In the wake of the Soviet Union’s collapse, the streets of newly independent Ukraine began to teem with children, victims of the poverty and domestic abuse that followed like a domestic sinkhole. Gennadiy Mokhnenko, a priest, took it upon himself to abduct those homeless kids, forcibly relocating them to a rehab center (many were drug-addicted) that he had established in the city of Mariupol. His story is the dark, all-to-real focus of the documentary Almost Holy, which has its digital release today (Aug. 16).
To draw attention to that release, one of the film’s composers, Oscar winner Atticus Ross, sat down for an interview with Moog, whose equipment he used on the film. In the short, which Billboard is exclusively premiering, Ross explains where he located his passion for creating music (the studio, not the rehearsal room), the relationship between music and film and how he employed the hefty modular synthesizer from Moog to create the “sonic world” of the film. Ross also talks about his creative relationship with Almost Holy director Steve Hoover, who he says gave him wide license to sculpt “part of the foundation” of the film.
Almost Holy‘s score was created by Ross, brother Leopold Ross and Bobby Krlic, who releases his own brilliant and foreboding pummel as The Haxan Cloak.
The result of Ross’ work can be found below, in a clip from the film which features his composition “Wild Moose” — a nickname that Mokhnenko self-applied.