The Atlas Moth “Coma Noir”

Presenting the third collaborative effort between The Atlas Moth and filmmaker Ryan Oliver, this music video for the title track off the album ‘Coma Noir’ is a new take on a performance-based video in the style of a film noir motion picture.

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Bill & Phil “Dirty Eye”

Synopsis

From the album, “Songs of Darkness and Despair” on Housecore Records comes a strange and dark puppet show/music video directed by filmmaker, Ryan Oliver of Deathblow Productions.

What They’re Saying…

“Bill & Phil’s Music Video for “Dirty Eye” is Brilliant”

“The music rocks and the video is brilliant.”

“very, very, very, very, very, very interesting!”

“…while the tunes undoubtedly will rock, a new video promises to also after a weird, terrifying twist to the release.”

“a brutal new video”

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Directed by Ryan Oliver of Deathblow Productions

Behind the Scenes

Child Bite “Vermin Mentality”

Synopsis

After an incompetent scientist botches a series of tests on his lab rats, the creatures mutate and launch a vicious attack on humanity starting with Child Bite, who must defend themselves from the stronghold of their tour van against the monstrous pests.

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Starring

Bill Moseley (The Devil’s Rejects, Texas Chainsaw Massacre 2)
Wayne Alon Scott (Tim and Eric’s Bedtime Stories)
Danny Belrose (Portlandia, Brooklyn 99)
Sarah French (Killer Biker Chicks, Strip Club Slasher)
Elissa Dowling (Tales of Halloween, We Are Still Here)

Written & Directed by Ryan Oliver of Deathblow Productions

Child Bite

Shawn Knight – Vocals
Sean Clancy – Bass
Brandon Sczomak – Guitar
Jeff Kraus – Drums

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“Vermin Memtality” produced by Philip H Anselmo & Child Bite. Recorded & Mixed by Stephen “Big Fella” Berrigan. Mastered by Scott Hull.

No animals were harmed in the making of this video.

Sacred Mass of the Nunja

– Synopsis –

A salvaged chapter of nunsploitation from the wreckage of a lost film finds new life on it’s own as an outlandish exploration into faith, discipline and madness.

Deathblow Productions founder and award winning fiilmmaker, Ryan Oliver, is releasing an experimental nunsploitation short, Sacred Mass of the Nunja. Oliver’s musically driven film found its outset seven years ago as a sequence of a larger movie, She-Bang, the production of which was ultimately abandoned and left incomplete. Now after all this time, the lost tapes of She-Bang have been salvaged from the wreckage and given new life from a crack team of post-production artists.

To accompany his vision, Oliver sought out the expertise of musician Sanford Parker (Corrections House, Buried at Sea) and previous collaborator, Stavros Giannopoulos (The Atlas Moth, Twilight, Chrome Waves) to create a thunderous score that compliments the lush and bombastic visuals.

Oliver remarks, “When I was young all I wanted to do was take Karate, but instead I was strong-armed into being an altar boy. That said, this material speaks for itself.” He goes on, “The music Stavros and Sanford composed was integral to giving this old footage new life. They crushed it and made it look easy. I’m very pleased with how it turned out I must confess.”

Stavros Giannopoulos adds, “Ryan and Sanford are both close friends so when Ryan offered the opportunity to write some music for the Sacred Mass of the Nunja, I jumped at it. Sanford and I worked well together during the Twilight records so it was a natural fit to team up with him on this project. Always an honor to work with both of them.”

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– Photos –

The Atlas Moth “The Sixth Passenger is Death”

– details –

The Atlas Moth
“The Sixth Passenger is Death”
From the album “XXXXXXXXXXXXX”
Profound Lore Records
Directed By Ryan Oliver

Chicago band The Atlas Moth plays a style of doom-friendly metal that blows open any possible pigeonhole. This dark, impressionistic video directed by Ryan Oliver features candle-lit incantations and a burial at sea. Not for the faint of heart.

– watch the film –

– official selection –

– production stills –

– about the project –

The title to this song is a reference to the french title to the movie ALIEN. That’s all I had to hear to get the concept going for the second music video and Atlas Moth/Deathblow collaboration. Where the first song looked under the surface of an infinite ocean, this one would look to the skies for signs of alien life.

David Wimsatt (Engineer Fritz), was a key player in the production of this video. David has been collecting obsolete intruments for some time and since I’ve known him has had a collection that when laid out, looks like a pirate radio station.

I had the idea to put all these tech treasures to work as our set and we were off and running. We chose Gregor Mortis’ spacious loft as our set where we begain a month long construction.

During this time Brant Mccrea began designing and sculpting the alien creature which would take two months to complete for mere seconds of screen time. The creature turned out great in function and appearance and served as a major exclamation point on the already action packed video.

We were lucky to get the same camera and grip team from Restoration and the first Moth video, securing the talents of Marcel Morin, Killian Blount, and Kevin Osterhaut.

I’d be remiss to not mention our Special Effects Makeup Artist, Cat Bernier. Cat came in from her home in Tennessee to join us and bless the video with some pretty brutal gore.

One of my favorite moments that would normally be over looked is another genius touch by David Wimsatt it involves the oscilloscope and is best told by him. He writes:

“I used the proposition of this video to justify the purchase of a couple of old Tektronix oscilloscopes — a must for any respectable mad scientist’s laboratory. Because I am merely a science enthusiast, and not an actual scientist, I wasn’t quite sure what kind of signal could [safely] be used to drive the ‘scopes; so I did what anyone in my situation would do: enlisted the counsel of an electrical engineer. He suggested I explore drawing Lissajous figures using two sine waves by way of audio signals. Yes, audio signals are safe and effective inputs to drive an oscilloscope! In the process of researching the display of audio signals I discovered Rabiscoscopio, an ingenious piece of software which would translate a 2-dimensional line drawing into a stereo pair of audio signals which, when mapped to the X and Y axes, would result in said line drawing being rendered on the oscilloscope display! I wasn’t immediately successful using the software, but Alex (the author) was kind enough to translate the Atlas Moth logo into audio signals for us just in time for the shoot…”

Thank you, David. Might I add that all the projections were live in the space as we shot. No images were artificially comped in on screen except for the green electricity.
We were lucky to have everyone’s participation on this one and after all the hard prep it felt like a big room of friends having a good time.

I can’t wait and hope to complete the trilogy of Atlas Moth videos one day.
-RO

– behind the scenes –

The Atlas Moth “Your Calm Waters”

– details –

The Atlas Moth
“Your Calm Waters”
From the album “An Ache For The Distance”
Profound Lore Records
Directed By Ryan Oliver

– watch the film –

– official selection –

– about the project –

I’m fortunate person for knowing and befriending Stavros Giannopoulos and for having the confidence from his band to have developed and directed this video.

Our crew shot on two separate days, two weeks apart if I remember correctly. The days were, as you may guess from the video, split up into terrestrial and underwater photography.

The chamber set was built in the bottom of a loading dock where there was a nearby drain for the ‘bottomless basin gag. A green screen was rigged at the entrance of the chamber and the top landing of the stairs was built with two interchangeable tops. The stunt top had a cutout that housed a makeshift water tank disguised as the basin, once our character dunks herself inside the video takes off.

The underwater photography was filmed at a local scuba shop’s indoor certification pool. We rented the pool for the day and lined the pool with specialty non-shedding, black fabric to make the walls disappear.

Aside from the actress, Catherine Dughi, (the only one not in a wet suit may I add) there was a large crew of us in the pool for 12 exhausting hours moving the shoot along. Camera was on scuba tanks while many of us, myself included, snorkeled the whole day while puppetering and constantly arranging pounds of dry ice to create fields of white, vaporous bubbles. Coming up to the surface to talk was often necessary, though we did have good exchanges with crude sign language underwater as well.

It was a thoroughly fantastic experience and I may never shoot anything quite as unique as this video.

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Lair of the Minotaur “Evil Power”

– details –

Lair of the Minotaur “Evil Power”
Runtime: 05:20

– synopsis –

The Greek Mythology-inspired Lair of the Minotaur continues it’s carnage quest in the title track music video from their fourth full-length album, ‘Evil Power’. The story, adapted from an ancient myth regarding the band’s namesake character, details the grim fates of three unfortunate sacrificial slaves. Packed with epic scenery, haunting characters and gallons of viscera, this epic release from Deathblow Productions and LOTM is here, uncensored and without mercy.