Ghost Deep House
Justina Ky
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One of the subgenres in house music is Deep House, a genre many artists and DJs, particularly those looking to boost their career as a musician, are searching for. In general, the tempo of deep house is lower (120-125 bpm) than most other house styles. This slower pace, often featuring synth sounds and combined with soul or jazz samples, makes it an attractive choice for those aiming to establish themselves in the music industry. Often you can hear soul or jazz samples in Deep House, with other favorite samples stemming from gospel music. All these elements together create a somewhat psychedelic soundscape that, combined with groovy bass lines, calmly ripples along. The simple use of a drum machine results in a more minimalistic sound than most other house styles.
How do you make a haunted house movie seem fresh? "The Deep House" has a suggestion: sink it underwater. The new film from "Inside" filmmakers Alexandre Bustillo and Julien Maury is a waterlogged spook show, transferring familiar haunted house tropes to an aquatic setting, a decision that makes the overly familiar feel new again. From a technical standpoint alone, what the filmmakers and cinematographer Jacques Ballard have created here is nothing short of remarkable. The underwater imagery is incredibly haunting; eerie in its unnaturalness, and crushingly claustrophobic. What would seem like open-air freedom in a traditional haunted house flick is here a thick, secluded space that characters can't simply run through. They have to swim, and you can only swim so fast. And just to make things extra unpleasant, the characters only have a limited supply of air. If the soggy ghouls don't get them, oxygen deprivation just might.
A great location can make or break your movie. Watching "The Deep House," I was reminded of Herk Harvey's classic chiller "Carnival of Souls." Not because the two films are anything alike, but because Harvey, operating on a minuscule budget, was able to use an abandoned carnival pavilion to create one of the most memorable horror movies ever made. The conclusion: if your setting is successful, you're already on your way towards something memorable. "The Deep House" has more money to play around with, but the principle is the same: location, location, location. If you dropped "The Deep House" on land it would likely lose most, if not all, of its power. It would be a been there, done that kind of horror movie. It might still give you the creeps, but you'd walk away non-plussed. Indeed, once you start to look beyond the fantastic underwater setting you begin to realize how simplistic "The Deep House" is. It's as if Bustillo and Maury have pulled a fast one on us. But we don't mind in the end, because you can't argue with results.
Ben (James Jagger, son of Mick) and Tina (Camille Rowe) are YouTubers who specialize in spooky places. We first meet them as they navigate dry land, looking for allegedly haunted locations. And then the duo learns of someplace new: a sanatorium submerged in an artificial lake in France. It sounds too good to be true. And it is, because once our pair of video explorers show up at the spot they're meant to dive, they find it's an overcrowded tourist attraction, thus ruining their plans to get some good underwater footage. But Ben, who clearly seems to be into the whole YouTube channel idea more than Tina, won't give up so easily. A local (ric Savin) tells them of a more secretive location with another artificially submerged location that has a sunken mansion, untouched and unfound.
Eventually, genuine frights begin, with ghostly figures slowly moving about with wide-open eyes; there's something genuinely unnerving about watching a dead person slowly walking around underwater, let me tell you. These bone-deep terrors go a long way toward alleviating the fact that our two leads are duller than dishwater. And just to make things extra frustrating, Jagger's performance as Ben is grating. To be fair, the character is clearly supposed to be kind of a dope; the type of horror movie character who ignores all the warnings and jumps (or rather, swims) headfirst into danger. Still, Ben's constant asides, where he tries to justify why he keeps sticking around the haunted underwater house, are weak and a tad whiny.
But gosh, is "The Deep House" effective. The way the filmmakers use their underwater setting is brilliant, and while there's not a whole lot of story here, they make every moment count. Every second these characters spend underwater ratchets up the tension, and the ticking clock element of their rapidly depleting oxygen only adds to the experience. Is it all too simple? Maybe. But sometimes, simplicity is the ultimate sophistication. And while you may have seen the types of scares "The Deep House" offers in other haunted house flicks, you've never seen them rendered like this. So dive in. If you dare.
In the 80s Deep House saw the light of day in the USA. Since then a lot has changed. Especially the wide range of BPM is unique in Deep House. Nowadays the BPM number moves between 100 BPM and 127 BPM. Likewise, a distinction is made between Classic Deep House, such as Koletzki or Solomun, and Mainstream House, such as Felix Jaehn, Alle Farben, or Alok. Especially in the commercial area, the genre has changed a lot. Instead of club sounds, a more upbeat and warm sound came into deep house in the early 2010s.
Of course our producer team is always up to date and provides you with the best styles in Deep House. Many Ghost Producer websites offer you only one file for a lot of money. But with us you get the full program for a fair price: Radio Mix, Extended Mix, all Midi's and all Stems. Of course all rights go 100% to you. So: Your track, your success, your income.
The film focuses on Ben (James Jagger), and Tina (Camilla Rowe), a couple of internet influencers who visit haunted locations, and film the experience for their small but growing audience. After one of their locations is a bust, they find themselves investigating a submerged house in an isolated area of a lake that on normal circumstances should be avoided at all costs. The two arrive at the location via a creepy guy who undoubtedly is up to no good, and they proceed to dive deep down to film the surprisingly well-maintained house of horrors. It would be a shame to spoil anything, just know that there are ghosts (free divers were hired to play the ghosts, which is cool), scary corridors, and several jump scares involving fish.
Not many artists can get away with wearing their influences as strongly as Sudi Wachpress aka Space Ghost does and still create something undeniably their own. Whether it's ambient, R&B, boogie or the many shades of house music the Oakland artist has produced in the last few years, they all remain rooted in a gorgeous sonic palette of slightly lo-fi FM keys, analog pads and a nod to the heroes that laid the foundations before him.
From a young age, Wachpress learned to love music through learning to play a variety of instruments and a keenness to discover, learn and create music coupled with a ferocious work ethic remains with him to this day. His new album 'Dance Planet' is his fourth in three years.
Since taking on the Space Ghost moniker, which he got from sampling the theme tune from the cartoon of the same name during his FlyLo-inspired beginnings, Waschpress has released a huge body of work that includes multiple self-released ambient cassettes and loopy mixtapes. But he really began carving out the Space Ghost sound as we know it with his first album for Danish imprint Tartelet, home to artists like Max Graef and Wayne Snow. His LA Beats roots were fuelled through a house-tinted prism on that 'Endless Light' record before his follow-up showcased a more floaty house sound in the style of the 'Vancouver Riviera' sound. His third LP with Apron Records was a match made in heaven, Wachpress' lo-fi, R&B and machine-driven boogie matched up perfectly with the aesthetic of the east London label and defined the lush, textured characteristics that make up the Space Ghost sound.
Now he gears up for his third album with Tartelet, an album that meets at the intersection of Chicago classics and Italian house with a smattering of UK Streetsoul and positive spiritual affirmations aplenty. Taking its cue from legends like Soichi Terada, Larry Heard and Toyin Agbetu it's the perfect sound to welcome everyone back to the dancefloor after the last year and a bit. Ecstatic piano riffs, enveloping synths and whispers of how to enjoy the dance are high on the album's agenda and feel exactly right for where the musical evolution of Space Ghost has been heading.
I've been playing music my whole life. From a young age, I played all kinds of instruments. I took piano lessons on and off until I was a senior in high school, but I took all kinds of shit like the trumpet. I played the drums for a long time. I played in jazz band and steel pans, and just played a lot of stuff. I love music. But at the end of high school, my friend showed me how to download Ableton, but not, like, get the program. It was like "get the free trial version for 30 days", but they had a glitch. You could change it after 30 days, you just literally didn't have to have to use a real email, you just type in any email and you can use it again. So that was probably the start of space ghost.
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