The soundtrack to Dennis Villeneuve’s time-bending science-fiction suspense film is strange and otherworldly with unusual voicing and heavily modified instrumentation that is as mellifluous and soothing as it is abstract and unfamiliar. Deep drone, alien vocal arrangements, strings from The City of Prague Philharmonic Orchestra and beautiful if bizarre vocalizations from the Theatre of Voices, sparse percussion and an overarching minimalism convey distance, introspection, and liminal phantasmic qualities. Arrival was composed by the late Icelandic composer Jóhann Jóhannsson (Blade Runner 2049, Sicario, Mandy), and was scored during the apex of his relatively short but voluminous and perhaps influential cinematic career (the third of four films films with Villeneuve). He died like a rock star, at the peak of his game, his system flooded with alcohol and cocaine which, in my mind, makes him a legend and and also kind of an asshole. However, that is of little consequence, the sound(s) that he generated were brilliant, often employing near sub-sonic drones that would utilize the incredible range and volume of modern theater sound systems to mesmerizing and visceral effect. Rivaling both Motörhead and Holy Mountain era Sleep in obscenely over-the-top volume, I saw Blade Runner 2049 (another example of a [less than amazing] film that just happened to be an exceptional vehicle for Jóhannsson’s sound design) in a nearly empty theater and was thrilled at the way my rib-cage would shudder at the unearthly sound. It became tactile. I was immersed in a compressible fluid that was both turbulent and resonate. When the medium of air becomes that warped and disturbed we can be transported to a place that is foreign and dire. Not unlike outer space or the chambers that house the hyper-evolved “Heptapods”, the extraterrestrial demagogues in the film. Our atmosphere is as untenable to them as theirs is to ours so the linguistic protagonists must meet with these beings separated by a transparent barrier in an attempt to learn, with some great difficulty, to communicate with them and the consequences that come with first contact with a species that is technologically and militarily superior. This separation from the familiar is important to the sound and ultimately the feeling of the film. Jóhannsson was aware that “people are hungry for new sounds, and for the experience of listening to unfamiliar music…” and this awareness was what compelled him to make an extraordinary film score for a striking film, with one gnarly twist, about love, determination, and communion with our extrasolar squid overlords.
Soundtrack to David Lynch’s film and accompaniment to the TV series, Twin Peaks: Fire Walk with Me. Music composed by frequent Lynch collaborator, Angelo Badalamenti. Sexy, sultry, somber detective jazz. Smoky atmospheres, voices of Jimmy Scott, and damn fine cups of coffee…
Matti Bye composes “soundtracks” for silent movies.Â The Phantom Carriage is a Swedish film from 1921 that concerns a Salvation Army slum sister and is considered by many to be a masterpiece.Â The music is playful, lyrical, and reminds me of the cabaret works of Kurt Weill and the piano works of Erik Satie.Â Very nicely played on piano, strings, percussion, brass and harp.Â Really lovely, recommended!!
This is the original soundtrack to the 1973 italian western My Name is Nobody. Once the greatest gunslinger of the Old West, Jack Beauregard, only wants to move to Europe and retire in peace, but a young gunfighter, known as “Nobody,” idolizes him and wants to see him go out in a blaze of glory. He arranges for Jack to face the 150-man gang known as The Wild Bunch and earn his place in history.
This soundtrack starts off with a very heavy Room 222 seventies sitcom vibe with flute, etc. The next 2 tracks are more “westerney” with classic whistling and the regular tricks. Track 4, Side A is my fave, it starts off with a clock ticking and slowly the instrumentation and elements that create the perfect Morricone masterpiece. On side 2 the standout for me is the second track with a creepy sound (and that 70s bass!). Track 3 has a weird take on Ride of the Valkyries. The album closes with more 70s flutey sitcom stuff. Overall a nice addition to the library. Morricone is a true master. The liner notes are all in italian which was kinda lame unless you can read italian. This is a re-issue.
Gunslinger comes to town – Anti-Hero – Famous tunes, very evocative. Ennio Morricone wrote and Hugo Montenegro conducted. Spaghetti drama – one of the greatest scores of all time.
Nino Rota composed the music for all of Fellii’s great films as well as The Godfather. This record documents a concert that took place in Tokyo on March 22, 1976, featuring Rota conducting the New Japan Philharmonic. Side A features tunes from The Godfather, and B are from Fellini movies.
Like Bernard Herrmann was to Alfred Hitchcock and John Williams is to Steven Spielberg, Georges Delerue was the musical connection and interpreter to Francois Truffaut. Delerue scored music for over 200 films, composed operas, sound and light shows, ballets and chamber pieces, but his eleven collaborations with French New Wave film master Truffaut stand out in soundtrack history. Delerue was able to interpret Truffaut’s rich tales of romance and heartbreak, mystery and intrigue and the process of film making itself (Day For Night). From fully orchestrated pieces to the familiar solo upright piano solo, “Charlie” from Shoot the Piano Player, these performances by the London Sinfonietta showcase a rich understanding as to why Delerue is so important to film. Use as an auditory palette cleanser or entremets between your sonic onslaught.
Czech New Wave Cinema of the 1960’s had some pretty twisted, beautifully filmed and challenging films, many of which were not seen for decades due to the government banning them. Juraj Herz’s “The Cremator”, from 1969 is one of these. The tale of a cremator who is obsessed with the Tibetan Book of the Dead and the passing of the Dalai Lama, who is influenced by Nazi sympathizers (it takes place in the 1930’s) who talk to him about the importance of his partial German heritage, his half Jewish wife who is the mother of his two sons, his eventual spiral into madness as he realizes it is his purpose to send people back to the dust from which they came… let’s just say it won’t end well. It’s described as a horror comedy. Well, if anyone can make Nazi’s funny, the Czech’s can. A film with this overwhelming storyline needs a strong soundtrack and classic Czech experimental soundtrack composer Zdenek Liska does the trick. Moving away from his usual found sound and re- sampling type style, Liska goes orchestral for this endeavor. Rich, haunting orchestral pieces with soprano singer Vlasta Soumarova Mlejnkova chanting out vocalizations of sounds, not words, fill the spaces. Think echoes in large abandoned cathedrals where sounds bounce around, “celestial choral” sections accompanied by chimes and bells. Think giallo richness. Think old school haunted houses where strangeness lurks. Beautiful moody settings, perfect for a crematorium. Indulge. Ashes to ashes, dust to dust.
Bricusse, Leslie and Newley, Anthony – “Willy Wonka & The Chocolate Factory” – [Universal Music Enterprises]
C’mon! It’s Willy Freakin’ Wonka. The 45th Anniversary edition. On GOLDEN VINYL!!!!!!!! Iconic. The songs of several generations. Even kids today say it’s better than the Tim Burton/Johnny Depp version.
Leslie Bricusse and Anthony Newley hit a home run with this soundtrack about the poor boy who makes it big. Songs about spoiled brats, psychedelic boat rides on chocolate rivers, orange little people singing oompa loompa, songs about the near death of children by some of the most diabolical methods that out-Saw the “Saw” franchise. There’s the most unhappy song about cheering up, “Cheer Up, Charlie” and, of course, “The Candy Man”, made famous in a rocking funky version by Sammy Davis, Jr. Oh, and did I mention Gene Wilder. Gene Freakin’ Wilder!!!!! PLAY IT and all you dark heart naysayers can go jump in a chocolate river.
Carl Stalling composed the scores for Warner Brothers Cartoons from 1936 to 1958. He is one of three composers credited with the invention of the click track. He had the 50 piece Warner Brother Orchestra at his disposal and was encouraged to use the Warner Brothers back catalog in his compositions. He developed the surrealist “Looney Tunes” style of rapid-fire musical quotations, puns, and sound effects.
This movie is worth at least one or two watches. Produced by Rza from Wu Tang. FCC on A9, B5, End of B7, B9
Songs in the film that don’t appear on either soundtrack album include From Then Till Now performed by Killah Priest, Armagideon Time performed by Willi Williams, Nuba One performed by Andrew Cyrille and Jimmy Lyons.
The film has been interpreted by critics as an homage to Le Samoura??, a 1967 crime-drama by Jean-Pierre Melville starring Alain Delon. That movie opens with a quote from an invented Book of Bushido and features a meditative, loner hero, Jef Costello. In the same manner that Ghost Dog has an electronic “key” to break into luxury cars, Costello has a huge ring of keys that enable him to steal any Citro??n DS. The endings share a key similarity. Moreover, the peculiar relationship between the heroes of both movies and birds, as companions and danger advisers, is another common theme.
The film contains a number of references to Seijun Suzuki’s Branded to Kill, such as when a bird lands in front of Ghost Dog’s rifle scope, referencing the incident with a butterfly in Suzuki’s film. Ghost Dog shooting Sonny Valerio up the drain pipe is taken directly from Branded to Kill.
Cartoons are used as a motif that parallels plot developments. Handsome Frank watches a cartoon featuring Betty Boop corralling her pigeons moments before Ghost Dog, a fellow pigeon raiser, arrives to assassinate him. Ghost Dog is later seen handling his pigeons in the same manner as Betty. Boss Vargo watches a Felix the Cat cartoon wherein the Professor voices his frustration at capturing the elusive Felix and his magic bag, mirroring the mafia’s inability to find and eliminate Ghost Dog, who carries his weapons and equipment in a black briefcase. Vargo and his daughter, Louise, watch a Woody Woodpecker cartoon in the car, immediately after Ghost Dog has been distracted by a woodpecker while sniping in the woods. The cartoon features a staring contest between Woody and the Grim Reaper. Vargo’s daughter watches an episode of The Itchy & Scratchy Show (in which Itchy and Scratchy threaten each other with increasingly bigger guns, before blowing up the earth) before the equally violent battle which concludes the film.
Recording of Japanese origin, apparently of the soundtrack to a documentary about or made by Jacques Cousteau. Music by John Lurie include piano, reeds. guitar, drum and more – very lovely, watery, and wistful. Jacques’ speaking tracks are inspirational. The tracks of whale sounds will work on their own or with layering – if the cats sitting with me are any indication, the whales will have an eager audience among our non-human listeners. Tracks marked M-1 through M-16 are instrumental music tracks.
rank-stink cheese-grade horror movie soundtrack for COVEN (pronounced like woven not like oven) the legendary failed 1997 short film by Mark Borchardt (see: American Movie). the worst kind of pre-packaged cheap keyboard library music with hilariously creepy bone-chilling interludes. reviewers try to lure you with words like “ominous”, “dilapidated”, and “stark” but don’t be fooled, this shining example of creativity gone wrong is the most satisfying disappointment you’ll ever force yourself (and your listeners) to suffer through. perfect on any playlist and essential for our bulging library of blow-hard overpriced horror movie soundtracks. suck it Death Waltz
The Holy Grail for some, Fatty George (the king of Austrian jazz) and Silke Schwinger, librettist, created this pop psych opera for Austrian television. Televised in 1971, soundtrack recordings were made for radio and television stations only. Telling the tale of a black messiah coming to Austria in the 1970’s, “Trip” (no article, thank you), goes full force as only a 1971 TV popera could go. You want flutes? Lots. And sitar? Of, course. Wah wah guitar. Studio funky sounds with lots of horns. The voice of THe Man. It’s all here and all so groovy. SOOOO GROOVY. The center piece is “White Sand”. Sue Kramer BELTS out the vocals in such a funkified way. She rips it apart. It must have been a show stopper. She even pulls out what sounds like a German version of Sock It To Me. The drum beat that drops halfway through was heavily sampled for funk albums. Listen and you’ll hear why. This whole thing is so kick butt: Naysayer’s Two Thumbs Up.
Strings. Horror! Terror! Suspense… and Fucking!!!
Composed by Claudio Gizzi, this is the 1973 soundtrack to Andy Warhol’s Flesh For Frankenstein, directed by Paul Morrissey and produced by Andy Warhol. Re-issued with great art, vinyl, and numerous alternate takes by Florence-based Dagored.
Baron Frankenstein dreams of restoring Serbia to glory, so he builds male and female monsters whose children will become the new master race. Determined that they be fruitful, he aims to equip the male body with the brain of someone possessing a powerful libido. Thinking horny stable boy Nicholas (played by the Factory’s top hustler Joe Dallesandro) will be perfect, he mistakenly gets the head of Nicholas’ pious friend. Meanwhile, Nicholas seduces the baron’s wife. Rated X.
Orchestral music for horny sluts. Admirably trashy. Great colored vinyl.
Ronald Stein is most famous for scoring numerous American International horror films. This soundtrack he composed was for the 1970 Richard Rush film starring Elliott Gould, Candice Bergen and Harrison Ford. It’s premise of a social activist and Vietnam war vet, returning to college to get his teaching degree, but stuck in the tumult of rising college campus aggression, fit in with many films of the early 70’s. The Hippie era is dissolving, thankfully, and a more aggressive time is on the rise where everyone is up in everyone else’s face. Everyone is a bit guilty in showing their prejudices and conceits. With this setting, Stein composed a score filled with the sort of folk Simon and Garfunkle sound which questions what is going on. Lyrics are filled with disappointment and a rising anger and rage. The orchestrations sometimes have that carnivalesque, isn’t this all crazy kind of sound. Three tracks with FCC’s are wonderful samples from the film. “Party Scene (Jan)” has Elliott Gould’s character shouting down Candace Bergen in a sexist barrage that is dated and unfortunately not so at the same time. “Vandenberg” is the anti-academy down with the man statement. The instrumental “Pigs Go Home” was sampled by Eminem. This is an interesting document of a soundtrack style that is very specific to this 1970’s period. And yet it still fits for today. The lyrics to “Getting Straight- Main Title” are uncomfortably as meaningful today as they were back then. A minor work of high interest.
Not the soundtrack to the best movie never made, but rather the soundtrack to the documentary movie about the best movie never made. Easily worthy of the visionary Jodorowsky and the transcendent source material of Dune. Meditative, spacey, retro-futuristic, and grandiose. Features analog synthesizer mastery with one or two tracks including voice samples of the great spiritual warrior Jodorowky himself. Although each track is musically distinct the overall theme and instrumentation is consistent, with the exception of tracks “Feyd Rautha,” which features live percussion, and “Total Extermination,” which has some voice/chant work intermixed.
Indie college comedy slasher film soundtrack by local Oaklander Greg Wilkinson. Short pieces of dialog every once in awhile. Mostly cool synthy retro sounds.
— Billie Joe Tolliver
This is a re-release of May’s soundtrack to the 1979 Australian movie dealing with the bloody inheritance of Kate. All you need to do is read the track titles to know how she goes from human to vampire, and look at how Side A vinyl goes from red with white (depicting innocence) to a completely red Side B. The Main Title and End Titles are orchestrally beautiful and upbeat, mostly, belying the horror that follows as Kate undergoes her transition. The creepiness is tempered at times by the “ceremony” tracks (A6 and B5), which sound like Gregorian chants, but are actually just gory in the rituals they accompany. This is pretty great stuff.
1980 horror film about a scalping serial killer loosely inspired by the Son of Sam.
There’s a fun part where there is a loud heart beating and it sounded like it was skipping to me for a second. Disturbing monologue on side a. Mostly creepy synthy goodness.
— Billie Joe Tolliver
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File