Interview Time with Gorachand Saha

In the dark stillness where nightmares wait and evil occasionally seeps out, Gorachand Saha's epic film "The Son of Devil" (2018) waits. It is not watched, it is consumed. Digest all 2 hours and 48 minutes in one voracious sitting. That is the only way. The aftertaste will linger with you for the rest of your life. 

Pulling back the stringy veil of bloody human entrails, Gorachand has graciously stepped into the spotlight for a brief moment in October 2025 to answer a few questions about his unsettling pyscho-art-shock cinema masterpiece. Caution: There are spoilers ahead. Do not read any further if you desire the purest “The Son of Devil” experience possible.

Hello Gorachand. Loved the movie. Where in India was it filmed? 

It was filmed in a town called Nabadwip in India. The large bridge is called 'Gaurang Bridge'.

Let's go back to the very beginning, right when the project began. How did it all start? There was a time before "The Son of Devil". What were you doing back then?

The struggle to carve a place in this world is as old as time itself. We chase recognition, purpose, belonging. But beneath all ambition lies one primal force - love. Not the romantic kind, not the fleeting kind. I’m talking about the selfless love of one human for another. The kind that builds bridges, not walls. The kind that saves lives. Yet, in this pursuit, there are those who walk a lonelier road. People whose hearts beat with a purity too rare for this world. Their honesty is unflinching. Their love, unguarded. Their humanity, unshakable. And for that, they are punished. Society doesn’t know what to do with such souls. So it breaks them. It deceives them. It discards them. Again and again, they rise - bloodied, bruised, but never bitter. Until one day, something inside them shifts. Some retreat into silence, seeking peace in prayer, in solitude, in the divine. They become the “Children of God” - gentle spirits who choose light over vengeance. But others… others turn toward the fire. They become the “SON OF DEVIL” - not by birth, but by betrayal. They return to the world not with open arms, but clenched fists. Not to be healed, but to burn. I remember reading stories like these in a newspaper—real people, real pain, real transformation. Those stories didn’t just move me. They haunted me. They demanded to be told. And so, "The Son of Devil" was born. 

This film is not just a narrative. It’s a reckoning. It’s a mirror held up to a society that fails its most honest hearts. It’s a protest. A cry. A warning. Because when love is rejected, and truth is punished—what rises from the ashes is not peace. It’s fury. The journey of Son of Devil was never just about making a film. It was about survival - creative, emotional, and spiritual. When I began, I had almost nothing in hand - just forty dollars and an impossible dream. No studio, no sponsors, no team. Only a story that refused to let me sleep. Through pain, betrayal, loss, and endless struggle, I learned that filmmaking is not about money or convenience - it’s about faith. Faith in the story you want to tell, faith in the people who stand beside you, and faith in yourself when everything around you collapses. There were nights when we filmed under railway lights, on empty tracks, surrounded by danger and silence. There were days when I thought I might collapse from exhaustion. Yet, every hardship taught me something that no film school ever could - that art is born not from comfort, but from chaos. "The Son of Devil" grew out of that chaos. It is a story about pain, transformation, and the thin line between love and fury. It asks one simple question: What happens when honesty and love are punished by the world?

I wanted to create something big - something real - with many actors and powerful scenes. But I had no one to rely on. Everything rested on me alone. Still, I began. Within weeks, I threw myself into the work with new energy, writing and rewriting my story. Slowly, new people started to join me. We began rehearsals, and to my surprise, the sessions went beautifully. After struggling to gather some funds, I finally planned to start shooting. I was hopeful - happy, even. For the first time, it felt like the dream was taking shape. But fate had other plans. All my actors worked at a private insurance company. One day, that company suddenly shut down and they all lost their jobs. Their families were in turmoil. Their personal lives fell apart. Under such circumstances, it was impossible for them to continue with my film. I was crushed, but I didn’t give up. After thinking deeply, I turned to a close friend for help. He listened to my story carefully. He owned a camera, so I asked him to become both my cameraman and casting director. He agreed. Within a few days we got all the artists and started shooting. 

Did anything strange happen while making the movie? 

Many strange things were happening during the film shooting. I can remember that night on the railway tracks. It was deep into the night, the kind of silence that hums with danger. We were shooting on the railway tracks - no lights, no safety nets, just shadows and steel. I was playing the killer. A savage, unhinged soul, charging forward like a wild beast, clutching a massive, gleaming blade. My eyes were locked on the imaginary victim. My body moved with fury. I had become the character. And then, out of nowhere, a train suddenly appeared in front of me from beside the railway tracks. It roared in from the adjacent track, slicing through the darkness. I didn’t see it. I didn’t hear it. I was too far gone - too deep inside the mind of the murderer I was portraying. For a few terrifying seconds, reality vanished. The world around me blurred. My senses were hijacked by the role and I forgot I was just an actor on a set. Had I taken one more step, had I lunged just a moment sooner, I wouldn’t be here telling this story. 

That night, I didn’t just survive a scene. I survived the razor-thin line between fiction and fate. My friend’s quick reflexes saved me that night. The railway police rushed in soon after, ready to arrest us, but because we had the official permission letter from the railway department, they couldn’t. After a few days of this incident I shot a horrific fight scene. I was alone in this fighting scene and many enemies were against me. During the shooting, I was seriously injured. I could not sleep all night because of the terrible pain. I was injured several times during the shooting, but I continued shooting by ignoring all the pain.

My hard work, unbearable pain, and money spent for this movie failed one day. The one whom I gave the responsibility of the casting director and cameraman, he betrayed me. He was very clever, which I was not. I helped him a lot in his life and so I thought that he would help me as a friend in making this film. But, I was wrong. He was trying to steal my movie through deceit. I couldn’t take any legal action against him because I had not signed any agreement with him. And at the same time, my uncle died. He was the pillar of our family. As a result of these incidents, I became physically and mentally devastated. Everything of mine was gone. I did not understand what to do next! I became once again alone. 

But, my enthusiasm was not lost. Again I started trying to collect people again as usual. One day, I remembered a friend with whom I had acted in a play several years ago. The next day I went to that friend's house and I told him in detail about my terrible situation. He agreed to help me after hearing all of my words. Leaving aside the previous story, I started writing a new story that was even more exciting than the previous one. I got the idea for this story from an incident I read in the newspaper. With his help, I started my film work. Before the shooting started, we arranged the audition for the film. We hired a man for an announcement all over the town about the audition for my film. With a loudspeaker and the wind in his face, he rode through the city in an open car, calling out for actors to audition for roles in the film. Soon, people began contacting us. On the chosen Sunday, many turned up for the audition. We selected our male actors—but I couldn’t find a suitable actress for the leading role opposite me. We tried everything, but every girl we approached declined for personal reasons. 

After a lot of effort, my friend was able to convince a girl to act as a heroine opposite of me. But on the day of the shoot, something strange happened. My friend invited another girl - someone he knew from before - to visit the set. She wanted a big role in the film. Since there weren’t any major parts left, she was given a small role in an interview scene. Her role was to call for the waiting candidates one by one in the job interviews scene. She performed well. I was pleased to see her work. Then began preparations for the scene of me and my heroine. I knew that the selected girl who came for the role of my heroine would be my heroine. But when the shooting started, I was surprised to see that right before the shooting started, instead of the girl chosen to play my heroine, that new girl was suddenly placed in front of me to play the role of my heroine. My friend did this thing without informing me. My friend decided the new girl suited the heroine’s role better than the previous one. So, without informing me, before the shooting began, he explained to the new girl about her character. Although she played well, I could not play well. Because I did not like this new girl. 

I went back home after the shooting ended. Within a few days, I started to feel a strange change in my mind. There was a change that started in me. I didn't understand what was going on inside my mind! I started to feel a deep attraction to that new girl, one that I never felt for anyone in life. The deep attraction of my heart towards her was increasing day by day. I always thought deeply about her only and no other thought would have come to my mind. In the days that followed, while acting in every romantic scene with her, my love for her was not just acting, but pure. Anyway, we all worked hard for this film. It is necessary to mention our cameraman in regard. In the action scenes in this film, he had to fight to get his camera to focus on us. When we were taking a murder scene on a small hill, our cameraman became unconscious due to the extremely hot and rough environment. We all quickly took him to the riverbank and sprinkled the river water on his eyes and face. After a few minutes his consciousness was restored. After resting for fifteen minutes, he started shooting again. As for me, during the action scenes under the blazing sun, due to extreme hot weather and rough environment and hard work, I often felt as if I might collapse - or even have a heart attack. But I endured the pain and kept shooting. 

I still remember that first murder scene on the railway line, in a remote village. That day, we reached the location - a small, remote village surrounded by quiet fields and dusty roads. As soon as we began shooting the first murder scene, curious villagers started gathering around. At first, just a few stood watching from a distance, but within minutes, the crowd had swelled into dozens. Their whispers filled the air, wondering what we were doing with cameras, blood, and weapons. Then something funny happened. When the actors dressed as policemen arrived, the villagers thought they were real officers who had come to arrest us for murder! Panic broke out instantly. Some of them ran behind trees, others ducked into their homes, and a few simply fled down the dirt road without looking back. We couldn’t stop laughing once we realized what had happened. It took several minutes to calm everyone down and explain that we were only making a film. Once they understood, their fear turned into excitement. The same people who had been terrified a moment ago now stood cheering behind the camera, watching every take with wide eyes and genuine wonder. After that confusion, we resumed filming and worked until sunset. That day reminded me how powerful cinema can be - it blurs the line between fiction and reality, even for those who are just standing on the sidelines. 

Another day, we crossed a river to shoot in a deep forest. The place was far beyond our residence. That day there were a lot of people with me. It was a scorching day and we had a big fight sequence between the killer and the police. We started at ten in the morning and kept going until evening - just action after action. We returned home exhausted, but satisfied. But that hard work went to waste. A few days later, while transferring our footage from DV to DVD, the technician made a critical mistake. He cropped the frame of the recorded footage too small, and I couldn’t fix it. I didn’t have the money to reshoot. Those action scenes were lost forever. 

The dancing scene was very lively and energetic. Was that a difficult scene to film? 

Thank you. This dance scene was not difficult to film at all. That's because both of us were dancing with the natural passion and joy of the heart.

Was the dance carefully choreographed or did you improvise your steps? 

We improvised the dance steps during the shooting. That's because we were both dancing with deep attraction and joy for each other.

What was the most difficult part of directing the movie?

The most difficult part of directing the film was the murder scene when the train passes on the railway tracks and the intense action scene between the killer and the police force at the end of the film.

Will there be a sequel? 

I want to make a second part of this film. But it depends on the financial situation.

Are you writing anything new? If so, could you tell me a little about it? 

I began writing a new screenplay once - full of dread, mystery, and the kind of darkness that doesn’t just hide under your bed, but crawls into your dreams. It was meant to be my next film. But life, as it often does, turned cruel. Financial ruin knocked at my door, and I had no choice but to abandon the script midway, leaving it half-alive, gasping in the shadows of my desk drawer. But some stories don’t die quietly. "The Son of Devil" was never just a screenplay. It was a living, breathing nightmare. And when I stopped writing, it didn’t stop whispering. It clawed at my mind, twisted itself into new shapes, and demanded to be reborn - not on screen, but on the page. So I wrote a novel. It’s longer. Darker. Meaner. The skeleton of the original story remains, but I’ve fed it flesh soaked in fear. I’ve changed the rhythm, deepened the horror, and let the characters bleed. What was once a cinematic tale is now a literary descent into madness. The devil’s son isn’t just a figure anymore - he’s a force. And he’s coming. I want this story published by an American house that understands horror not as entertainment, but as revelation. Because this isn’t just a book. It’s a warning.

What are your favorite movies? 

My favorite movies are Enter the Dragon (1973), Game of Death (1978), Evil Dead (1981), Commando (1985), Red Heat (1988), Bloodsport (1988), Double Impact (1991), Fright Night (1985), Sleepless (2001)), The Mummy (1999), and many more.

Your admiration for Bruce Lee is evident. If you could write a movie with him in the starring role, what would it be? 

Not only would that movie win an Oscar, it would be a landmark in world cinema.

What is your advice for young filmmakers and screenwriters?

Don’t chase technology - chase the truth. An actor doesn’t need the latest camera or the most advanced lighting setup to touch an audience. What matters is passion. What matters is honesty. You can buy every piece of equipment in the world, but if your actors don’t believe in what they’re doing, if they don’t feel it - your film will be beautiful, but empty. The camera captures light. The artist captures life. When I made "The Son of Devil", I didn’t have much - just a handful of people who believed as deeply as I did. We shot through the heat, the pain, the sleepless nights, and somehow, truth found its way through the cracks. And that truth, that raw emotion, is what cinema is really about. So here’s my advice: learn your craft, but don’t become a prisoner. Learn your craft, but don’t worship it. Let your camera be an instrument, not your identity. Tell stories that come from your heart, not from algorithms. Work with people who feel, not just those who perform. 

One day, when the lights go out and the credits fade, audiences won’t remember the brand of your camera, the clarity of your sound, or the cost of your lens. They’ll remember the emotion. They’ll remember the truth. They’ll remember how you made them feel. They’ll remember you only for that reason. That is the power of cinema. And that is where every true filmmaker begins.  

Thank you Gorachand. We are all deeply grateful for your twisted dream-engine of imagination and wait patiently for your next project. 

"The Son of Devil" on Tubi, the Trailer, buy a DVD, on Letterboxd, on imdb

Gorachand Saha on Instagram and Facebook

Filmmaker J. H. Rood of Ghoul Inc. Productions portrays Detective #1 in "The Son of Devil". He answered a few questions about his involvement with the film.

Hi J. H. Excellent job as Detective #1. How did you get involved?

I first became aware of Gorachand Saha through my friend Chad Knauer, who made a film called "Skeleton Cop". I was following the "Skeleton Cop" Facebook page when he announced there was a new cast member, and it was this wild-eyed Indian guy named Gora. I immediately went to Gora's profile to check him out, because I was in production on a film of my own at the time and he looked like he would be a good fit. I watched some of his acting reels and I was sold on this guy! I reached out and we became fast friends. I eventually cast him in my film "The Abode of Mad Tales" and not long after he approached me to be in "The Son of Devil". 

Was the audition process difficult?

There was no audition. He did give me a script to follow and I did, to the letter, at least as far as the dialogue goes. We did have a little bit more creative license with how and where we shot the scenes. The detective scenes were shot near my home in El Paso, Texas. Coincidentally, not far from where "Manos: The Hands of Fate" was filmed.

Are you in favor of a sequel? 

No. Not because it doesn't deserve one, but because it doesn't really need one. I think Gora definitely told that story very thoroughly and I don't think it needs to be expanded on. I would like to see him make a new film. 

As a writer and director, how were you inspired by "The Son of Devil"?

"The Son of Devil" is inspiring because it exists. Gora poured his heart and soul into that project, and not only did he get a movie, but he got it distributed! It's on freakin' TUBI! Too often, I see filmmakers get discouraged when they hit a few bumps in the road along the way. They will shit-can a whole project because of a few unforeseen difficulties. Gora worked on "The Son of Devil" for years, and he did it. He made his movie. Filmmaking never, ever goes how you expect it to. Expectations are resentments waiting to happen. Roll with it. Improvise. Think outside the box. John Carl Buechler once said if you want to make a movie, pick up a camera and do it. There's nothing stopping you. That's what Gora did.

Stan The Entertainer

The greatest karaoke singer in the world sings at Two Friends Patio Restaurant in Key West, Florida. His name is simply "Stan" and every Friday and Saturday night he lights the stage on fire with dynamic performances. If you aren't lucky enough to see him in person, the Keys Live live stream on YouTube is your only alternative. Watch. Wait through everyone else's attempts at entertaining. You will be amazed.

Who is he? What drives his passion for singing? Sea Creature Media was lucky to catch up with Stan after a performance for this exclusive interview.

Hi Stan, do you need a moment to collect yourself after that song? That looked exhausting!

No sir. Let's roll. What do you want to know?

First, introduce yourself and give us a quick bio.

My name is Stan and I am a proud Conch. I worked for many years as a commercial real estate lawyer, retiring in 2015 to devote my time to my two passions: karaoke and writing.

Writing? What kind of writing do you do?

Poetry mainly, but I'm working on my autobiography right now. It's called "Sing It Again, Stan" and it's going to be a tell-all.

A tell-all? Can you give us a little sample?

For free? I'll let you wait to buy my book when it comes out like everybody else! I will say that I have crossed paths with Jimmy Buffett, Kenny Chesney, Calvin Klein, Weird Al, Paula Deen, Tom Brady, and Venus Williams. I sang with some of them, drank with all of them, and punched one of them square in the nose.

Are you a fan of Ernest Hemingway?

Good writer, terrible singer.

That's fair. Let's talk about the song you just sang, And When I Die. Written by Laura Nyro and made famous by Blood, Sweat, and Tears. Why that song?

Why? It's a damn good song and it speaks to me. Laura Nyro wrote it when she was 17 years old. Blood, Sweat, and Tears took it all the way to #2 in 1969. The lyrics "Now troubles are many, they're as deep as a well, I can swear there ain't no heaven, but I pray there ain't no hell" get me every time. I cry, but I dance through my tears.

Your dancing is exquisite. Where did you train?

I studied ballet at Julliard, but most of my training occurred by watching street performers and mimes in Paris, London, and New York. I don't like to be constrained by labels. I dance how I feel and I feel how I dance. What can I say?

I detected some soft shoe, tap, hip hop, and square dance steps in that performance.

Again, labels aren't my thing. Sorry. It's all dancing to me.

Your singing style can go from very soft and vulnerable to raucous and rowdy. Do you have your performance mapped out in your mind before you start singing?

I go into this in my book, but I'll touch on it now. Yes sir, I have a rough blueprint of what I want to do. I work on songs at home on the piano in an attempt to master the subtle nuances. Some view karaoke as just something to do for fun once in a blue moon. I see it as my lifeblood. I need to do this every weekend. The microphone needs me and I need it. We are a team.

Can we go over some of your other song choices?

Shoot.

One Way Out by the Allman Brothers.

That's an old Sonny Boy Williamson song made famous by Florida's own Allman boys. I sang that for Gregg Allman once at a private function. He took me aside afterwards, looked me right in the eyes, and said that it was hands down better than their version. I do that song as a tribute to him.

(I Can't Get No) Satisfaction by The Rolling Stones.

Simply the greatest song of the 1960s. There is no debate. Jagger and Richards created a sonic masterpiece that hit #1 in the summer of 1965 and stayed there for 4 weeks. The lyrics might seem abstract, but they resonate with me. I have lived this song. I want this song played at my funeral. I am this song.

Your Mama Don't Dance by Loggins & Messina.

This is a song that somebody asked me to sing on a dare. I tried it and fell in love with it. Simple as that. Next. 

I’m Just a Gigolo/I Ain’t Got Nobody by Keely Smith and Louis Prima.

This is one of the first songs I remember ever hearing in my life and it fills me with bittersweet memories about my youthful days. Key lime pies and butterflies in the afternoon sun. The innocence of childhood vanishes like clouds after a thunderstorm. Time passes and we are left all alone.

The Green Acres Theme Song by Vic Mizzy.

Television theme songs are one of my favorite musical genres and the one from Green Acres is always a crowd pleaser. Vic Mizzy also wrote The Addams Family theme song. He was a genius.

Thanks, Stan. Anything you'd like to leave us with?

I'd like to extend an invite to everyone to come down to Key West and drop by Two Friends at 512 Front Street on Friday or Saturday night. Or both nights if you can. I'll be here and I'll be singing. Not sure what song, but I'll be singing. I would also like to add that I love everyone, regardless of who they are. I embrace all of humanity in a great big hug from the depths of my soul. Thank you and I will see all of you very soon.

Album Review: Everybody Wants Control Of You

Artist: H.M. Johnson
Title: Everybody Wants Control Of You
Label: Trashmore Records
Year: 1994
Genre: Jazz, Blues, R&B
Condition: CD case/insert very good, disc very good (no skips)

Compact disc found in Centerville Turnpike DAV Thrift Store in Chesapeake, Virginia. H.M. Johnson is a prophet. In this 1994 album, he is warning us that "Everybody Wants Control Of You". Listening in 2023, one cannot deny the prescience of his call to the citizens of the world. We are not in control. Our lives are not our own. Who is "Everybody"? According to H.M., it's the government, the preachers, and rock stars. We, the common folk, are all merely blind puppets. We are pawns in civilization's cruel game. Big banks and big media rule us. We are slaves to everything and everybody. There is no hope. We're born suckers and we'll die suckers. Smooth, crisp jazz scale guitar solos take the listener on an adventurous roller coaster ride over the course of this album. Strap in because it's a thrilling ride.

According to his website, H.M. left a band called The Rhythm Kings "to play the music he really wanted". Thank God for that realization. Here is a song by the band called "Baby Take It Easy" that clearly shows us that H.M. was bogged down with a clunky horn section and cluttered bass/drum combo. The unnecessary sax solo is oddly placed and goes on for too long. Annoying brass punches startle the listener. Worst of all, where's the guitar solo? Thanks, but no thanks. Very glad that H.M. left this mess of amateurs to start his own thang. He still regularly performs in Virginia, wowing crowds of all ages with his laid back vocals and big hollow body guitar gymnastics. Watch this remarkable clip of H.M. performing a one minute jazzy blues ditty from February 2023. With jazz cap placed perfectly askew on his head, H.M. Johnson's fingers effortlessly dance on the fretboard to create a minuscule masterpiece.

Best tracks are "Everybody Wants Control Of You", "Song For Barf", "Movin'".

CD Track Listing - You're Always There, You Move Me, Everybody Wants Control Of You, I've Never Been So Lonely, The Most, One Woman Man, Movin', Song For Barb

Check out the H.M. Johnson Band's Facebook page to see if they're playing soon.

PLAY BASE BALL!

"The Bottom Of It" - Craig Moorhead

"The Bottom Of It" is the 6-song EP by Craig Moorhead. He answered the following questions by email via computer less than five minutes ago...

How did you make “The Bottom Of It”
?

Most of 'The Bottom Of It' was recorded using Vegas Pro, a Ray Cameron 86 mic, a blue telecaster loaned to me by Dave Ries of Kentucky Avenue (you should check them out), a Mackie mixing board that was large enough that I only needed about 10% of it, and a Line6 amp modeler to... model some amps.

This was all done in a studio at a place I used to work and I could have the run of it in the off-hours. 'Nothing Rhymes' was recorded in the basement of my house, though, with a microphone, an Ibanez guitar, and fingers crossed. After the recording was done, it was all mixed and mastered in Logic Pro.

Weezer or Deezer?



Weezer ON Deezer. Gotta Deez that Weez.

Was it easier to start “The Bottom Of It” or complete it?

It's always harder to complete. All the recording is fun and the first few mixes are really fun to listen to, and then the 39th mix is like "Why was I born?" and then you let it sit for a decade or two and start that whole process over again. So, yeah, much easier to start. 



Kurt Cobain or Kurt Russell?



I mean, it's gotta be Kurt Russell. Snake Plissken is Santa Claus now. You can't compete with that.

What’s an old email address that you don’t use anymore? Why did you stop using it?



tthhoossee@yahoo.com - Witness protection made me give it up.

Frank Black or Frank Drebin?

Wow, there are no softballs in this interview! But it would have to be Frank Black. Drebin is fine, of course, but let's face it, he got a little silly the more time went on. Frank Black remains deadpan and that's what I like about him. His songs are okay, too.

What are you going to do next?



Next year I'll be releasing, probably, two songs a month leading up to the release of an album I call '26% Rock n Roll Solution'. It's the one everyone's been waiting for.

Wilco or “Sgt. Bilko”?



What a softball. Wilco, of course.

What is something that you would like to say to the you of five years from now?



Stop it! Now go.

What's some stuff that people should check out?

Podcast: a-ha Ha Ha - a podcast consisting entirely of knock-knock jokes based on the popular 80s band. Example: Knock-Knock. Who's There? Ah. Ah-Who? No, a-ha. Really good stuff.

Book: Stop Doing That by Aesop Semple. Oh, that Aesop. What a talent.

Movie: When Did This Happen? written and directed by Tiffany Chandelier. This is a first-person account of a third-person account of a true story that never happened. A revelation.

Album: Slip Into The Night by Pale Brother. This is real. Do it.


Listen to "The Bottom Of It" Now!

Craig Moorhead's spotify & youtube & soundcloud

"Death Cell" - Joshua Cotterino

"Death Cell" is the 9-song album by Joshua Cotterino. He answered the following questions early on Christmas morning 2020...

How did you make “Death Cell”
?

Hardware: Squier Strat, SX VTG bass, Yamaha YS-100, CH-1, RP3 multi-effects, DD-7, Roland Rubix 24 usb interface, Shure PG48, Shure SM57, Olson MK-175, Tascam 424 MKII Portastudio, Behringer Xenyx 802 mixer

Software: Garageband 6, Reason, OBXD, Song-Finisher 3000, and synth1

Hi-Fi, Lo-Fi, or Wi-Fi?

Yes.

Was it easier to start “Death Cell” or complete it?



Easier to start. Is anything ever really finished??

Robert Smith or Will Smith?



Robert Smith, but I would love to hear them collab.

What are you going to do next?



Record a black metal EP.

“Love Will Tear Us Apart” or “Love Will Keep Us Together”?



That's a tough one... Imagine if the production and mixes on those two songs were switched.

What’s an old email address that you don’t use anymore? Why did you stop using it?

walkingahead@yahoo.com - Did you ever use to play yahoo pool?

"Enjoy the Silence" or "Silence of the Lambs"?



"Enjoy the Silence"

What is something that you would like to say to the you of five years from now?



Keep it real.

What's some stuff that people should check out?

I've had the movie "Cabin Boy" playing a lot in my recording space lately. Also check out hotoffthepressrecords.bandcamp.com, my friends Hugo and Matt have been recording some of the best underground pop you'll ever hear. A few of my favorite albums on there are "Campus Slump OST", "City Nights", and "Pap".



Get "Death Cell" HERE

Joshua Cotterino's soundcloud, facebook, instagram, and youtube

E-Z Food Mart (location unknown)