Archive for the ‘Audiodrome: Music in Film’ category:
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Vangelis’s effervescent soundscapes effortlessly convey the alienation and longing at the centre of Scott’s classic sci-fi.
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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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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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Structured around spirals and circles, fulfilment and despair, Herrmann’s score penetrates to the heart of obsession.
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Quite untypical of most gialli scores at the time, Nicolai eschews kitschy jazz for stately melancholy.
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Amidst the icy atmospherics swirl bittersweet themes which highlight the blood-warm, romantically charged heart of the story.
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Shuman’s score underpins the downbeat drama and exhibits an emotional depth most untypical of pornography soundtracks.
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“This is like a jazz version of the story… It’s Laura Palmer’s last week of life and it’s got some abstract areas in it.” David Lynch
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Ishikawa deftly matches the dystopian visuals in Tetsuo with all manner of clanking, blasting noisescapes and an onslaught of militant percussive barrages.
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Ditching the customary orchestral approach to horror movie music at the time, in favour of a more raunchy sound, Rustichelli uses the tango to cornerstone this score.
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Liška conveys an abundance of moods with his melodic orchestrations and pulsing oceanic sound effects.
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Informed by ancient rituals, paganism and indigenous folk music. A truly evocative work.