Horror can be found in the oddest of places. Take Alabama-forged rock-’n’-roller Dan Sartain, a guy who on the surface may not seem like Fango fodder, but an artist whose love of horror movies can be detected pulsing beneath the shimmery twang of almost all of his tunes. In fact, Sartain—who has toured with The White Stripes and has recorded for Jack White’s label Third Man Records—came to us, telling us what a fan he is of what we do. And after listening to his distinctive brand of tough, dark rockabilly trash, we had little choice but to return the sentiment.

So then, ladies and germs, for those of you not in the know, join us as we shine a spotlight on the currently still-touring Dan Sartain and groove on his thoughts…

FANGORIA: Define your sound in a few words.

DAN SARTAIN: A tasteful display of influences from the middle of the last century and onward [gasp].

FANG: Your music is playful and yet dark. Is there a science to the balance, or is it just an organic effect?

SARTAIN: I use mostly minor chords, and there is something very doom-and-gloom about them. Lots of surf acts and spaghetti Western soundtracks are based around minor keys. It’s effective; Catholics use this method on their creepy pipe organs to great effect. Lots of reverb makes stuff eerie too.

FANG: As a kid, when did the rock ’n’ roll bite you, and what form did it take?

SARTAIN: Ever since I can remember, I have been into rock ’n’ roll. The first album I ever bought was AC/DC’s WHO MADE WHO, which, as I’m sure FANGORIA readers will know, was the soundtrack to Stephen King’s MAXIMUM OVERDRIVE. Your readers will also know that movie was a f**king flop! I love that film, however, and will stand by it till the day I die. The soundtrack alone makes it worth a watch.

FANG: I know you dig horror flicks; talk about some of your favorites, and how that influence directly worms its way into your work.

SARTAIN: Too many to mention, for as far back as I can remember. I adore the works of Bernard Herrmann, Philip Glass, Goblin, John Carpenter, Ennio Morricone and Harry Manfredini, among others. I guess those are only musical influences, though. On a more cerebral level, horror affects me in a number of ways. Escapism through horror allows the viewer to laugh at death. It’s an ability that only humans have. We are aware of our own mortality, and horror lets us acknowledge that fact and be entertained by it.

I would like to add that I find real-life depictions of gore too disturbing to be entertained by. Horrific sports injuries, medical surgeries, executions and Kevin Bacon are all too horrific for me to watch as a viewer. I much prefer the works of Tom Savini to real-life horrors.

FANG: Ever been offered to score a horror film, or entertained the idea?

SARTAIN: I want to do that so bad I can taste it. I have to make a decision soon as to where I’d like to go next in music. Instrumental may be the answer. I want to make a soundtrack to a fake movie.

For more on Dan Sartain’s killer sound, his album DAN SARTAIN LIVES and seemingly endless touring schedule, visit http://dansartain.blogspot.com. 

---

News - Latest