kevin tompkins

Hey everyone! Wanted to give you a little update on our progress over here on #tangledtheseries . Well, we are starting to get our first bits of animation back from our partners at Mercury Filmworks in Canada and it…..looks…..gorgeous! The team up there have a passion for great animation and are stepping up their game to bring to this show the best work I think they’ve ever done.
BUT! Animation coming back only really means one thing for me. POST-PRODUCTION! That means bringing together all the little details that really tighten up a show. Things like final score, and sound effects, and making sure the colors are exactly what we want and maybe rerecording some of the actors if lines have been changed or added. Lots of little things that just raise the quality of the show to its final state. So for score we have been meeting with the amazing Kevin Kleisch who scored the move #tangled to give the images an audible bed to lay against. If you have listened to the soundtrack as much as I have, you’ll know what I’m talking about. The feature version of Tangled had a lush score that elevated the story and gave it such texture so we want to give the series the same amount of attention and care.
We’ve also been finalizing the songs in the first season. You may have read that my priority is to keep the songs that are sung in the show to have meaning and push the story in the same way songs are used in our feature films, so we have pin pointed the major songs in the season and have placed them where they belong best. Alan Menken and Glenn Slater have working very hard to keep the songs sincere and special so mixing them at this stage is just adding to the overall quality of the show. I really think you guys are going to love the music. I’m already a fan of it!
We’ve also been meeting with our sound mixers to lay down sound effects and giving Pascal and Maximus their voices for the show. They play major parts in the show so getting them to sound right is extremely important to me. Pascal has so many emotions that he goes through and getting those to sound right is a unique challenge.
And of course we continue to record with our principals Mandy, Zac, and Eden. They are more like family members to me now and I look forward to seeing them every week whether they be in the studio with us here or recording in New York. Paul F. Tompkins as Shorty one of the Pub Thugs always bring the laughs and Jeffrey Tambor as Big Nose brings such heart and warmth to his character. So fun!
So as we grow closer to our premier in February you’re going to start seeing more and more images from the show. Obviously, we want them to be perfect for you so just be patient. I know how difficult it is to have to wait for new images and information, but believe me, no one wants under baked cookies! Just know that EVERYONE on our show, the writers, producers, show directors, storyboard artists, voice director, our art director, our animation checker, characters designers, background designers, prop designers, painters, color stylists, animators, editors, technical directors, production staff, voice actors, musicians, technicians, all of our support staff and assistants, all the way up to the heads of the studio ALL want this project to be as special and beautiful as you do. That includes me because I’m just a huge nerd and want everyone to be happy with the result! Everyone is putting so much of themselves into this series and I believe is shows in every frame.
As always, thanks so much for all of your support and posts, we all read them here on the show and love them! Here’s a photo of myself (far left) and @benbalistreri (next to me) with Tangled film producer Roy Conli (the tall one) and series producer Joe Crowley (far right). Roy has been such a huge source of support and encouragement! We are standing outside Ben’s office which is why you can see a little droid just above my head. If you don’t know about Ben’s addiction to BB-8 merchandise, try and find a photo of his office online somewhere. It’s a problem. LOL!
Talk more later guys! I’ll post as much as I can just as soon I can! I promise!


Whitehouse will make you its bitch in two minutes. 

Good. Now that you read the above sentence then you know what to expect from this UK extreme noise outlet.

Thanks to the internet Whitehouse has newfound re-discovery, although I’m sure that not too many people outside the noise genre were happy to discover it. The idea of tweezing high-pitched frequencies, roaring-engine synths, crumbled samples, and vocals loud enough for even the deaf to hear once again is enough to drive anyone not ready for their sonic assault right on the floor begging to have it all stop.

That is the sound of Whitehouse, a period of barrages, screams, and sonic torture. Creator and vocalist William Bennett wanted it that way: his dream turned reality by taking sound and using it as a weapon to dominate and floor the audience physically and mentally. And with the help of current member Philip Best, former members Kevin Tompkins and underground writer/author Peter Sotos, Whitehouse has been able to clear heads for almost 25 years.

Whitehouse’s identity and sound fit exactly what it’s like to be tortured, dominated, humiliated, unappreciated, or just downright disgusted. With their over-the-top sexual ideals and their celebration for crazed killers used to frame their domineering image, people will piss themselves before even listening to their work.

The sound aspect is another story, with near-unbearable frequencies through the smallest of equipment, both Bennett and Best’s disturbing, agonising vocals and lyrics are enough to break anyone’s self-esteem. Those same vocals, flourished with blatant yelling and screaming, is the equivalent of being yelled at to get up after being pummeled by sheer brutalisation. Shrieking, squealing, and yelling are some of the vocal tools used along with their degrading, ungrateful lyrics to make some sorry soul feel real pathetic and worthless.

At Cruise (“Force The Truth”), what sounds like digital hardcore is met up with roaring streams of supercharged noise, with Bennett and Best alternating verses with each other as both the victor and victim. Continuing with “Princess Disease”, a sonic train ride derailing itself with the help of Bennett’s digital vocals only to crash-land on “Movement 2000”, a pure sheet of white noise.

With the recent Bird Seed, all self-esteem goes for broke. Agonising frequencies adjoining with accelerating noises and vocal echo treatments of “Philosophy” could totally paralyse time and everything in its distance. Also evident is the sleaze, realisation, and relentless barrage of “Why You Never Became A Dancer”. And with a track like “Wriggle Like A Fucking Eel”, rest assured it’s Bennett and Best who both take the dictator spotlight.

It’s ironic how Whitehouse and its label Susan Lawly are named after a UK female-activist who rallied against indecency in the public media. No doubt this group would be the type that would be on the very top of the FCC, Clear Channel, and activist shit list. It explains why Whitehouse are possibly one of the most unreal artists ever heard of aside from Masonna and Prurient that have been reviewed for the sole purpose of being pointed out for their unusualness. It can’t be classified under listenable music, so people will label it as an art form doubled as an over-the-counter drug: use only as needed.

(Published by the Stony Brook Press, Spring 2004.)