01/12/2026
Just got word that Guy Moon passed away tragically. He was a good human, and it was an honor to work with him on the Creepozoids (1987) OST LP. We were also working on another release originally slated to come out later this year. Life is precious. Be good to each other. Below are the liner notes Guy sent to me for our Creepozoids release. RIP. xo
"What can I say about Creepozoids? Shot in twelve days for a rumored $75K and variously labeled by critics as "a trainwreck," "inadvertently funny," and "a film that undeniably loses steam once Linnea puts her top back on," Creepozoids was the first film I ever scored.
A post-apocalyptic monster flick with more than a few passing similarities to James Cameron’s Aliens, Creepozoids was also only the second non-pornographic film from director David DeCoteau, for whom I would also score Sorority Babes in the Slimeball Bowl-O-Rama. Both works quickly gained recognition as one of those "so bad it's good" cult films.
The opportunity to score Creepozoids came to me through a shadowy attorney enlisted by the film's producers to hunt down a qualified composer, but not one so qualified as to cost more than 5K (the film's "all-in" music budget). But, even by that low standard it made little sense to hire me. I had never scored a film or educated myself in film music. My sole ambition was to produce records. Yet, Creepozoids held the allure of an unknown adventure -- not to mention the $5K fee, a substantial sum to me at the time -- so I jumped at the chance.
Next thing I knew I was seated next to DeCoteau, spotting Creepozoids on the palm-sized screen of his Moviola. David knew what he wanted and the process went so smoothly that, for a fleeting moment, scoring films seemed like a breeze. My notes reflected 45 minutes of score and I had three weeks to deliver.
If the look of Creepozoids doesn't telegraph to you when it was made, my highly-specific, 1980's techno score leaves little doubt. Described by one of my kinder critics as "deliciously synth-heavy" -- and by another as "one of the 80's-iest soundtracks possible" -- the score is indeed prototypical of that musically infamous decade. So too was the gear I used to record it:
A Linn 9000, a Roland D50, a Roland Juno-106, a Yamaha DX7, an Emulator E4 Sampler and one Fostex B-16 analogue tape recorder.
The bulk of these items were lent to me by Richard ("Koz") Kosinski, a good friend who also allowed me the use of his studio nights until my work on Creepozoids was completed. Looking back, it was a cramped space with poor air circulation, little soundproofing, and an ever-present 60-cycle ground buzz, yet it also housed a Sony 3/4” video deck and Lynx synchronizer, which were essential to my mission. And once I was up and running, technical issues were few. Even the ground buzz was silenced by masking and gating every track, etc.
I was somewhat familiar with the synths and the Linn 9000, but not the Fostex B-16 or Sony video deck, let alone the mysterious Lynx synchronizer. Everyone in L.A. faced challenges syncing at that time, which was new to “pro-sumer” gear like the Fostex.
Score-wise, my first objective was to select a sound palette suitable for the entire film. The process was laborious as I was determined to avoid the cheap synth sounds that so dominated film scores and pop music at that time. In this respect, the E4 sampler became a workhorse, allowing me to take sampled acoustic sounds and twist them into mysterious and unfamiliar tones. But my hero was the Linn 9000; rock solid and perfect for drums as well as sequencing midi synths. I knew it well from programming countless masters at Tyrell/Mann Music, a local commercial studio where I worked. The Linn had no mouse, just a ten-key pad and a few extra buttons. It flew.
My top synth for Creepozoids was the Roland D50, simply because I was just getting the hang of it (the D50 had begun to saturate top 40 radio, so I was curious to explore it). On the other hand, the Fostex B16 Multitrack recorder was a turd -- noisy, slow to sync, and with poor fidelity.
As the mix date for Creepozoids loomed, so too did my doubts and second-guessing about my score. The three weeks given to me had become a baptism by fire, and even though DeCoteau seemed pleased, I began to panic and question every cue. I wondered... were DeCoteau's standards too low because his previous films were pornographic? I tortured myself by creating alternate cues, even for those DeCoteau had approved but with which I was not satisfied. But ultimately, time ran out, and the film got finished.
My fondest memory from Creepozoids came when I saw it at my local theater. I caught it early, which was fortunate, because a week later it was gone.
I have been asked what it was like to score a "B-Movie" and if I regret it. The truth is, I never thought of Creepozoids as a "B-Movie," even though it clearly was one, both because I was largely ignorant of the genre and because I quickly became too overwhelmed to think of anything else but delivering the most effective score I could in the time allotted. As for regrets, I can say that no matter where life leads me -- whether I score another 2000 episodes of family animation or become the next John Williams, I can live with the fact that my earliest score credit, for the world to see, will forever be Creepozoids."
Guy Moon, 2019
