Premiere: up and over light a ‘Spark,’ from action/thriller ‘Red Right Hand’

up and over‘s “Spark” burns with a black flame. Gentle, sinister swirls characterize the string-bound track, which serves as the bookender to the forthcoming Red Right Hand, an action thrilling starring Orlando Bloom and Andie McDowell. Penned by songwriters Peter Donovan and Dune Butler, the somber, languid tune, premiering today on B-Sides & Badlands, swims through themes of “resilience and hope,” says Donovan, the mastermind behind the up and over creative endeavor.

With Jen Monette-Bethune and Natalie Colvin on lead vocals, the soundtrack cut “tells a story of overcoming adversity, reflecting the movie’s portrayal of characters battling their way to redemption through various struggles,” continues Donovan. “The song symbolizes the pursuit of a fresh start, embodying the challenges faced along the way.”

With the refrain (“Sometimes all you need is a spark”), the song “echos the film’s message that even the slightest glimmer of light can guide one through adversity,” he adds.

“Fire’s burning deep within, smoke screens got me lost again,” sing Monette-Bethune and Colvin, their voices tangling like barbed wire. “But I’ve smoldered long enough, and the ash is piling up.” With such torturous and moody lyrics, the song pricks the brain, as though giving the listening a lebotomy. When it sticks, it’s unshakable between the eardrums.

Woven together with strings and throbbing, darkly-laced percussion, “Spark” exists within an eerie, cloudy space, almost as though ghosts are calling from the beyond. “We set out with that in mind, but as the lyrics and the story developed, it was clear that there was also an element of redemption and self-perseverance that also exists in the film,” explains Donovan. “So, I think both the lyrics and the arrangement give the listener a narrative with this kind of cold, difficult starting place.”

Monette-Bethune’s and Colvin’s performances elevate the atmospheric tone further, as their voices needle into the musical patchwork and slather the song with even more creepiness. Butler, who praises the duo as “extraordinary vocalists,” notes how the tender, twisty mix “creates a duet type of lead vocal that is the sum of two vocalists working off of each other with mutual admiration and excitement towards one another and the project,” says Butler. “Jenn’s voice has a rather haunting and forlorn quality that was perfect for the mood of [the song]. Natalie was able to find that feeling in Jenn’s vocal and compliment it.”

Red Right Hand arrives in theaters and on streaming this Friday (February 23).

Listen to “Spark” below.

Below, Peter Donovan and Dune Butler discuss what drew them to Red Right Hand, the difference between writing for scores vs their own work, and favorite action films.

What impressed you most about the film?

Donovan: A couple of standout elements set ‘Red Right Hand’ apart for me. Firstly, the performances are all really strong across the board, particularly Orlando Bloom and Chapel Oaks. There is a palpable, natural chemistry between the two of them that really forms the heart and soul of the film.

Additionally, the visual storytelling, courtesy of cinematographer Johnny Derango, is breathtaking. The way Johnny captures the Appalachian setting is both beautiful and evocative, which complements the movie’s intensity.

Why work on it in this capacity – what drew you to it?

Donovan: Jumping into [the film] in this role was a no-brainer for me. It’s my fifth time composing music for a Nelms Brothers movie, and what really gets me excited about teaming up with them is how they truly get the importance of music in storytelling. They’re all about giving music a front seat in the narrative, which opens up this playground for creativity every single time they hit me up for songs. Plus, after working together on so many projects, we’ve pretty much got our communication down to an art. It’s smooth, almost second nature, which just makes the whole process a blast.

Butler: It’s always a great opportunity to be able to add a sonic element to a piece of entertainment, something to reflect the moods in the film but to do so in song. This drew me to the opportunity, especially to create a piece of music that reflects the kind of themes in [the film].

Had you written songs for film previously?

Donovan: I’ve had the pleasure of writing songs for a variety of films. Each project is a unique adventure, offering an opportunity to dive into different musical styles and genres. It’s really rewarding to flex those creative muscles. So far, I’ve tackled everything from upbeat modern club anthems to nostalgic ’80s country songs, and a wide range in between. The diversity keeps the process exciting but also pushes my boundaries as a composer.

How does writing for film differ from your usual songwriting, if at all?

Donovan: When I’m writing songs for my own projects, I’m the sole decision-maker. The only person I need to satisfy, with the end result is myself. But, writing for film means entering a collaborative environment, particularly with the directors who often have a very specific vision for their project’s musical needs.

There’s a uniquely fulfilling aspect to this type of collaboration. When you manage to hit the mark, capturing exactly what the directors envisioned or even surprising them with something they hadn’t imagined but fits perfectly, the sense of achievement is amplified. The satisfaction of seeing your music play a role in bringing a film to life is a really special experience.

Butler: In my own writing, I’m usually looking to explore some nebulous concept that I’m having trouble rationalizing in my brain. It can be very frustrating and sometimes unfulfilling. Whereas writing for this was very goal-oriented. There was a clear idea of what needed to be done, and it made the tunes come together pretty quickly.

What did you take away from this experience?

Donovan: This experience underscored the joy that comes from collaborative creativity. I wrote three songs total for the film, each with its unique style, which opened up an avenue to collaborate with a range of talented singers and instrumentalists. The diverse perspectives allowed the songs to develop in ways I couldn’t have imagined alone, and made the creative process more dynamic and enjoyable, turning each composition into a shared journey rather than a solitary endeavor.

Since this is a thriller/action film, what are your personal favorites in the genres?

Donovan: That’s one of my favorite genres, so my list of top picks is endless, but here are some that immediately come to mind: ‘Kill Bill,’ ‘Mad Max: Fury Road,’ ‘Seven,’ ‘No Country for Old Men,’ ‘The Rock,’ ‘Heat,’ ‘The Thing,’ ‘The Birds,’ ‘The Descent,’ ‘Dawn of the Dead,’ ‘Assault on Precinct 13,’ ‘The Warriors,’ ‘Brick,’ ‘Green Room,’ ‘Jurassic Park,’ ‘Silence of the Lambs,’ ‘Charade.’

Do you find film has inspired you in your career in a meaningful way?

Donovan: For sure, film plays a big role in my creative life. It’s not just about the music for me; I’m also a screenwriter. (At the moment, I’m working on this cool project, adapting a Bigfoot book into a film that’s set to start pre-production this year.) Juggling music and screenwriting has really influenced how I approach my songwriting. I often create songs that focus on telling stories, almost like mini-movies, hopefully making the listening experience much richer and more engaging

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