{"id":12795,"date":"2015-12-09T15:58:38","date_gmt":"2015-12-09T20:58:38","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=12795"},"modified":"2015-12-09T16:09:02","modified_gmt":"2015-12-09T21:09:02","slug":"soundtrack-reviews-2-0","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=12795","title":{"rendered":"Soundtrack Reviews 2.0"},"content":{"rendered":"

\"FilmMusicReviews_square_pic\"<\/a>Just added is a quintet of soundtrack reviews recently published in Rue Morgue magazine (of which my others, going back a few more months, will follow).<\/p>\n

Back in June I interviewed both Claudio Simonetti<\/a> and Rustblade\u2019s bigwig Stefano Rossello<\/a> in separate pieces, as the Italian label had just released a fine remastered version of the composer\u2019s classic Demons \/ Demoni<\/a><\/strong> (1985).<\/p>\n

That release was soon followed by a suite of rerecorded main themes from Goblin\u2019s Deep Red \/ Profondo Rosso<\/a><\/strong> (1975), a decent release, although I keep wishing for a longer concept album where every musician is given a long chunk of time for some improv and \/ or arresting solos. Simonetti\u2019s band mates are superb, and there\u2019s nothing better than hearing great musicians have fun with a theme.<\/p>\n

Also covered were a m\u00e9lange of retro scores that draw from the usual triumvirate of influential horror composers, John Carpenter, Goblin, and Tangerine Dream. Sometimes the music is written directly for a film \u2013 like Steve Moore\u2019s Cub \/ Welp<\/a><\/strong> (2014) \u2013 or they\u2019re imaginary soundtracks inspired by classic scores, emulating and integrating very iconic sounds.<\/p>\n

Relapse Records released both Cub<\/strong> and Shape Shift<\/a><\/strong> (2015), a collaboration between Moore and A.E. Paterra as Zombi, while Anders Manga crafted Hexed<\/a><\/strong> (2015), available from Bandcamp.<\/p>\n

The wealth (and arguably glut) of fantasy soundtracks does beg the question: How far can composers push the format, in terms of drawing from the influences of the classic trio, but pushing the boundaries to new ground?<\/p>\n

Homages tend to run their courses before there\u2019s an aberration, in which clich\u00e9s and tropes and emulations are shredded and reconfigured, and the result is more abstract, much in the way Goblin\u2019s own prog-rock works like Roller<\/strong> (1976) weren\u2019t shackled to anything formal outside of inventive tracks, and where an amalgam of the musicians\u2019 styles and idiomatic influences created something that\u2019s still refreshing.<\/p>\n

Moore and Paterra\u2019s Shape Shift<\/strong> pushes the envelope a bit, but I\u2019m waiting for a complete tear-down, and what\u2019s reconfigured will have traces of classic sounds and small skeletal remains of thematic and motivic framework. A work that breaks from the homage and says more about artists seeking uncharted ground through their own idiosyncratic fixations.<\/p>\n

In December\u2019s RM issue I\u2019ve got a review of the crazy Turkey Shoot<\/strong> \/ Escape 2000 <\/strong>(1982), and around January I\u2019ll post an expanded review of this sleazy masterpiece of ozploitation by Brian Trenchard-Smith.<\/p>\n

Cheers,<\/p>\n

 <\/p>\n

 <\/p>\n

Mark R. Hasan<\/strong>, Editor
\nKQEK.com<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Reviews of five soundtracks I originally covered in Rue Morgue magazine: Claudio Simonetti’s Demons + Goblin’s Profondo Rosso (Rustblade Records), Steve Moore’s Cub \/ Welp + Shape Shift with A.E. Paterra (Relapse Records), and Anders Manga’s Hexed (Bandcamp).<\/p>\n","protected":false},"author":1,"featured_media":8422,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6],"tags":[4129,4134,2283,4132,4128,3242,2562,2563,4136,4127,4137,3947,4133,4131],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2014\/04\/FilmMusicReviews_630x300.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-3kn","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12795"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12795"}],"version-history":[{"count":6,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12795\/revisions"}],"predecessor-version":[{"id":12823,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12795\/revisions\/12823"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/8422"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12795"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12795"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12795"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}