“Haunted” is a darkly cinematic metal track crafted by Brian Hunsaker, blending personal memories with thriller-inspired tension. We explore its creation, emotional depth, and the vision behind the music.
1.
“Haunted” is both cinematic and deeply personal — what was the initial spark
that brought this track to life?
I remember it well! I was at my friend George Varghese's studio with this riff
rolling around and recorded on loop. We hit record with a live mic and came up
with the first quarter of the chorus on the 2nd and 3rd takes. It was magical
and immediate! When I got home I added harmonies and finished up the chorus.
This is actually the first time I wrote the chorus first.
2. You mention being inspired by the tension and visual storytelling of the
John Wick films. How did that influence translate musically or lyrically into
the song?
I had just seen the first John Wick film, and when it came time to write the
rest of the lyrics, I pushed it that direction. This was someone being hunted.
They just felt it, without any concrete proof. They had escaped a dangerous
past for a time, but were about to be pulled back in, whether they liked it or
not! When it came time to write the music for the bridge, I heard this
cinematic bit where we'd slow down for a moment - but with climatic vocals and
lyrics, then launch into a "now the chase is on" rhythm that leads
into the solo.
3. The theme of being stalked by unseen forces — is that rooted in a
personal experience, or more of a symbolic/metaphorical idea?
When I was a teenager, I used to take walks at nighttime sometimes, down this
very dark park trail away from the street lights. Sometimes, I would have the
feeling that someone was following me. I'm sure it was imaginary, but the
thought was always there when it was so hard to see! During the writing of
"Haunted", I imagined actual "horror movie" stalker scenes,
and also cat and mouse games from the shadows, like sometimes happen in one of
my favorite shows, Dexter. So it's a metaphor, based on childhood memories, but
rooted in cinema and macabre/dramatic TV.
4. The orchestral layers add a haunting grandeur to the track. Can you walk us through the process of blending heavy guitars with symphonic elements?
Great question! Out of the more modern metal bands I enjoy, I definitely prefer the ones that use keyboards to great effect a bit more, like Cloudscape, Symphony X and Pagan's Mind. I absolutely love the epic sound synths can bring to heavy guitar songs. While writing the lyrics and melody to the main parts of the song, I looked for more moody and even scary keyboard sounds, to add a sense of dread. This also helped me come up with some of the lyrics, like the whole "Darkness falls" section. It was a very important choice, and vital!
5. You worked with Matt Dougherty, known for mixing giants like Megadeth and
Disturbed. What did he bring to the table, and how did the collaboration
unfold?
A lot of trial and error. I tried my hand at mixing the song myself, as I usually do, and got it
mastered by some pros, including Andy LaRocque of King Diamond. Not due to any
fault of their own, I wasn't satisfied with the end product. I believe it was
more due to the limitations of my mix. So I found Matt on soundbetter.com and
took a chance with him. He did a completely amazing job, in short order. After
5 revisions we go to the outstanding mix you hear on the track. I wouldn't
change a thing. I work with him on every mix now. It's part of my process.
6. Your work in the Dio tribute band Stand Up & Shout and the Northwest
ShredFest series showcases your roots in classic metal. How does “Haunted”
reflect your growth beyond those projects?
Curiously, a lot of the songs that I will be releasing after Haunted actually
originated in the band I had before Stand Up & Shout, which was a
progressive metal project that never played a gig. We jammed away, writing and
recording, for about 2 years, with a revolving assortment of singers. I was
pretty prolific in that band despite never finishing any songs to a point where
I felt they could be released. After that fell apart, the Dio tribute band was
me and Sergio Ortega's idea to play some gigs quickly, after the failure of the
previous band to do so. And it was definitely the most gigs I played with a
band. The Northwest ShredFest actually came together when I contacted John
Jaunese, and he told me he wanted to put together a compilation of local shredders.
That enticed me to write my some of my first instrumentals (The Voyage and Blue
Angel), specifically for it. I didn't know I would be doing a whole album until
after the 2nd ShredFest. A couple of my friends urged me to continue and make
my own release, so I did! Coming back to moving beyond these projects - I took
vocal lessons a couple different times, before and after the Dio band.
Ultimately, I gave up on relying on other singers and decided I needed to
really step up on my own and handle it myself. This happened about 2017. I've
had a lot of encouragement from musicians and friends I know, and that was
important to my progression as a vocalist and songwriter for sure!
7. The chorus in “Haunted” is massive and emotionally charged. Was that always the vision, or did it evolve in the studio?
Let's walk you through my process. While writing the chorus, I had a LOT of takes on the main vocal line, to get just the right tone, feeling and angst, as well as some nice phrasing and unexpected high notes that amp you up. When I got it to where it was sounding great with the music, it was time to take it up another level.
I love big harmonies! I wanted to fuse the elements of Dio - who has great harmonies in stuff like Holy Diver - with huge vocal harmonies like Yes (the 90125 album particularly) and Journey did with Steve Perry. They were there in Dio, but always understated and low in the mix. I wanted them to be "in your face". Matt helped that become a reality, and I recorded multiple tracks of each harmony part to help enlarge the mix. Again, the orchestral elements that were added there amped the feel to the Nth degree.
8. Many listeners have compared the track to the styles of Nightwish, Iron Maiden, and Disturbed. Were any of those bands on your mind during the writing or recording process?
I will say that for the harmonized portion of the solo, yes - I was thinking Iron Maiden a bit. Or maybe Boston. I wanted it to be more anthemic for a moment before launching into the more sinister part of the solo. Let's get you almost humming along, and then rip off the kid gloves. That roller coaster feeling was desired from the beginning. For the pre-chorus, that riff was definitely inspired by Cloudscape. I was huge into their first album at the time. They are awesome, creative writers. I'd say Pagan's Mind inspired the orchestral synth elements. On Disturbed - I really liked how Draiman would sing in a clean style, and a really heavy style, sometimes in the same phrase. Sometimes I didn't know if it was one person or two! Dio did that a lot too, but to my ears not quite so switch-flippy. Extremely cool. When fine tuning the verses, I experimented around with my own version of that. Accentuating certain words or parts of phrases for their emotional content, and changing tone on a dime when it sounded cool, or was "demanded" by the lyrics. So yes, definitely an inspiration!
9. From the writing stage to release, how long did “Haunted” take to complete — and were there any unexpected challenges along the way?
You have no idea! This actually took 3 years. Although I was working on many other songs back and forth. Challenges? Where to start! First, I got stuck halfway through the song with a different solo section, that didn't want to "go anywhere". There was no bridge. Eventually, the bridge was written and the rest pretty much wrote itself. Then, when recording the final takes, I had to take vocal lessons again, after not being physically able to sing that chorus the way I wanted. Head voice wasn't going to cut it on most of those notes. My new vocal coach Susan Carr, who worked with Layne Staley, was instrumental in unlocking the top end of my chest voice. I had a handful of lessons right before COVID happened. Then we were all in lockdown so I couldn't go anymore. But we worked together just enough to get there. Finally, the whole ordeal about mixing / mastering. That probably took me a good 3-4 months, going through different folks and eventually arriving at Matt. The video also took me many months, being my first video where I was singing an original song. I wanted to make sure I did as good as I could, both in look and feel. I'm my own worst critic, and always push myself to continually improve in every aspect possible. The next video will be even better. And you can hold me to that!
10. You’ve called “Haunted” a “relentless” track. What does that relentlessness mean to you — musically or emotionally?
This is a deep one! The music is relentless - it has that feeling where we don't get a breather. It's one slamming section into the next, with the intensity constantly ramping up. Even at the end of the song, the key change takes it to new heights unexpectedly, when the listener is already ok if it were to end. I live for that sort of music! Yes, there's that brief respite in the bridge, but even that turns into a roller coaster very shortly. Emotionally, there is no catharsis or happy ending to the story. The lyrics take you right up to the verge of the battle, and leave you there dangling, wanting more. Just one more hook to keep you listening. This is intentional, sorry haha!
11. Your guitar work is intricate and emotive — how do you balance technical precision with the raw energy the song demands?
Thank you! It wasn't always possible. It took years and years of woodshedding, but more imporantly of songwriting increasingly ambitious songs with tricky riffs. Not being araid to throw away what doesn't work and anything that's only "mid". Sometimes you need to call it day and come back with fresh ears (and hands). Also, the decades I've spent recording made it possible. Otherwise I'd be too nervous to pull it off. I do have a pretty relaxed playing style, when in the studio anyway, and I find that essential. For the solos, most of the fast bits are improvised. Then I go back and learn it for the video. That's how I keep it sounding fresh and slightly raw. But always play what the song wants. There is never any intentional show off moments. It has to work emotionally, in context. Phrasing and melody are paramount.
12. With “Haunted” now out in the world, what’s next for you creatively? Is this the start of a bigger project or concept?
Absolutely! This is a new beginning for me. I currently plan to release at least 7 more songs. 3 are nearly complete, including videos. The album will be called "Where Dreamers Fall". I have a killer keyboardist - Raymond Hayden - on the next one coming out September 12th, 2025. It's called "Power Over You", which is about a sorceress who was exiled for decades, and returns to take over the world. It's a power ballad. I may hire a session vocalist for one of the songs too. I'm open to collaborating with anyone talented. Anyone reading this, make sure to follow me on Facebook and Youtube to stay up to date!
Brian Hunsaker (@hunsakerbrian) • Photos et vidéos Instagram
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