There are few things in the world that I derive more enjoyment from than horror cinema. Playing music is ... okay. Writing fun little quips here and there and interviewing my heroes is ... fine, I guess. At the end of the day, I’d much rather be in a dark room with some gross-ass concoction of heavily buttered popcorn and peanut M&M’s (try it, you’ll thank me) and some wild gore flick than doing anything else in the whole goddamn world. Horror is sustenance. Horror is life. Horror is everything.

Halloween is right around the corner. In honor of the greatest holiday that ever was and ever will be, I’ve asked some of my favorite musicians, label heads and music video directors to tell us a bit about some of their favorite genre films. These individuals possess a keen understanding and a deep love of the medium. I hope that you enjoy their insights as much as I have.

For our next installment, we’re honored to have the one and only Steve Moore. As half of the band Zombi, Moore helped revitalize the classic Italian horror soundtrack aesthetic, introducing the style to a whole new audience. He is an accomplished composer, solo artist and producer who works across genre lines as varied as dark ambient, disco, prog and industrial. Moore is the man responsible for scoring such genre favorites as Adam Wingard’s modern classic The Guest, Jonas Govaerts’ twisted fable Cub and Christopher Garetano’s acclaimed documentary Horror Business. If all of this hasn’t somehow cemented his résumé, he’s also done time as a touring member of Goblin. Put that in your pipe and smoke it.

BODY PARTS (dir. Eric Red, 1991)

A.E. Paterra tipped me to this one. I've known about this movie for decades — I remember when it was a new release at the video stores, but I somehow managed to avoid it until just a couple weeks ago. After watching it a couple times, I really wish I'd given it a chance sooner. The premise is that a prison psychologist (Jeff Fahey) is involved in a hilarious car accident and loses his arm. But through an experimental surgical procedure, Fahey is given a new arm. Not a prosthetic, though — a transplant. Turns out the donor was a notorious serial killer, executed on death row. Not much else I can say without getting too spoiler-y, but there are a few truly amazing scenes in this movie, including the genuinely tense and dreamy operation room scene and a pretty great car chase. Also, killer score by Loek Dikker.