![]() The word Ectomobile was only used in the song "Cleaning Up The Town" from the film's soundtrack. The repaired Ectomobile is named on-screen with the license plate shown reading "Ecto-1". Hot Wheels Elite released a highly detailed 1/18 diecast of the Ecto-1 in 2010 and in early 2013, they released a 1/18 Ecto-1A as seen in Ghostbusters II. In 2010, Hot Wheels released a "Ghostbusters Ecto-1" as part of the "2010 Hot Wheels Premiere" series. Polar Lights released a 1/24 scale model kit of the Ecto-1 in 2002. The shooting script for the movie describes the Ectomobile as being black, with purple and white strobe lights that gave the vehicle a "purple aura".Ī miniature replica of the vehicle was mass-produced as a children's toy. A cartoon episode features the proton cannon, presumably a more powerful version of a proton pack, mounted on top for use against extra-large or even giant-sized paranormal entities.Įarlier versions of scripts written by Aykroyd for the first Ghostbusters also includes mentions of the Ectomobile having the power of interdimensional travel. There are also various gadgets mounted on the top, whose function is never revealed in the movies. Its features include a special pull-out rack utilizing the old ambulance's gurney in the rear containing the staff's proton packs. maybe new rings, also mufflers, a little wiring."Īfter the necessary reconstruction, it is used to carry the Ghostbusters and their ghost-capturing equipment through New York City. In Stantz's own words, " it needs suspension work and shocks, brakes, brake pads, lining, steering box, transmission, rear end. In the original movie, Ray Stantz pays $4,800 (equivalent to $13,521 in 2022) for it and claims it needs a plethora of repairs. The original vehicle design was the creation of Steven Dane, credited as a Hardware Consultant in the credits. The Ectomobile, or Ecto-1 is a 1959 Cadillac Miller-Meteor Sentinel limo-style endloader combination car (ambulance conversion) used in the 1984 film Ghostbusters and other Ghostbusters fiction. He's created the most evocative sound world that the genre has seen this year, and the peak-time dancefloor's loss is our gain.Creation and conception Rear (original) It's almost incongruous, this Fourth World outburst nestled among the metal shards, except that it's not, and that, in turn, is a testament to the breadth of Seaton's vision for techno. In "Okko Ink", a snippet of saxophone seems to have been rolled out on waterlogged tape and tacked up in the background, and in "Sulu Sekou", there's a melancholic clarinet melody that faintly recalls Djivan Gasparyan's "I Will Not Be Sad in This World". It's a wonderfully penumbral set, sumptuously grayscale in a way that gives its rare bursts of color all the more impact. Gloomy, abstracted electronic music rarely sounds so insanely detailed for all its haphazard qualities, everything feels carefully, even obsessively, crafted. There are tiny chirping noises everywhere, like a forest full of birds and crickets, all made out of metal. stable of basement-rave noiseniks, what distinguishes Suzi Ecto is its sparkling clarity. ![]() Indeed, while his gunked-up machine aesthetics relate to contemporaries like Actress, Lukid, and the L.I.E.S. Not all hums are created equal, however, and it's a sign of Seaton's careful approach to sound design that his buzz sings in a way that's very different from, say, the flat, affectless hiss of Actress. It's part alchemical reaction, part Rube Goldberg contraption, and one side effect of his method is the omnipresent crackle and hiss. ![]() In "Fold Again at Last", an unsteady rhythm of glassy, conga-like tones is all but drowned out by metallic locust buzz.Īh yes, that buzz: the whole album is alive with it. Seaton has talked about the way his creative process puts the signal chain front and center-that is, his compositional style is less a matter of putting beats and notes in neat rows than generating electronic sounds and sending them careening through a series of effects. Many of the drum sounds, like the dry, boxy toms of "Okko Ink", sound like they come from a Wurlitzer on the fritz, and even the most regular beats come across like metronomes buried deep in a pile of leaves. They're softened up and sanded down there are few grooves here, just bursts. Seaton's obvious affinity for classic electro is a factor, but these aren't the textbook whipcrack rhythms of Kraftwerk and Drexciya. The first thing you may notice is the relative scarcity of four-to-the-floor kicks there's plenty of pulse running through Suzi Ecto, but it moves in fits and starts. But it's not so much party music, necessarily. ![]() It's still body music, particularly if you turn it up loud enough that it gets ahold of your ribcage.
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