn's AdrenaLinn III using one of the excellent RLD (Roger Linn Design) amp models, but rather than chasing a polished guitar tone, I intentionally dialed in a boxy, lo-fi sound, cranked the drive and layered on a flanger to produce something abrasive and unsettling that perfectly complements the film's bleak, low-budget aesthetic.

To retain some of the score's punk sensibility, I incorporated several of the AdrenaLinn III's onboard drum patterns, processing them with the unit's own reverb and distortion to make them feel raw and aggressive. Finally, the entire mix was run through a guitar cabinet simulator with the cabinet drive pushed hard, adding another layer of grit and helping everything sound as though it were trapped inside the same crumbling world as the film itself.

I'm really pleased with how this one turned out. Combat Shock isn't a film or soundtrack for everyone, but for those willing to take the journey, it's one of the most unforgettable examples of truly independent filmmaking. This was a lot of fun to reinterpret, and hopefully it introduces a few more people to Rick Giovinazzo's wonderfully disturbing score.

Hope you enjoy!

℗ Everett Dudgeon 2026

https://www.youtube.com/watch?v=67lSKQro1Kk

[LoboLives]

My girlfriend and I are big fans of the Dungeon Synth genre and she suggested that I try my hand at a track. So this track is dedicated to my awesome girlfriend.

Everything you are hearing is from the Prophet X using some factory programs like "Majestic Pad" and "MedievaROM" as well as a few user orchestral samples from EMU libraries. I added lots of LFO pitch warble, loads of Super Plate reverb as well as some Bit/Sample reduction.

The entire mix is ran through a Loudspeaker bass amp simulator with the mic position pulled far back to give it some massive and dark ambience.

The title of the track is inspired by the Universal Horror film The Black Castle with Boris Karloff and Lon Chaney Jr.

I think this turned out well. Hope you enjoy and I hope my girlfriend finds this acceptable to play at her D&D sessions. Love you babe!


© Everett Dudgeon 2026
℗ Everett Dudgeon 2026

https://www.youtube.com/watch?v=7ua295dPllQ

[LoboLives]

James Horner's Humanoids From the Deep (1980) is one of those early scores that hinted at the remarkable career he would go on to have. While I'm admittedly not the biggest fan of Horner's work outside of a select handful of scores, this has always been one of my favorites. Written for Roger Corman's aquatic monster classic, it's an atmospheric, intelligent score that elevates the film far beyond its B-movie origins.

Rather than relying on bombastic brass and oversized action cues, Horner crafted a remarkably restrained orchestral score built around strings, woodwinds, piano, harp and percussion, with brass largely absent save for the occasional solo trumpet. The result is a haunting, mysterious sound that perfectly captures both the beauty and menace of the film's coastal setting. Even at this early stage in his career, you can hear many of the compositional ideas that would later become hallmarks of his style.

For my version, I challenged myself to recreate the entire piece using nothing but the Prophet X. Beyond the instrument's outstanding orchestral sample library, I also made extensive use of Digital Performer's MIDI Continuous Controller automation to sequence pitch bend, modulation and expression, helping the strings breathe and feel more organic. The woodwind flourishes, spacious trumpet and piano parts drenched in delay, along with the ethnic and exotic percussion textures, all come from the Prophet X as well.

I'm really pleased with how this one turned out. It was a fun exercise in orchestration and expression, and a reminder that some of Horner's most compelling work came long before the blockbuster scores that made him a household name.

Hope you enjoy!

℗ Everett Dudgeon 2026

https://www.youtube.com/watch?v=svGGsl8ZE6w