When we first listened to Ancient Order of the Droids, the relaxing Daft Punk like tunes reminded us of the fun in music. The genre being specific to this creator, the art would blend well with the right Horror film(s). Making music for “imaginary 80s Horror movies” is Preciado’s purpose. Grab a beer, cut Preciado’s Spotify Playlist on, and allow yourself to remember what’s so great about to famous tunes of the 70s and 80s.

Why “Imaginary 80s Horror Movie” Music?

When we were kids, my older brother would rent and show me every Horror film in the video store. Before I was 10 I had seen all the Friday the 13th films, Nightmare on Elm Street, Halloween, Texas Chainsaw, Evil Dead, etc. When we were older, we started making short films with a video camera, and we naturally gravitated toward not only Horror but genre films. We’d make our own special effects, bloody squibs, all of that stuff.

composer posing against building.

And I guess it’s as simple as… making Horror music is a lot of fun. And what I love about the genre the most is regardless of budget or quality of the film, you can tell the creators must have had a blast doing the bloody, gory scenes. You don’t really get that with other genres. It’s no wonder why so many filmmakers start with Horror.

With all the creative outlets available to you, why make music for imaginary 80s Horror films?

I started making music a long time ago now, did the whole band thing but from the very beginning I wanted to make a film score. Several years ago, I created a project called Ancient Order of the Droids to make music for unexisting films.

Terrore! poster.
All art created by Daniel Bayliss

I was inspired not only by the classic 80’s films I watched as a kid, but also the great 70s Italian Giallo genre I discovered as a teen (also thanks to my older brother). I combined those two ideas to create Terrore!, “A film so scary… a story so terrifying… it was never made!“, and I just love making it so much that I couldn’t stop, so far I’ve released four sequels and I’m working on a prequel to release later this year.

Last year I released Zombiria, “The most offensive movie never made!” and just a couple of days ago I released They Will Follow, about a group of kids in 70’s Dublin trying to start a band and save the world from an alien invasion, all in the same week!

Why Horror? I guess it takes me back to being a kid, watching and discovering very special and creative films and getting my mind blown. Also, I think us Horror fans and the Horror Community are the best. As I said before, we can be forgiving of a lot of things as long as it’s a cool idea or the creator’s heart is in the right place.

Tell us about your creation process.

To me, art is my religion, I am not a religious person at all, but when I read that God made man in his own image and resemblance, I believe that it is talking about the process of creation. Therefore, to be like God, or to be aligned with God, or whatever you call it, you must create in your own image and resemblance; meaning be yourself, reflect what you are in what you create.

Zombiria poster.

As far as the creative process itself goes, I think it’s all about getting the ego of my mind out of the way. I am also a writer, and when I’m writing a comic book or screenplay it is much more difficult to turn the mind off. This is because I need my mind to translate the ideas as they are being received from wherever it is they come from.

I’m also an architect, and in college I heard a saying that was something like, “traduttore traittore”. Something like that. It means, to translate is to betray. The professors were talking about ancient books, but I took it as when you take an idea from this other dimension and you explain it, you are instantly butchering it. Making instrumental music is very pure to me, because my job is to translate a feeling.

To write either stories or music I have to put myself in sort of a trans state and write or record ideas as long as the moment lasts. When the moment’s translated, I then invite my mind into the room again and try to make sense of it, structure it, or whatever.

I wake myself very early, around 5 am. This is when I start to record music because it’s so damn freaking early to me. I am already in that sleepy trans state. I find I’m never out of ideas; there is always a signal out there to tune into.

How does a song start? An idea, thought, message, scenario, etc.?

In the case of these soundtracks to imaginary films, it obviously starts with the idea of the film, which year it was released. Also, the title and story tell me what instruments to record with. Basically I come up with what the film is, who directed it. I ask myself if director is a good or a bad one. Is it cheesy or serious? Then I make the rules of it: does it have guitars, drums, etc. I limit the number of instruments or sounds because having too many options weirdly enough limits you. It sounds weird, but these ground rules open up a stream of ideas and I just start from there.

Which piece are you most proud of, and why?

A couple of years ago we made a kickstarter to be able to make the first Terrore! soundtrack on vinyl. It was a dream come true to be able to bring this music from a film. All from an alternate dimension into our reality. We were able to press a very limited run and I’m very thankful to every single person who contributed.

I’m currently working on the vinyl version of Zombiria, for which we also ran a successful kickstarter campaign. I’m looking forward to having a new campaign for a new Horror related soundtrack next September.

Tell us some of your favorite writers or pieces and tell how your work has been influenced by them.

In terms of what I do with the Droids, it all starts and ends with John Carpenter. He is the master as far as I am concerned. I am also influenced by italian composers, Goblin being the biggest one.

What I take out of Carpenter is the simplicity. Another principle I learned from architecture is the ‘difficult simplicity’; meaning it is easier to make something convoluted look cool, but it is much more difficult to make something very simple be beautiful and powerful.

There are many paralells between music and architecture, more so than with music and writing. But I enjoy both very much, I dream of writing both the screenplay and music of a film, with sort of the dialogue working as lyrics to a song.

Where can we find your work?

I’m all over social media as Musike Di Diable (my one man record label), but right now I’m really focusing on spreading our exclusive Spotify Playlist featuring all of our imaginary soundtracks.

Anything else you’d like the public to know?

We are just getting started!  I’m already planning the next several years of releases of imaginary soundtracks. Because my dream is to make music to an actual real film, I might just have to make the damn movie myself!

Did you enjoy this interview? Who should we interview next? If you’re interested in an interview yourself, you’re a bomb-ass Horror creator, send us a message! To see some other examples of work we’re interested in, check out our interview with comic author, Jesse James Baer, Horror author Isaac Thorne, or artist John Clayton.

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