Archive for the ‘Audiodrome: Music in Film’ category:
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Michael-Nyman-front
The second part of a two part series focusing mainly on Nyman's contributions to the Ravenous score.
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Albarn-front
Blur/Gorillaz frontman collaborates with classical composer Michael Nyman on the soundtrack of 1999's Ravenous.
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Morricone-front
The first in a two part series examining some of Ennio Morricone's musical contributions in horror films.
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wendigo-front
"A reoccurring dream whose images are never far from the surface of the imagination." Michelle DuBucci
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TheDunwichHorror-front
Baxter’s score veers between kitschy lounge grooves and lush, melodic otherworldliness. Lovecraft never sounded so groovy.
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hellraiser_front
Coil’s discarded industrial score for Clive Barker’s retina-searing classic, Hellraiser was described as ‘bowel-churning’ by the director.
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TheStrangeVice-front
Orlandi’s score with erotic undercurrents enhance the dark sexuality of this classic giallo.
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evildead-front
Discordant, mischievous, intense, and often very, very creepy, LoDuca’s score really captures the spirit of Raimi’s classic ‘nasty.’
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BladeRunner-front
Vangelis’s effervescent soundscapes effortlessly convey the alienation and longing at the centre of Scott’s classic sci-fi.
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Coffy-front
Often overshadowed by the likes of Isaac Hayes’ score for Shaft and Curtis Mayfield’s Superfly, Coffy’s evocative score doesn’t receive as much recognition as it should.
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Dancer-in-the-Dark-front
A musical for people who don’t particularly like musicals, Von Trier’s digicam recalibration of the genre depicts a devastating breakdown of the American Dream.
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Vertigo-front
Structured around spirals and circles, fulfilment and despair, Herrmann’s score penetrates to the heart of obsession.