Category: Soundtrack Reviews
Written during his busiest period (1968-1970), Quincy Jones’ score for John and Mary was quite sparse, leaving obligatory space for the film’s myriad dialogue exchanges and source music, but the score is memorable for being atypical of the material Jones was writing at the time: action comedies (The Italian Job, The Hell with Heroes), comedies (Bob & Carol & Ted & Alice,Cactus Flower), and the funky style of They Call Me MISTER Tibbs!
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For some soundtrack fans, it was a bit of surprise to learn the composer of pioneering synth scores had begun his career with large orchestral scores for John Boorman’s Excalibur (1981) and Jim Henson’s The Dark Crystal (1982)…
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The first film in the enduring franchise gave John Powell the perfect opportunity to write what remains both his definitive action sound, and the definitive action score of that decade, blending large orchestral sounds with layers upon layers of electronics…
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In a radical move for director Tim Burton, the score for his latest film was written by the collaborative team of Mike Higham and Matthew Margeson, both skilled in composing, orchestrating, and arranging for a diversity of projects…
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No stranger to scoring video games, Nima Fakhrara’s music is as unusual as the interactive game’s design in which players can take several differing paths as they’re immersed in the world of the 1979 Islamic Revolution with turned Iran into a theocracy…
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The last film executive produced by the late Wes Craven was graced by an inventive score by Nima Fakhrara (The Signal), which is built around “Colleen,” a short theme rendered on piano that trails off like an elegant, long forgotten chamber piece before restarting and re-emphasizing the theme’s inherent tragic tone…
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Composed at the head of the band’s busiest film scoring period (roughly 1983-1990), Heartbreakers is also a rare drama for a group known largely for their work in sci-fi and horror. Bobby Roth’s clear characters…
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To mark Profondo Rosso’s 40th anniversary, Claudio Simonetti and his newly formed band recorded faithful version of Goblin’s main themes, engineered with the same precision as prior re-recordings…
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Steve Moore’s latest film score unfolds like a Tangerine Dream score with fuzzy bass lines akin to John Carpenter in a really pissed off state, and it’s a fusion of elements that give the score dramatic contrasts, and ensure tracks aren’t mere homages…
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Steve Moore (Cub) and A.E. Paterra’s non-film album draws heavily from the instrumental sounds of Goblin, Tangerine Dream, and Fabio Frizzi (and maybe a little Stomu Yamashta), but each track is distinct in both design and tone…
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