Don Bodin's new rock project, The Fugitive Mind, rings in the Apocalypse with a nod to Mad Max Inspired by a short list of post-punk, experimental rock and heavy metal icons including Feotus, Killing Joke and Megadeth, the album honors the post-apocalyptic world George Miller created for the Road Warrior. "I have always had an obsession with music, peanut butter and Mad Max. I never intended for anyone else to enjoy this." Bodin wrote the words and music for VS MAD MAX, revisiting the rock aesthetics that brought his former band, File Underwater, to acclaim in the late 90's. In 2000, File Underwater reached the #27 position on Amazon.com's Emerging Artists sales charts, toured the Midwest and received rave reviews including Showcase Music Magazine's editor Nort Johnson's commentary on the group: "This is a project that can launch and circle the blue planet and make re-entry into the new millennium like nothing I've heard recently. It's rare when you put together a project . . on the same level as Al Jourgenson or Trent Reznor (Nine Inch Nails)." Production of the VS MAD MAX was set aside as Bodin completed a number of scores including music for the film BAD COP starring David Carradine and music with composer Lance Hayes for the XBOX 360 video game Forza Motorsport 3. Since turning his efforts to creating scores, Bodin has independently released 4 albums and collaborated with Alain Whyte (Morrissey), Gerard Marino (God Of War), Chris Schleyer (Kidney Thieves, Prick), Lance Hayes (The Animatrix, The Matrix Reloaded), Violist Leah Neson, Garret Hammond (Kill Hannah, Prick) and Operatic soprano, Elif Savas, now a staple on Bodin's releases. |
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Mad Max Music available at Amazon.com
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About Don Bodin Praise for Don Bodin David Heaton of Pop Matters called Greed, Lust and Cloning “fresher sounding than some of what Hollywood’s composers are coming up; Zimmer could learn something from Bodin’s spunk.” “Bodin’s superb music sense, coupled with his arsenal of amazing musicians, has resulted in an album that is nothing short of extraordinary.” “. . . crunchy guitars, strings, operatic flourishes and synthesized mayhem create an ominous backdrop. Roll over, John Williams.”
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