Archive for the ‘Audiodrome: Music in Film’ category:
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starry-eyes-front
We talk with LA-based composer, sound designer, songwriter, and producer about Starry Eyes.
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under-the-skin-front
"If your lifeforce is being distilled by an alien, it's not necessarily going to sound very nice. It's supposed to be physical, alarming, hot."
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TheDevilsBusiness-front
Greaves produces cinematic, post-rock soundscapes, rife with apocalyptic connotations and macabre subject matter, but always imbued with a shard of hope.
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ennio-morriconeII-front
The second in a two part series examining some of Ennio Morricone's musical contributions in horror films.
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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.’