When an artist finds the perfect collision between childhood obsession and musical craft, something special happens. For M’at, that collision has taken shape in Deadites Everywhere, the thrilling and unapologetically macabre single from his debut album Call Me When The Screaming Starts, released on October 24, 2025. It’s a record built from the bones of punk, the heartbeat of horror, and the imagination of someone who grew up loving monsters, mayhem, and music in equal measure.
A self-taught multi-instrumentalist and producer, M’at has been surrounded by sound for most of his life. He first picked up a violin at five years old before discovering the guitar at thirteen, an instrument that quickly became his creative weapon of choice. Years later, after studying music production at university, he began piecing together what would eventually become Call Me When The Screaming Starts. “Writing an album has always been a goal that seemed just out of reach,” he explains. “But over the last year, I found myself in just the right circumstances to finally put all my ideas together.”
Those ideas are anything but random. Deadites Everywhere captures the pulse of M’at’s lifelong love for the spooky and surreal. It’s a track steeped in horror cinema, comic book chaos, and punk’s raw immediacy—a perfect introduction to his gothic horror punk universe. The song’s energy is infectious, channeling the DIY ethos of early punk while weaving in cinematic flourishes that make it sound larger than life. It’s fast, fun, and just dangerous enough to make you want to play it again immediately after it ends.
For M’at, the inspiration behind the project traces back to a lifetime spent worshipping the strange. As a child, he devoured Tim Burton films, watched The Addams Family on repeat, and collected VHS box sets of 1980s slasher classics like Friday the 13th and A Nightmare on Elm Street. “When I was twelve, I’d ask for horror box sets for Christmas,” he laughs. “When I was sick, I’d stay awake for hours watching them.” These formative experiences shaped not only his aesthetic but his worldview—an appreciation for beauty in the eerie, humor in the grotesque, and light in the dark.
Musically, Deadites Everywhere and the rest of Call Me When The Screaming Starts draw on punk’s unpolished passion and theatrical flair. The sound sits somewhere between The Misfits’ Famous Monsters, Green Day’s Dookie, and the quirky gothic swagger of Danny Elfman’s Oingo Boingo. “I wanted something that could be both theatrical and contemporary,” M’at says, and he achieves that balance effortlessly. The track feels cinematic but grounded, nostalgic yet modern. His voice carries the personality of a stage performer while retaining the grit of someone who has spent years perfecting his sound in the solitude of a home studio.
That home studio is more than just a workspace—it’s an extension of his imagination. Decorated with horror memorabilia, gothic accents, and the kinds of visual cues that spark creativity, it’s where M’at brought his world to life. Every note of Deadites Everywhere was recorded and produced there, using equipment he has customized over years of experimentation. At the heart of it all is his trusty Gibson Les Paul Melody Maker, gifted to him on his eighteenth birthday. “It’s got a single pickup and just one tone and volume knob,” he explains. “That simplicity was perfect for the stripped-back sound I’ve grown to love. Later, I added custom decals to make it my signature instrument.”
The creative philosophy guiding this album is as raw and direct as its sound: keep it simple. M’at deliberately avoided overproduction, focusing instead on crafting songs that felt immediate and alive. “I set one rule for myself—don’t get bogged down in perfection,” he says. “I wanted the production to sound big but still feel personal. Fewer layers, more energy.” That approach pays off in spades. Deadites Everywhere hits with an unfiltered punch, each guitar riff and drum strike cutting through with clarity. The addition of horror and sci-fi sound effects adds another layer of texture, transporting listeners straight into a midnight movie theater filled with flickering lights and restless ghosts.
Every track on Call Me When The Screaming Starts serves as an homage to horror cinema, but Deadites Everywhere stands out for its adrenaline and attitude. The song’s title references Sam Raimi’s Evil Dead universe, and the lyrics are packed with winking nods to the franchise’s mix of camp and chaos. Yet M’at isn’t just paying tribute—he’s creating his own mythology within the genre. The music doesn’t parody horror; it celebrates it, blending reverence with reinvention.
Elsewhere on the album, songs like Friday the Thirteenth and Sometimes Dead Is Better lean directly into cinematic storytelling, while others, like Space Invaders and Bloodsuckers, take a broader view, pulling inspiration from decades of sci-fi and supernatural pop culture. Each track tells its own story while fitting seamlessly into the album’s cohesive mood: one of eerie fun, gothic charm, and relentless energy.
Despite the dark subject matter, there’s an underlying joy running through M’at’s work. You can hear the satisfaction of an artist who has finally given shape to his lifelong vision. Every riff, scream, and lyric feels like part of a cathartic exorcism—a creative release decades in the making. “It’s horror, but it’s also humor,” M’at says. “It’s about loving the things that scared you as a kid and turning them into something powerful.”
Deadites Everywhere is the culmination of that philosophy: a three-minute blast of punk rock adrenaline that doubles as a love letter to all things monstrous and misunderstood. It’s catchy, chaotic, and completely alive. Listening to it feels like stumbling into a haunted house where every creak and scream is set to a killer guitar riff.
For M’at, this release marks not just a milestone but a beginning. Call Me When The Screaming Starts stands as both a debut and a declaration—a promise that horror punk’s next great chapter is already being written. With its balance of grit and theatricality, its fearless blending of genres, and its pure DIY spirit, the record carves out a space that’s entirely his own.
As the final chords of Deadites Everywhere fade into the static of a dying TV, one thing becomes clear: M’at has found his voice, and it’s one that howls with passion. Somewhere between the graveyard and the stage, he’s built a world that’s equal parts eerie and electric—and it’s a world you’ll want to visit again and again.
