Unlike most faux soundtrack efforts of late, William Rocky’ Gray’s Accursed is less reliant on the sounds of John Carpenter and Goblin, making this effort in percussive mayhem rather refreshing. The opening track (“Cannibal”) is a mass of pounding drums and distorted electric guitar bridged with howling tones and that classic staple of eighties horror, sampled chorus…
Elia Cmiral returns to the Atlas Shrugged franchise with another robust score, seamlessly integrating a large orchestra with fairly modest electronic elements in a classically written work that embraces expansive melody, rich harmonies, and beautiful colours from strings and a wordless chorus…
The composers behind Trailerhead return with the fresh collection of epic cues designed to energize movie trailers, if not inspire editors while assembling a montage of money shots, dialogue excerpts, and teaser captions more or less anchored to intro phrases like ‘In a world where…”
Crafted like an old-time spooky LP (Nightmare and Son of Shock! certainly come to mind), this concept album by filmmaker Dante Tomaselli features an hour’s worth of themed tracks which are largely comprised of drifting sound effects, drones, shrieks, twisting leather, grievous knife usage, and the occasional morsel of music…
It’s been a while since musique concrete has comprised the bulk of a score, but Ceiri Torjussen’s managed to apply the experimental technique of combining raw sounds with assorted instrument scratching, banging, grinding, and knocking to create a bizarre world where there is virtually no warmth, light, or moment of sanity…
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