A little blip on the radar of gay porn history turned into a devastating crisis when friends of friends began dying, and then the friends themselves succumbed to Aids-related illnesses. Michael Ely still gets goosebumps thinking about it.
In 1980s Los Angeles, a thriving underground music scene was flourishing among openly gay artists, including those who created soundtracks for adult films. Among them were James Allan Taylor and Michael Ely, two musicians whose connection went beyond their shared love of music; they found each other in the thick fog of Sunset Beach, California.
Taylor's film music has an otherworldly quality to it – slow, moody, and synth-heavy – yet he never thought of himself as a porn composer. It was just another gig for two starving musicians trying to make ends meet. Ely recalls that Taylor had a remarkable guitar playing skill that impressed Eddie Van Halen.
In the midst of this vibrant community, tragedy struck when Aids reared its ugly head in the mid-80s. The news began as a distant threat, but within months friends were dying, and then those who knew them too. The pair's beautiful life was shattered.
They left Los Angeles for Arizona to escape what felt like ghosts – reminders of people they loved that died under horrific circumstances. It was an impossible decision, but something had to change.
Josh Cheon, the owner of Dark Entries record label, has been working tirelessly since 2007 (16 years) to celebrate the often-overlooked music of these artists. "There's so much amazing stuff out there," he says, emphasizing his determination to bring this underground scene into the spotlight.
The label released a new collection of Taylor's music, which is as enchanting as it is haunting. Cheon collaborated with Elizabeth Purchell, a queer film historian, who helped him track down rare films and scores.
Their passion for preserving these forgotten sounds stems from their commitment to giving voice to artists like Patrick Cowley, Man Parrish, and Brandy Dalton – pioneers in the electronic music scene that largely disappeared due to Aids.
Brandy Dalton's Fallen Angel features Drance soundtracks spanning melodic electronica to squelchy electro and minimal industrial techno. His bandmate John Munt describes his music as "absolutely wild," with an energy that defined their performances, which often featured go-go dancers, performance art pieces, or extreme mutilation.
As the dark history of these artists unfolds, Ely's love for Taylor – and his enduring legacy – becomes clear. For him, celebrating Spider one more time means honoring a friend who left an indelible mark on those around him. The soundtracks, music, and lives of these late artists remind us that they were gifted loving individuals whose work should be cherished forever.
Through Dark Entries' latest releases, Cheon aims to give these pioneers the recognition they deserve – an opportunity to share their talents with a new generation, while also raising funds for Aids charities.
In 1980s Los Angeles, a thriving underground music scene was flourishing among openly gay artists, including those who created soundtracks for adult films. Among them were James Allan Taylor and Michael Ely, two musicians whose connection went beyond their shared love of music; they found each other in the thick fog of Sunset Beach, California.
Taylor's film music has an otherworldly quality to it – slow, moody, and synth-heavy – yet he never thought of himself as a porn composer. It was just another gig for two starving musicians trying to make ends meet. Ely recalls that Taylor had a remarkable guitar playing skill that impressed Eddie Van Halen.
In the midst of this vibrant community, tragedy struck when Aids reared its ugly head in the mid-80s. The news began as a distant threat, but within months friends were dying, and then those who knew them too. The pair's beautiful life was shattered.
They left Los Angeles for Arizona to escape what felt like ghosts – reminders of people they loved that died under horrific circumstances. It was an impossible decision, but something had to change.
Josh Cheon, the owner of Dark Entries record label, has been working tirelessly since 2007 (16 years) to celebrate the often-overlooked music of these artists. "There's so much amazing stuff out there," he says, emphasizing his determination to bring this underground scene into the spotlight.
The label released a new collection of Taylor's music, which is as enchanting as it is haunting. Cheon collaborated with Elizabeth Purchell, a queer film historian, who helped him track down rare films and scores.
Their passion for preserving these forgotten sounds stems from their commitment to giving voice to artists like Patrick Cowley, Man Parrish, and Brandy Dalton – pioneers in the electronic music scene that largely disappeared due to Aids.
Brandy Dalton's Fallen Angel features Drance soundtracks spanning melodic electronica to squelchy electro and minimal industrial techno. His bandmate John Munt describes his music as "absolutely wild," with an energy that defined their performances, which often featured go-go dancers, performance art pieces, or extreme mutilation.
As the dark history of these artists unfolds, Ely's love for Taylor – and his enduring legacy – becomes clear. For him, celebrating Spider one more time means honoring a friend who left an indelible mark on those around him. The soundtracks, music, and lives of these late artists remind us that they were gifted loving individuals whose work should be cherished forever.
Through Dark Entries' latest releases, Cheon aims to give these pioneers the recognition they deserve – an opportunity to share their talents with a new generation, while also raising funds for Aids charities.
I keep thinking about how devastating it must've been to lose friends and loved ones to AIDS back in the 80s. It's crazy that we're only now starting to talk about this part of history and giving these pioneers their due respect. Like, what can we even say besides acknowledging their talent and contribution to electronic music? The Dark Entries label is doing a great job in preserving their work, and I love how they're using the new releases to raise funds for AIDS charities 
16 yrs of digging through dusty archives and rare films sounds like a huge task tbh...can't he just let these artists rest in peace? 
i mean, don't get me wrong, their music is still pretty cool, but it's not like they're making new stuff or anything 
. The music scene in 80s LA was like a vibrant tapestry, woven from threads of creativity and community, but then Aids came crashing down on that scene 
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. And the connection between him and Michael Ely is just incredible – they found each other in the midst of chaos, and their love story has become a testament to the resilience of the human spirit 
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. And now, with Dark Entries' latest releases, we have a chance to honor their legacies and give their talents the recognition they deserve 
The more I read about James Allan Taylor and Michael Ely's story, the more it makes me realize how quickly our lives can be turned upside down by circumstances. It's heartbreaking to think that their music, which was once a source of joy and connection for them, became a painful reminder of what they lost.
. It's amazing how much work he's put in over the past 16 years to track down rare films and scores 
. And Elizabeth Purchell is a total rockstar for helping him get it all together 
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. It just goes to show that, even in the darkest times, there were still people who found beauty and community in their music 
Josh Cheon's label releasing new stuff is like, the perfect distraction from the real story here... are we really getting the whole truth about what went down back then? 
