On this episode, we speak with Tom McLoughlin, director of Friday the 13th Part VI: Jason Lives, about the return of his band the Sloths, after a 50 year hiatus. Their album, Back from the Grave! is out now via Burger Records. In addition to talking about the Sloths, we touch on Alice Cooper's iconic song for Jason Lives, "He Back (The Man Behind the Mask)," as well as McLoughlin's involvement with the forthcoming Friday the 13th video game.

In addition to her work on The Chris Gethard Show, Hallie Bulleit has done theater, and played in bands like the Hissyfits and the Unlovables. We had a really cool discussion about her work in music, as well as the history of the Gethard Show and its journey from public access to cable.

For me, a large part of the appeal to Gotham comes from its use of music, which contains a width and breadth of sound not frequently found in a primetime show. We were really excited to speak with Mr Alexander, especially given his bonafides on the likes of CSI and Nikita. It's a great discussion that really goes deep into Gotham's aesthetics.

On this episode, we speak with Ben Macensky, the musician whose songs -- written with Sam Jones -- became the music of the Ain’t Rights, the punk band featured in the new film, Green Room, the latest from director Jeremy Saulnier, known for his movies Blue Ruin and Murder Party. It tells the story of said punk band, who take a gig at the end of a less-than-successful tour, only to have things go very very wrong after the show.

Abel and I talk about digging for VHS tapes, his upcoming iPhone and AppleTV apps, and the glory that is the Le Matos score for Turbo Kid.

We realized that we forgot to talk about all the UK releases for Record Store Day, so we reached out via Twitter and got Tony Giles, co-host of The Damn Fine Cast and owner of Shipping Records, to help us run down some gems for our listeners overseas. There are some gems we will likely be importing at great expense.

The 2011 home invasion thriller, You’re Next, was directed by Adam Wingard from a script written by Wingard and Simon Barrett. It was probably my favorite movie of 2013, when it officially saw wide release. It’s a taut series of violent encounters that manages to take elements of the slasher genre’s final girl trope and cross them with both home invasion films, as well as the “dinner party from hell” genre that seems to be slowly becoming a thing. It’s fantastic, with lead Sharni Vinson being particularly amazing, to say nothing of the return of genre icon Barbara Crampton.

The third Saturday of every April since 2007 has been devoted to hitting up record stores the world over and supporting independently-owned businesses. It's known as Record Store Day, and, granted, it's become a little more commercial as its progressed -- up to and including a Black Friday event -- but there's still a chance to get out and grab some interesting releases with a slew of like-minded individuals. On this episode of the podcast, we break down the various soundtrack-related releases and let you know what's what.

1990 zombie The Dead Next Door was shot over a period of four years in Akron, Ohio. In addition to being surprsingly excellent for such a small budget independent movie, the film acts a time capsule for several area bands from that era, whose music complements writer/director/producer/composer JR Bookwalter's minimal synth score. We spoke with Bookwalter about The Dead Next Door, which was recently released as an Ultimate Edition Blu-ray, DVD, and soundtrack combo. The interview was recorded over Skype, so you can hear some odd background noises, including the microwave in the kitchen.

On this episode, we speak with Eric Craig, Director of A&R and Music Supervision at Lakeshore Entertainment. We spoke with Mr Craig back in November, so a few references may seem a bit out of date, but his insights into the world of acquiring and licensing music for films is evergreen. Among the films we discuss in particular are Drive and Napoleon Dynamite.