Recorded with an Emulator sampler "borrowed" from OMD and a Roland SH1, the sound was home-brewed. The pair spent time in the early Eighties cooking up synth instrumentals and soon filled Warner Bros.' need for synth soundtrack work in the post- Chariots of Fire landscape. soundtrack teams its titular Cannibalistic Humanoid Underground Dwellers with claustrophobic synth sounds that are dreamy, ominous and occasionally a little like Art of Noise. ‘C.H.U.D.’ (Martin Cooper and David Hughes, 1984)Ĭomposed by Martin Cooper (the keyboardist from hit-making New Wave romantics Orchestral Maneuvers in the Dark) and David Hughes (an ex-keyboardist from the same), the C.H.U.D. ![]() It was with Zombi 2 that I enjoyed a more direct and exclusive relationship with Lucio for the first time." He would explain to me what he wanted, telling me scene by scene how the music was going to support the picture. ![]() "He had a clear idea of what he wanted and a great way of walking me through it, something that every director should be able to do. But the soundtrack also spins in wild directions: noisy electronic gulps, goofy exotica, muffled disco, Reich-ian marimba, lots of frantic drumming and Mellotron moans that he calls "sound of the dead." "Lucio had a special relationship with music," Frizzi says in the liner notes to the Death Waltz/Mondo reissue. This sort-of sequel to the Italian release of Dawn of the Dead includes what may be the most memorable theme song from synth-horror master and frequent Lucio Fulci collaborator Fabio Frizzi – a dark electronic plod that makes Goblin seem light-hearted. Soundtrack collectors and synth freaks alike willingly fork over big bucks for copies of the original. Whether motivated by budgetary constraints, an admiration for John Carpenter's soundtrack work or both, Bromley Davenport – a trained classical pianist – went the minimalist analog synth route, mixing haunting melodies with whirring electronic effects and woozy waltzes. Far more coherent than the film itself is its soundtrack, which was also penned and recorded by Bromley Davenport. composer Room 237, Rebirth)Īdrian Younge (composer, Luke Cage, Black Dynamite)ĭirector Harry Bromley Davenport once described his 1983 sci-fi shocker Xtro as "an extraordinary mess," an assessment that the film's many critics would probably view as immodestly generous. Jeremy Schmidt (Black Mountain, Sinoia Caves composer, Beyond the Black Rainbow) ![]() Sebastiaan Putseys (One Way Static Records) Mike Patton (Faith No More, Fantômas composer, The Place Beyond the Pines) ![]() Spencer Hickman (Death Waltz Recording Company & Mondo) Ryan Graveface (Black Moth Super Rainbow, Casket Girls Terror Vision Records and Video) Kyle Dixon, Mark Donica, Adam Jones and Michael Stein (Survive Stranger Things) To celebrate the renewed interest, we’ve compiled the 35 greatest soundtracks of all time as chosen by an esteemed panel of 14 reissue record label owners and indebted musicians. More recently, they’ve become objets d’art thanks to a slew of reissue labels repressing them on colorful vinyl underneath eye-popping sleeve designs. They’ve established and maintained a teeming culture around analog synthesizers, provided generations with dissonant gateways into the heady worlds of 20th century composition and musique concrète and influenced bands like Portishead, Boards of Canada and Animal Collective. Beyond being dark and diverse mood-setters for thriller nights, horror film soundtracks have quietly changed the world like a virus.
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