Film Soundtracks

Label: Silva Screen Records

November 2022

Silva Screen Records digitally releases Music From The Westworld TV series, composed by Ramin Djawadi and performed by London Music Works. Westworld is based on the excellent 1973 film (starring Yul Brynner) and its lacklustre 1976 sequel, Futureworld which are themselves based on Michael’s Crichton’s book. Across four seasons, the HBO series explores the retro Wild West-themed amusement park, the contrasting futuristic laboratories which act as the operations centre for the park, and the contrast as things begin to go wrong and events take a sinister turn. It stars Evan Rachel Wood, Thandiwe Newton, Ed Harris, Jeffrey Wright and Anthony Hopkins. London Music Works perform film and TV soundtracks; they’re catalogue includes Music From The Terminator Movies, The Batman Trilogy, Music From The How to Train Your Dragon Trilogy, and Music From The Transformer Movies. Emmy Award-winning Ramin Djawadi is best known for his work on the phenomenally successful Game of Thrones and its prequel series, House of the Dragon. He has also scored Pacific Rim, Clash of the Titans, Person of Interest, Jack Ryan and the video games Medal of Honour, and Gears of War 4 & 5. He is known for his organic soundscapes and orchestral abstract opposites.
 

Tracklisting: 'Main Title Theme'; 'Sweetwater'; 'Paint it Black'; 'This World'; 'Dr Ford'; 'Heart-Shaped Box (Orchestral)'; 'Take My Heart When You Go'; 'I Promise'; 'West World'; 'Codex'; 'Start A Revolution'; 'Doomed'; 'Wicked Games'; 'Hope'; 'Free Will'; 'Video Games'; 'Bad Guy'; and 'Our World'.

Rather than the expected wild west cowboy influence, the music opens with a jaunty, almost retro funfair feel, with cello producing a melancholy edge. An off kilter (Les Dawson) piano piece follows, bringing a menacing sound to the carnival backdrop. 'Paint it Black' is my favourite Rolling Stones song; here it is slow and atmospheric. It finally comes to life, becoming a much more all-encompassing experience, incorporating Western galloping themes but remaining grand and orchestral until it fades with old-style piano. 'Dr Ford' transports us to the mystical East, before leading with a retrospective piano, violins and electronica. 'Heart-Shaped Box' is, of course taken from the Nirvana song. It’s strangely empowering to hear an orchestral version and it lends itself well to the format. 'I Promise' features a marching aspect which builds using piano and cello.

I would have laid money that the track 'West World' would consist of music befitting the dusty recreation of the old West intermingled with a more scientific setting which suggests the hi-tech theme park. However, it’s another sad and misty-eyed piece; two of this kind on one collection is one too many. 'Start A Revolution' is more like it. It has elements of recent Gary Numan about it; warped and warbling electronica, a throbbing and pulsing, and a feeling the listener has no idea where the tune is going to head next. More of these, please. 'Bad Guy' wouldn’t be out of place backing a silent comedy short by the likes of Charlie Chaplin or Harold Lloyd. This is certainly an eclectic collection of soundtrack music. There are some similar pieces present, but in a way, it makes those unusual and outstanding ones stick out.  

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022) 

Label: Milan Records

January 2023

Milan Records (Sony Music Soundtracks) releases the Original Motion Picture Soundtrack to Infinity Pool, by Tim Hecker. In the film directed by Brandon Cronenberg, couple James and Em enjoy the relaxing comfort of a sun and sea holiday, but when the seductive Gabi guides them outside of the resort’s grounds, they encounter a strict culture of violence and hedonism. A tragic accident has them confronted with the full and unforgiving crime policy: either be executed or, if you can afford it, watch yourself die instead. Juno Award-winning Canadian composer and musician Tim Hecker has a resume spanning 10 solo studio albums – including Ravedeath 1972 and Harmony in Ultraviolet. He has also scored the BBC series The North Water. His music explores the intersection of noise, dissonance, and melody, and has been described as “structured ambient” and “cathedral electronic music” – The soundtrack is available for download.

Track Listing: 'Spiral Walk'; 'In the Club'; 'An Accident'; 'Hit and Run'; 'The Arrest'; 'Doubling Part 1'; 'Doubling Part 2'; 'Execution'; 'Masquerade'; 'Home Invasion'; 'Ekki Gate'; 'Orgy'; 'Abduction'; 'Humiliation'; 'Shuttle to Nowhere'; 'Through the Forest'; 'Fever Dream'; 'Killing the Dog'; 'Consolation'; 'The Infinity Pool'; and 'Here to Stay'.

The score begins with very Pagan sounds; a veritable cacophony of intrusive natural sounds, and something akin to a supercar changing up through the gears! Fuzzy Electronica and single drumbeats follow. Deep rumbling and what sounds like a coin being run along a piano string add to the feeling of unease. The overall sound is just a toe inside the door to music. The inventiveness of incorporating different simple Pagan and Industrial noises cannot be denied; however, it is already beginning to wear thin. The approach of the listener can only direct itself to the connectivity of the film itself. What fits the horror/thriller movie is right. Some soundtracks work as standalone pieces, whilst others become noticeably isolated. It’s like a jigsaw without all of its pieces.

'Masquerade' has promise but fails to develop into what might have been an interesting electronic instrumental music number. 'Orgy' is a gradual building of palpable menace. 'The Infinity Pool', as a music theme, is probably the best of the bunch whilst containing little pace. It is obvious to me that this collection works better as an atmospheric and eerie background to situations such as horror-related gatherings, or Halloween night sound effects to scare trick or treaters. With next to no music, it doesn’t work well as a standalone, but I remember going to see the play Ghosts at the theatre and they piped-in sounds not too dissimilar to this as you walked in. It proved very effective.  

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2023) 

Label: Mercury KX

August 2022

Mercury KX releases the Official Movie Soundtrack to She Will, by award-winning composer Clint Mansell. In the BIFA-nominated film, from first time director Charlotte Colbert, starring Alice Krige (best known as the Borg Queen), a woman visits a convalescent retreat in Scotland with her young nurse after undergoing a double mastectomy. Here mysterious forces allow her the power to enact revenge for past traumas within her dreams. It is presented by Italian horror legend Dario Argento. Mansell’s film score credits across 25 years include Black Swan, Requiem For a Dream, High Rise, and Rebecca. This is his first soundtrack release in Dolby Atmos. It is available on Black & Pink Vinyl and for digital download...

Track List: 'Evocation'; 'Come Together'; 'We Will Heal'; 'Veil of Protection'; 'Times Boundaries Blurred'; 'Incantation'; 'Scars'; 'Ashes Fall'; 'Overcoming'; 'Rebirth'; and 'Invocation'.

A nice long track of over nine minutes gets us under way. It creates a mystical environment before some Pagan elements come into play alongside an electronic rumble. It doesn’t rush things, instead creating the appropriate atmosphere around which sounds and voices come and go. A bass synth establishes a marching-like throbbing pace, vanishes and returns with more Pagan rites. The keyboard builds-up from seven minutes in before fading away long before the end of the piece. There is nothing of real substance there, but you find yourself immersed none-the-less.

Following the opening immersive experience, we are treated to an oppressive but entertaining conglomerate of encroaching mysticism and terror, with very effective chants. I love the way these tracks increase in pace and intensity as they rush towards a final outcome, only to be ripped away before the denouement. Piano, buzzing and scratching leads into vocal elements which don’t outstay their welcome. Piano and music box touches are chased away by deep synthesisers, only to return. The aspects of these tracks are ever-changing whilst maintaining that forgotten world and lost magic essence. 'Incantation' is a prime example of this. A couple of these are building ambient sounds, but refrain from falling into the dull category. 'Rebirth' has a little of everything, with chants and soaring vocals. It proves entertaining without you really knowing why. Overall, it’s a very professional soundtrack. If it has one fault it is that the music never reaches a crescendo, falling short after building up.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022) 

Label: Milan Recordss

July 2022

Milan Records releases the Soundtrack from the Netflix series Resident Evil, by Gregory Reveret. In the first live-action series of the horror franchise, it is 2036 – 14 years after the spread of the virus Joy. Jade Wesker fights to survive in a world overrun by violent and ravenous blood thirsty infected creatures, haunted by her past in Raccoon City, her father’s connections to the chilling Umbrella Corporation, but mostly by what happened to her Sister, Billie. The French-born composer’s music has featured on Radio 1, Rinse FM, KCRW, and Solid Steel Radio. He has contributed works to the movies Furious 7, Avengers: Age of Ultron, and Power Rangers. For this score he has crossed styles, utilising action-heavy orchestral music, African percussion and 1960s laboratory equipment. A collaboration with electronic musician deadmau5 (pronounced ‘dead mouse’) took place on the single 'My Heart Has Teeth', with the vocals supplied by Skylar Grey. A second single from this collection, 'Venus Flytrap (Main Theme)', features a synth-heavy number with drums recorded by Craig Macintyre of The Goo Goo Dolls. The soundtrack is available for download...

Track List: 'Sea of Zeroes'; 'Plague from God'; 'The Doberman'; 'What is Happening'; 'Evelyn’s Plan'; 'Lab Search'; 'My Son is Dead'; 'Venus Flytrap (Main Theme)'; 'Meet Bert'; 'Humvee Chase'; 'Don’t Eat Cats'; 'Home Safe'; 'Lickers Attack'; 'Final Battle'; 'My Heart Has Teeth'.

A sinister mysteries-of-the-East sound, with a tribal beat, introduces us to 'Sea of Zeroes'. It soon evolves into a building chase with dark foreboding. This theme is continued with more restraint and more of a Industrial aspect. The ever-existent mystical cry begins to grate a little, as the music turns more incidental but with an underlying drama. Electronica is a present force in these tracks, utilised to create an off-kilter or bizarre feel. 'Evelyn’s Plan' is perhaps the best example of this. 'My Son Is Dead' has more of a structure and rhythm and is somewhat reminiscent of a track you may find on one of John Carpenter’s Lost Themes albums.

The single 'Venus Flytrap (Main Theme)', but for the drums, has no real drive. A both haunting and Industrial attachment seems to pull the music back, and the vocal chants are, frankly, annoying and over-used. 'Meet Bert' has a quirky, almost childlike carnival feel. 'Humvee Chase' has potential but is far too short… and will someone please gag that drunk-sounding voice going "oh, oh, oh" over the top of everything! 'Home Safe' is a nice acoustic piece, but the track with the most action, drama and pace is undoubtedly 'Final Battle'. We finish with the single 'My Heart Has Teeth', certainly the better of the two single releases. Unfortunately, the song doesn’t have teeth. This collection certainly has its moments, but I just couldn’t get past the Norman Wisdom impressions on nearly every track.

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022) 

Label: Decca Records

June 2022

Decca Records releases the Official Motion Picture Soundtrack to Crimes of the Future, by Howard Shore. In the dystopian sci-fi horror written and directed by award-winning filmmaker David Cronenberg, a near future scenario has humans living in a synthetic environment wherein altered biological appearance through surgery leads to the body becoming art. A performance artist showcases his metamorphosed organs, whilst an investigator tracks his movements. That is when a cloaked organisation shines a light on the next phase of human evolution. Cronenberg wrote the script in 1999 and waited for the appropriate moment to make the movie. Howard Shore is a three-time Academy Award-winning composer and conductor most recognised for his work on The Lord of the Rings and The Hobbit trilogies, but he has worked on more than 90 films. He has a long-time collaboration with David Cronenberg spanning 16 movies since 1979...

Track List: 'Crimes of the Future'; 'A Novel Organ'; 'Caprice'; 'Sark Lust'; 'Body is Reality'; 'Brecken'; 'Klinek'; 'Primordial Rapture'; 'Router & Berst'; 'Inner Beauty Pageant'; 'Deviant Digestive System'; 'Surgery Is the New Sex'; 'Odile'; 'The Old Sex'; 'First Autopsy'; 'Time to Try'; and 'The Future'.

We are presented with a very prominent electronic score. There is just sufficient melody to hook the opener onto whilst offering diverse, changeable sounds. The fluttering keys and rumbling bass back a oboe and cello sample. This sound is maintained. It’s quite an eighties or early-nineties feel. In keeping with Cronenberg’s body horror films, mild three- or four-note sequences are enough to keep that on-edge atmosphere of dark anxiety. 'Body is Reality' is a throbbing, stomping piece which wouldn’t be out of place in an Alternative music nightclub. Many of these are mood pieces designed to create an unpredictable unreality. 'Klinek' is an out-and-out Electronica dance beat – and very good it is too! A single, if ever I heard one. 'Router and Berst' begins as a tribal beat, before finishing as raucous atmospherics.

'Inner Beauty Pageant' has a simple but compelling deep electronic drum rumble accompanied by an overlaid soaring synthesiser. 'Odile' has a horror theme reminiscent of those country camera shots which seem so innocent and beautiful and yet almost certainly harbour a sinister secret. 'First Autopsy' is the longest track and is dominated with that heavy and oppressive horn-like sound. It certainly carries dark foreboding, with ringing and the return of the cello/oboe accompaniment. It is nice to hear a more sustained suite. 'The Future' wraps things up with a nice Electronica mix of orchestral and industrial trepidation. Some of these moments are returned to in other guises; however, this has to be one of the most individual listings, with nothing sounding safe or the same. There is an inherent feeling of uncertainty about the proceedings. Howard Shore has gone for ‘uncomfortable’ and pretty much succeeded.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022)  

Label: Milan Records

February 2022

Milan Records releases the Soundtrack to the Netflix Film Texas Chainsaw Massacre, by Grammy Award winning composer Colin Stetson. In the film, directed by David Blue Garcia - Melody, her sister Lila and their friends Dante and Ruth travel to Harlow, Texas to set up a new business. In doing so they run afoul of the house of Leatherface, the notorious serial killer. But they also meet Sally Hardesty, the sole survivor of the infamous 1973 massacre, who is determined to seek revenge. Stetson’s other scores include Hereditary, The First, Red Dead Redemption 2, Colour Out of Space, Barkskins, Mayday, Among the Stars, and Uzumaki...

Track Listing: 'Sunflowers', 'Welcome to Harlow', 'The House', 'Taken Away', 'Death on the Road', 'Scars', 'The Call', 'The Deed', 'For Your Life', 'Headless', 'The Hunter', 'Every Last One', 'Lament in Mirrors', 'Call to Arms', 'A Valiant Effort', 'Sledgehammer', 'Midnight Memorial', 'Reunited', and 'Through the Floorboards'.

The composer describes the music as “the sound of an old and decrepit abattoir stirring to life and rattling off the dust after a great many years idle; made with Contrabass Saxophones, Tibetan bowls, and a hearty dose of wild turkey hunting calls; all twisted, stretched, and wearing masks of their own.”

So, does the soundtrack live up to the hype? Well, yes and no. It’s not the most original and engaging soundtrack I’ve heard, but it does have its moments. The entire thing is heavily Industrial influenced, with lots of mechanical scraping and raucous sounds enhanced by a modicum of Electronica. The early tracks are pretty much edgy mood pieces, the focus becoming more biting from 'Death on the Road', whilst maintaining the chosen music genre as a theme of sorts. 'The Call' is suitably scary, utilising a weird noise which enters from far left and builds. 'For Your Life' and 'Sledgehammer' are probably two of the most potent and chilling tracks. However, there is little or no music here, just noises and soundscapes. Although some of the pieces are inventive, the tracks seem somewhat monotonous and tend to run into each other.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2022) 

Label: Sony Music Masterworks

December 2021

Sony Music Masterworks releases the Original Motion Picture Soundtrack to Spider-Man: No Way Home, by composer Michael Giacchino. In the film, directed by Jon Watts and starring Tom Holland, Spider-Man’s secret identity is revealed, complicating his life and putting his family and friends in danger. When Peter Parker appeals to Doctor Strange to restore his secret a hole is torn in the fabric of existence, opening a gate way to the multiverse and allowing through any villains who have clashed with any Spider-Man. This time he needs more than just the help of his friends, and may just find it from his alternative selves...
 

Michael Giacchino has created music for films such as The Incredibles, Ratatouille, Star Trek, Jurassic World, Rogue One: A Star Wars Story, The Batman, and Jurassic World: Dominion. He won an Oscar, a Golden Globe, a BAFTA and two GRAMMY Awards for the Pixar hit Up. Stephen Spielberg hired him to produce the first PlayStation game to have a live orchestral score, and he also worked on Spielberg’s Medal of Honour video games series. For J.J. Abrams he has created music for such prestigious projects as Alias, Lost, Mission Impossible III, two Star Trek films, and Super 8. Additional work for Disney includes Space Mountain and Star Tours, and for the National Symphony Orchestra the 60th anniversary of the founding of NASA.
 

After a track record such as that mentioned above – plus the two previous webslinger movies Spider-Man: Homecoming, and Spider-Man: Far From Home – I was expecting a lot from this soundtrack… and I got it! I love the movie and possess it on 4K, but when I’m removed from# the film itself I find it impossible to remember any of the music. They say the best film scores are# those you don’t notice – or at least only register subconsciously. Certainly, the film and the composition soundtrack work here as an inseparable team, because as soon as you revisit the movie the music floods back into your head. Isn’t this as it should be? Consequently, I was keen to discover how the music would stand isolated from its intended body of work.
 

After a couple of short teasers, we are well and truly thrown into the action and intrigue with 'Damage Control', a sort of Jive with both orchestra and electric guitar. 'Otto Trouble' incorporates a galloping stance, with stomps, slams and shrieking brass. 'Ghost Fighter in the Sky' is our first experience in this instalment of the Spider-Man theme for this trilogy. There is light and shade; action and adventure with 'Sling Vs. Bling', and tension galore with 'No Good Deed'. 'Liberty Parlance' has some suitable stirring moments, as does 'Monster Smash'. But it isn’t all action; the film has heart, and so we get tracks which really toy with your emotions: sadness, loss, the feeling that the world has been ripped from beneath your feet. This comes in the form of 'Gone in a Flash', 'Octo Gone', and particularly 'Exit Through the Lobby'. 'Goblin His Inner Demons' carries a sad introspectiveness, and 'Forget Me Knots' is both grand and heart-breaking.
 

Many of these pieces work really well as stand-alone compositions, and Michael Giacchino even fits in a play on words with a short track called 'Peter Parker Picked a Particularly Precarious Profession'. The best is saved until last, when we end with the 10-minute 'Arachnoverture', which includes all the Spider-Man personal themes in one suite. What a great way to end a thoroughly enjoyable soundtrack to a fantastic film. 

Verdict: 9 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Sony Music Soundtracks

November 2021

Milan Records (Sony Music Soundtracks) releases the Original Motion Picture Soundtrack to Resident Evil: Welcome to Racoon City, by Mark Korven. The film, written and directed by Johannes Roberts, is based on the successful Resident Evil video game franchise. The origin story of Welcome to Racoon City has the once booming location of the pharmaceutical giant Umbrella Corporation now abandoned and reduced to a wasteland. But evil brews below the surface and is unleashed upon a group of survivors who must work together to seek the truth in order to survive the night. Mark Korven has contributed music for films, documentaries and TV for more than 20 years. He has won a Genie Award and eight nominations, a Gemini Award and 14 nominations, and a Canadian Screen Award. Previous scores include The Witch, The Lighthouse, Ridley Scott’s The Terror: Infamy, Chapelwaite, Amazon Prime’s horror anthology Them, and the Netflix horror No One Gets Out Alive...
 

Track List: 'Opening'; 'Highway Accident'; 'Chasing Lisa'; 'The Crow'; 'Claire & the Neighbours'; 'RPD'; 'Runaway Truck'; 'Helicopter – Dog Attack'; 'Mansion Search'; 'Library – Ben in Jail'; 'Breach – Orphanage'; 'Nursery – Battle'; 'Experiments – Shoot Out'; and 'The Train'.
 

Innocent La La’s sound above ominous squeaking and rumbling to introduce us to the scenario. The ante is upped with squeaking, electronic sound effects and bass trepidation. The angelic churchlike organ and voices is incorporated, as it often is in horror films to inform us that everything is not as innocuous as it seems. We are partway into the soundtrack now, and the same tactics are being reutilised. It’s much more about raucous and grating sound effects than any actual music. The La La’s are back with tentative screeching – and what’s this? A tune? Well, a few notes anyway. Piano and organ tease with a nice bit of melancholy, but it’s short-lived, and we’re back to the rumbling and grating. 'Runaway Truck' has a nice steadily building soaring and dark, heavy electronica, but it fizzles-out halfway through the track and reverts to previously used sounds.
 

There is a nice combination of various-styled sound effects in 'Breach – Orphanage', dominated by synthesisers and electronica, but I’m seriously struggling to find a stand-out track. It’s probably the middle section of the closer 'The Train', which at least has the hint of some music. I haven’t seen the film yet, so I can only assume the soundtrack fits the relevant cues in the film perfectly. Certainly, the soundscapes created are well-achieved, even if you wish the La La’s would well and truly go away! However, it’s the absence of actual music that really lets this score down. Just my opinion, but I can’t imagine too many film music collectors adding this to their pile, purely because it doesn’t work as a stand-alone piece separated from the movie. 

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Silva Screen Records

April 2021

Silva Screen Records releases Through a Glass Darkly, the Electronic Prog Rock album by Peter Howell and the BBC Radiophonic Workshop first released in 1978 on the BBC label. It was rereleased on CD in August 2020 as part of a 6-disc set titled Four Albums 1968 – 1978. A 180-gram vinyl release followed in November 2020, and now the digital version is available in 2021. Howell had a good background in Psychedelic Folk bands before joining the BBC’s Radiophonic Workshop in 1974. Part of his job included incidental music and sound design for the TV series Doctor Who, and in 1980 he was asked by the programme’s incoming producer John Nathan-Turner to update the iconic theme tune. This was used for Tom Baker’s last season and throughout Peter Davison’s tenure. Peter Howell is currently part of the revived independent Radiophonic Workshop, which has been playing festivals. He has also composed the score for the feature film, Possum...
 

We begin with the magnum opus of the album, 'In the Kingdom of Colours – Through a Glass Darkly'. There is a classical piano intro, but the whole thing is very Progressive Rock in style. Space noise, ringing, and ambient flourishes make these the kind of sounds which would have been used in Science Fiction film or TV during the 1950s to 1970s to signify a different reality or alien beings. This part is almost psychedelic. At times it becomes quite quirky, with childlike woodwind sequences. The time changes borrow from 1970s Rock. I feel it is very reminiscent of incidental music backing to scenes of nature. Synthesizers, drumming beats and mad piano come in late-on. 'Caches of Gold' has flute-like synthesizer sounds within a Jazzy structure (if you can ever say Jazz has structure!). 'Magenta Court' incorporates a stomping beat with trumpet samples. This at least has a groove, and a very electronic-sounding guitar. By the stage of 'Colour Rinse', I’m finding that the sounds created go right through me, rather than being absorbed. It’s somewhat annoying.
 

'Wind in the Wires' has an acoustic guitar sound. It’s a nice change of pace, but why do the electronic parts have to be so high-pitched and shrieky? The format works much better low and throbbing. 'The Astronauts' is the best track by far. I believe the 'Single Version' was used as the B side to the Howell’s Doctor Who theme in the 1980s. It sounds more like a conventional Electro Pop instrumental with a proper song structure – rather than all that make-it-up-as-you-go-along meandering nonsense. 'Moving Form' has wind and string sections join a harpsicord tune. 'Greenwich Chorus' uses a ticking/chiming metronome-type beat against music box tinkling and sampled voices. 'Mesmer' is a sort of Regency piece. 'Astronauts' (Single Version) has the slower intro edited out. We end with 'In the Kingdom of Colours – Through a Glass Darkly (Alternative Mix)', which I have to conclude doesn’t sound much different to the opening track.
 

I really wanted to like this album, as I’ve always appreciated the legacy of the Radiophonic Workshop. I’m also a long-time follower of the Classic Doctor Who series. However, this is about the music presented here. Aside from the fact I’m not a fan of Prog Rock, Through a Glass Darkly is very much a product of its time and I’m afraid it hasn’t stood that test of time very well. I love some Electronica, but much of this material grated with me. I’m not condemning everything Howell has done. Far from it. It’s just that this isn’t really to my taste. 

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Sony Music Soundtracks

November 2021

Sony Music Masterworks releases the Original Motion Picture Soundtrack to Ghostbusters: Afterlife, by Rob Simonsen. In the film – directed by Jason Reitman and written by Gil Kenan & Jason Reitman – a single mother and her two children move to a small town where they discover their connection to the original ghostbusters and the secret legacy their grandfather left behind. Based in Los Angeles, Simonsen has worked with the director previously on the films The Front Runner, and Tully. His other scores include Our Friend, The Way Back, and Love, Simon. He co-founded The Echo Society to inspire and enrich new sonic and visual art. His debut artist album Reveries was released on Sony Masterworks in 2019...
 

Track Listing: 'Trapped'; 'Dirt Farm'; 'Chess'; 'Summerville'; 'Research'; 'Under the Floor'; 'Nice Replica'; 'Culpable'; 'Laboratory'; 'Lab Partners'; 'Definitely Class Five'; 'Go Go Go'; 'Trap Him'; 'Don’t Go Chasing Ghosts'; 'Mini-Pufts'; 'Down the Well', 'The Temple Resurrected'; 'The Plan'; 'Suit Up'; 'No, I’m Twelve'; 'Getaway'; 'Callie'; 'Protecting the Farm'; 'Showdown'; and 'Reconciliation'.
 

After the disastrous reception of the previous sequel Answer the Call, Afterlife gets well and truly back on track with many fans citing this one as the best since the first film released in 1984. The music is, as you might expect, a mixed bag of tributes to the original themes, as well as new pieces which fit and even segue into the old style – modernising the whole concept. I have never hidden the fact that I believe twenty-plus tracks to be too many to gauge any sort of combined suite. This depends mainly on the substance of the individual tracks, which are often noises or music cues to fit the film. Rather than presenting the pieces as they fit the films, I long for edited-together longer suites which can showcase the skills of the composer and allow the listener to go on a journey. Not so here. There are some nice longer pieces which incorporate all the tricks of the trade to really mix things up. So, we get acoustics, electronica and orchestra sometimes all at play in the same piece.
 

The opening track has tentative and spooky moments, a sprinkling of quirkiness and brief but explosive horror clashes. Electronic whistles are employed for low-key instances, along with hints of quiet brass or strings early in the composition. The feel seems to be to create trepidation hinged with a certain jauntiness, most obviously evident in the Jazzy piano of 'Lab Partners'; not surprising, as this film is targeted at a family audience. Undercurrents is probably the best description for the linking pieces. Even the cathedral/grand music is slow, low and brooding but with fluttering over the top – the idea being to walk a fine line between frightening and fun. Family action themes but with difference, being less condescending and more creative. The first dramatic moment comes in 'Culpable', and is continued in the orchestral movements of 'Go Go Go', 'Trap Him', and 'The Temple Resurrected'. The balance of this score is best served by an underlying menace capped by scampering lighter tones, and it works pretty well – if a little over-utilised.
 

It's a fine score, with standout moments including the opener 'Trapped', and the two emotional closing pieces 'Showdown' and 'Reconciliation'. 

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Milan Records

October 2021

Milan Records releases the soundtrack from the Netflix horror film Night Teeth, by Drum & Lace (aka Sofia degli Alessandri-Hultquist) and Ian Hultquist (husband and wife). In the film directed by Adam Randall, college student Benny earns extra cash by chauffeuring two young women around Los Angeles. But he soon discovers they have an insatiable lust for blood, forcing him to make a life-changing decision. Previous Drum & Lace scores include the thriller Deadly Illusions, the series Dickinson, and the Amazon series I Know What You Did Last Summer. Ian Hultquist is a composer and producer but began his career in music as a founding member of the band Passion Pit. He has worked on the Netflix horror Rattlesnake, the Peacock series One Of Us Is Lying, and the feature Die in a Gunfight. For this one they ‘landed’ between Electronica, Synth-Pop and Hip Hop. The soundtrack is available for download...
 

Track List: 'Come Alive'; 'The 3 Rules'; 'Crossing the Line'; 'Good Morning Mr Perez'; 'Jays Knife'; 'Good Evening, Ms Moreau'; 'Make it Icy'; 'No Turning Back'; 'A Bag Full of Money'; 'And Please, Drink Responsibly'; 'No More Funny Games'; 'Victor'; 'Long Live the King'; 'The Dark Prince of Gossip'; 'Go a Little Crazy'; '3 Kings'; 'You See the Light Now'; 'Rosso Puros'; 'Venice'; 'I Don’t Want You Like That'; 'Take a Bite'; 'Draining Chamber'; 'Have You Ever Tasted Fresh Blood'; 'Nights Over'; 'Burnt'; 'Turning'; 'The Morning After'; and 'Bookworm'.
 

The opening track by The Kid Daytona, Mez & Jorge Lendeborg, Jr. is not the most auspicious of starts, as I dislike Hip-Hop and Rap with a vengeance. It doesn’t even sound like it’s in sync with the music. Fortunately, the other tracks are instrumental music and, whilst a few of them sound remarkably similar with light synthesiser, low bass and rudimentary Electronica, many of the others are actual tunes seemingly influenced by such sources such as Kraftwerk and the many exciting sounds from the late 1970s and early 1980s. Of course, it’s much more basic than the likes of Gary Numan, Ultravox, The Human League and Orchestral Manoeuvres in the Dark – but it holds your interest… just. Adding the sound of early drum machines to many of the tracks is just plain annoying, however. There are some notable exceptions to the blandness of similarity. Sampled sound effects work quite well, and 'Victor' reminds me of 1980s computer game music (which they still sometimes use on platform games!).
 

I’m a lover of certain Electronica; it can work really well on soundtracks. But this one utilises the same techniques played at different tempos. Although okay, it doesn’t incorporate nearly enough variation. There is no light and shade; no real emotions come through, making it come across as variations on a theme.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)  

Label: Cam Sugar and Decca Records

October 2021

Cam Sugar and Decca release Paura, a new collection of previously unreleased rare Italian horror and Giallo soundtracks gems, remastered from the Cam Sugar archive – featuring the music of Oscar-winning composer Ennio Morricone, Riz Ortolani, Stelvio Cipriani, and more. It’s described as a ‘hypnotic, sonic journey into a labyrinth of fear’ ranging from the supernatural features of the 1970s to the slasher and splatter films of the 1980s. Of the 25 tracks on offer, 11 are previously unreleased. The cover features exclusive artwork by Eric Adrian Lee. Paura is available on a 6 panel CD digipak, standard black 2LP gatefold vinyl, red splattered 2LP gatefold, and a limited-edition deluxe tombstone boxset featuring the red splattered 2LP vinyl, alternative artwork, a poster, fanzine with original film posters, and an exclusive red vinyl 45rpm featuring 2 bonus tracks: 'L’Ossessa', by Marcello Giombini, and the previously unreleased 'Le Facce della Morte', by Daniele Patucchi...
 

The tracks cover the years between 1971 and 1985. The English names for the Italian films represented are: My Dear Killer, The Night Evelyn Came Out of the Grave, The Red Queen Kills Seven Times, A Bay of Blood, Sex of the Devil, Deviation, The Dead Are Alive!, Frankenstein ’80, Autopsy, Mystery Tour, Death Smiles on a Murderer, The Sensuous Doll, Hotel Fear, Images in a Convent, Ring of Darkness, Plot of Fear, Beyond the Door, and Wild Beasts.
 

If I’m honest, very few of these themes or incidental pieces sound like horror films in the traditional sense. This is indeed an eclectic collection, very reminiscent of the music of the time. Most examples are mellow, moody and a little Jazzy, or they are quirky, with voices or strange noises. One has an exaggerated Jew’s harp sounding like a comical out-of-control spring. I have listened to this CD at least three times; at first it felt of interest for being so diverse, but repeated listens offered diminishing returns approaching blandness. It isn’t until the last three or four tracks that my curiosity was piqued once again. There is an atmospheric and eerily-structured keyboard horror score, followed by an Electronic synthesiser tune which is ripped straight out of John Carpenter’s Escape From New York ('The Duke Arrives', if I remember rightly). Coincidentally, both films were released in the same year. Ironically, this is by far the best piece.
 

Although this collection is really for diehard followers of these composers and films, and not necessarily for general consumption, one thing I was really impressed with was the packaging. I was sent the retail CD version, and it’s very nicely presented with macabre fantasy artwork and a plethora of background information. This must be worth at least one extra point. 

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: MovieScore Media

April 2021

Moviescore Media releases the Original Motion Picture Soundtrack to Death of Me, by Mark Sayfritz. In the movie, directed by Darren Lynn Bousman, a couple’s holiday in Thailand takes a sinister twist when they come across a video which shows one killing the other. The couple is obliged to search for answers before reality is played-out. Composer Mark Sayfritz moved from record producer and in house writer for Jive Records to a recording artist signed to Heavenly/EMI. He is perhaps best known for the scores to Abattoir, St. Agatha, and the 10-part series Snatch– based on the film. He recently premiered his symphony Sound of Light(inspired by the northern lights and composed in collaboration with Artificial Intelligence at Brahms Saal, Musikverein, Vienna). This one is described as an ethnically-charged horror, featuring extensive vocal work by Thai singer Yanin Bandhaya. His intention is to create something dark yet beautiful, hypnotic but ominous...
 

For this one, we begin with harp, deep bass and synthesisers for an at times unnerving setting. Off-beat tribal sounds and edgy Electronica is teased with dark scratching and a return to the jungle percussion. The ethereal echoing vocals of Thai singer Yana Bandhaya is joined by deep rumblings. An electronic bubbling beat comes and goes, with curious hissing and distorted voices. Low throbbing and a light synthesiser is joined by Bandhaya again. A bass sequence and voices attempt to change the game, but once the setting background sound is established it is returned to often and thus loses its potency.
 

By the mid-point a mystical feel is created with a high and light reverb encompassed by a ringing tone and bells. The haunting vocals are beginning to lose their effect by now. At least the sampled male chanting voices are different, but they’re short-lived. Tapped bottles of liquid create a Buddhist temple feel, which evolves into chimes. 'Don’t You Dare' begins as a nice bit of synthesiser Electronica, which is played over dark and foreboding throbbing machinery effects. It’s a drop in the ocean. Keyboards and distant space-type samples in the following track incorporate a lot of what has been used separately in the previous offerings.
 

A dancing background tribal beat is played with by the introduction of certain harsher moods. Many sounds and effects incorporate a scratchy central theme late on. We are seen out by plaintive electronic strings. Then the voice returns, with a throbbing bass taking up residence. It carries an underlying threat. 'The Coda' is similar to the opening 'Main Theme'. There are some recurring ideas here, none more so than Yana Bandhaya’s over-utilised vocal tones which are practically the same each time. Unfortunately, this lets-down the overall soundtrack. If it had been an E.P. with just the pertinent sections, it might have been received as a little more original.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: MovieScore Media

May 2021

MovieScore Media releases music from all five seasons of the Syfy original fantasy horror series Van Helsing, by Rich Walters. In the programme, Vanessa Helsing – the distant relative of vampire hunter Abraham Van Helsing – uses her unique ability to turn vampires into humans to fight the Elders in an apocalyptic wasteland. Walters has composed music for both film and TV, which includes Continuum, Elysium, Alice, Ring of Fire, and Olympus. The score is available for download...
 

Track List: 'Renfield House'; 'Hellish Beast'; 'Birth Mother'; 'Daywalkers'; 'The Hunt'; 'Geong-Si'; 'I Am Sam'; 'Fighting the Elder'; 'Parting Ways'; 'Vanessa in the Forest'; 'Summoning the Dark One'; 'Jack Is Alive'; 'You Look Like a Rhonda'; 'Storming the Castle'; 'Olivia'; 'Ritual'; 'Honouring the Vow'; 'Julius Kills Scab'; 'Doc and Jolene'; 'Possessed by the Vanator'; 'Sgt. Alex Miller'; 'Carpe Noctis'; 'President Davis'; 'Opening a Portal'; and 'You Are the Light'.
 

With 65 episodes of music to play with, Rich Walters has managed to create a rounded collection of 25 tracks ranging in length from 1:59 to 4:40, and a balance of quiet, sad and emotional loss pieces and those more rousing which depict action, battle sequences, and the appearances of otherworldly creatures. The first half of the opening track is a very inventive music soundscape of Electronica, whereas the second half takes on more of a sinister feel. I like the way that this soundtrack is based in Electronica but is often presented in a very orchestral manner. In the case of 'Hellish Beast', it takes on the aspect of a religious horror complete with chanting.
 

The slow and quiet pieces are ironically sometimes more inventive and original. 'Birth Mother', 'Parting Ways', 'Doc and Jolene', and 'You Are the Light' all have their own uniqueness. There is percussion and string samples including cello. Aside from the aforementioned 'Hellish Beast', 'Fighting the Elder', 'Summoning the Dark One', and 'Ritual', all other up-tempo tracks are much more befitting of action movies than horror. It’s a solid composition with no real stand-out pieces. I really wish 'You Are the Light' had been progressed, as it spends most of its length building-up to a more exciting crescendo before petering-out. If I have one criticism, it’s that the call-to-arms-type drumming and clattering is over-utilised.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Moviescore Media

April 2021

Moviescore Media releases the Original Movie Soundtrack to Separation, by Brett Detar. In the film, directed by William Brent Bell, an 8-year old girl is comforted by the presence of the house’s ‘Gristly Kin’ puppets – based on the works of her father – which help her cope with her mother’s death. However, when her grandfather sues for custody and the babysitter tries to take-over the house, the puppets come to life, with dark intentions. Detar was previously a guitarist for Metal band Zao, before forming Post-Punk group The Juliana Theory. After ten years and four albums he put out a solo album, as well as moving into the realm of film composing. This is the fourth collaboration between Detar and Bell following the success of The Devil Inside (2012) – the others being Wer (2013), The Boy(2016), and Brahms: The Boy II (2020). Detar describes Separationas a film about family wrapped in the guise of a scary movie. His intention is to use music and voices to connect the three family members...
 

The score begins with a slow and plaintive introduction courtesy of piano and strings. There is plenty of emotive atmosphere, which is intruded upon by heavy foreboding, menace and strange, eerie sounds. Strings create a scratching that joins vocal noises and the three recurring piano notes denoting ‘family’ for this film. I like the fact there is a structure and proper tune, even though there are other things surrounding the piece which keep it off-kilter. Soundscapes produce more menace, with deep vibrations and surrounding weird strings. The intrigue really gets going four tracks into the 13 on offer. The innocence of a tinkling music box and piano is made slightly creepy with thumping periodic base. The mood is both emotional and broody.
 

At the mid-point there is an almost Aboriginal feel to the proceedings, with added scrabbling and a resonating electronic speech. This is the main turning point, and we are left in little doubt that it all turns ‘Grim’ from here. It has an otherworldly quality. The three ‘family’ notes take on a dark and determined tone. There is inventive use of various noises – including sampled voices to depict a sinister air. Something approaching a dark monk chant and horn turned-weird moments further enhance the dangerous supernatural element. By the time we reach 'The Crimson Void' a chase-like sequence takes over, with throbbing Electronica and a ticking. We get the basic repeated theme and ‘swarm’ strings. The dark menace continues to get lower and heavier – more prominent – so that it vibrates at times through your centre.
 

The three repeated notes are, perhaps, over-used, but everything else going on is very effective. The final three tracks see us out more peaceably. There is a slower atmospheric series of noises which segue into a simple restful tune. There is a nice piano piece which is far too short, and as we conclude the proceedings the three notes become a proper melody, but there is still a sense of trepidation as it evolves and attracts new sounds. A good one to finish a very solid composition.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Plaza Mayor Company Ltd

January 2021

Plaza Mayor Company releases the Original Motion Picture Soundtrack to Akelarre (Coven). In the film directed by Pablo Aguero, it is 1609 in Basque Country, north of Spain. Judge Rostegui of the Spanish Inquisition is sent by King Felipe III to expunge the region of any woman showing signs of being a witch. So, when he arrives in a coastal village with no men he sees this as proof of the Sabbat (a ritual feast to summon and copulate with the Devil). Consequently, he arrests five girls in their twenties and subjects them to interrogation and torture in order to obtain a confession. The music is composed by Aránzazu Calleja and Maite Arroitajauregi (Mursego), and performed by the Alos Quartet & Various Artists. The soundtrack is available for download and streaming...
 

The notion here is to create a cross-weave of themes. The almost raucous free spirit of popular pagan music is counterweighted with the idea of making this sound more contemporary and accessible with traditional melody. Much time was spent arranging the sounds of musical instruments from that period and then matching variations on those themes to different characters. In other words, there are recurring themes which become a little monotonous. The majority of the 19 tracks are either tentative string pieces or simple ambient vocal harmonies. The score opens with a nice creeping moment which is far too short. Although purveying a pagan backdrop and a feeling of remoteness, these many hints at a cadence still give the impression of a puzzle with half of the pieces missing.
 

I do like the melancholy aspects like the solemn cello rendition, and other moments that evolve into off-kilter simplicities and sinister knocks. 'Ake Larre' has an opening flute which sounds to all intents and purposes like Jethro Tull. But it’s all too short-lived. 'Ez Dugu Nahi Beste Berorik' is an intriguing duel incantation, quickly rising in pitch. However, easily the most outstanding track is 'Denok Gaittun So' – a slow and hypnotic pagan dance. So, the score does have its moments, but it lacks cohesion and variation.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Silva Screen Records

September 2021

Silva Screen Records releases the soundtrack music to the horror-thriller film The Boy Behind the Door, by Emmy award-winning composer Anton Sanko. In the movie, directed by David Charbonier and Justin Powell, two boys attempt to escape their kidnapper’s house. The film was streamed to glowing reviews. Sanko was trained in classical guitar, piano and composition, and has scored music for film and TV for over thirty years – including those for Rabbit Hole, Ouija, The Possession and Fractured. For this one from Shudder, Sanko explores innocence and depravity with an essentially Electronic soundscape...
 

Track List: 'Boy Behind the Door'; 'Six Hours Earlier'; 'The Wrist Watch'; 'Stabbed Creep/Fingernail'; 'Oh No'; 'Eyeball/Here’s Johnny'; 'The Safe'; 'Kevin Braves the Shocks'; 'Body Drag'; 'Ms. Burton'; 'Redroom'; 'The Basement'; 'Resolution'.
 

We begin with a dark emptiness with rumblings of foreboding and a creeping malaise which gradually builds to a high-point. It’s followed by an plaintive, lazy semi-acoustic guitar piece echoed by touches of fully electric guitar. A slightly fast ticking grandfather clock sound is accompanied by an electronic warbling, almost to be point of a helicopter rotor, with a little more urgency towards the end. A Scrabbling, shrieking accompanies electronic peripheral noises and a higher sense of menace. A warm bassline is intruded upon by atmospheric sounds and a certain creepiness. A slamming and Pagan clattering percussion has a juddering beat added. The whole thing becomes more dramatic in the climax. This track ('Eyeball/Here’s Johnny') is the most inventive example of the soundtrack so far.
 

More Pagan beats are added, and the ticking clock returns accompanied by some sinister sounds. A deep rumbling synth and a heartbeat gently introduces us to the first proper melody courtesy of strings. A sense of movement with scraping turns to a galloping, throbbing beat and macabre vibrations. The Electronica is stepped-up at this point, becoming an eclectic mix of effects coming and going. Some of these short tracks are very similar, creating a macabre atmosphere of almost otherworldliness that reaches for the psyche.
 

'Resolution' – at just under four minutes, the longest track – is a combination of elements from the opening piece and 'Six Hours Earlier', only ramped-up a little. It is by far the best offering and enlightens the listener as to what might have been. This collection suitably befits and enhances the genre piece, but shows little variation and no suites of combined music for the avid soundtrack collector to feast upon.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)  

Label: Milan Records

May 2021

Milan Records (Sony Music Soundtracks) releases music from the Netflix Original Film Army of the Dead, by producer, musician and composer Tom Holkenborg (aka Junkie XL). In Zack Snyder’s zombie heist film – a twist on John Carpenter’s Escape From New York – a former war hero infiltrates a segregated, zombie-infested LA in order to retrieve a significant stash of cash. Holkenborg’s previous work includes Zack Snyder’s Justice League, 300: Rise of an Empire, Batman v Superman: Dawn of Justice, and Godzilla vs Kong. This score features the lead single 'Scott and Kate Part 2'...
 

We begin with a slowed-down, frankly superfluous and quite dull rendition of 'Viva Las Vegas', with Richard Cheese and Allison Crowe. 'Scott and Kate Part 1' is more like it, offering the listener a very atmospheric piece of plaintive introspection, with sound effects and haunting peripheral voices. 'Scott and Kate Part 2' is the single. It is another melancholy tune of huffed sounds, scuffs and warm keyboard which turns to piano-led dread, and finishing as it began. 'Scott and Kate Part 3' maintains the spooky but sad low tones, accompanied by slightly discordant keys against a backdrop of vinyl record scratches. 'Toten Hosen' is a little more tribal in feel, albeit through Electronica. This is the first time that we hear some threatening sounds, with rising rushing, a pagan drumbeat and a collective of ambient noises.
 

'Swimming Pool' utilises a clattering beat which is scratchy and very nightclub. It is short at only just over a minute long. Not Here is much more film score dramatic, with low base, horn representations and a host of electronic tricks. This at least has some energy; it’s as though a nest of angry hornets has suddenly been disturbed. The soundtrack finally wakes up with '3 Flares'. 'Battle Hallway Part 1' has a series of low rumbling vibrations like a jet fighter plane flying overhead. This is replaced by a much busier series of sounds reminiscent of a fight or chase scene. 'Battle Hallway Part 2' continues this first directional diversity of melody and sound effects. This one makes you sit up and take notice to a certain extent. It’s certainly different, and contains some intriguing Electronica.
 

'Zeus and Athena Part 1' and 'Part 2' begin with religious chants, surrounded by dark foreboding rings, rumbles and thumps. This is perhaps the most involved track. If this had kicked the score off I may have been more invested. However, the truth is this is a mediocre collection at best. It only warms-up halfway through, but then many of the same sounds are reused. It doesn’t inspire a gamut of emotions, only a flat, level feel. 

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Milan Records

July 2021

Milan Records releases Music From the Netflix film Fear Street Part 1: 1994 – the first in a trilogy of horror stories set across three time periods by composers Marco Beltrami and Marcus Trumpp. The film, directed by Leigh Janiak and based on R.L. Stine’s bestselling horror books, a group of teenagers discover the terrifying events which have plagued their town of Shadyside for 300 years may be connected. For the score Beltrami returns to the feel of his Scream music, as this film is somewhat inspired by Wes Craven’s popular part-parody. He has scored many films, including 3:10 to Yuma, The Hurt Locker, Logan, Terminator 3, I Robot, A Good Day to Die Hard, World War Z, and Venom: Let There Be Carnage. Other projects include Guillermo del Toro’s Scary Stories to Tell in the Dark, and the latest series of The Twilight Zone for TV, and Fortnite for the hit video game. Marcus Trumpp has scored for, among others, The Woman in Black, Love and Monsters, and the computer games Medal of Honour and GUN. He has also composed various concert pieces – including Northmen: A Viking Saga. Fear Street Part 1 is available for download...

It would be tempting to venture the opinion that this soundtrack isn’t anything you wouldn’t have heard before in a 1990s slasher movie. However, that’s kind of the point. The intention from the beginning was that the composer would return to his Scream score as a basis for the setting of Part 1 of the film and, accordingly, the soundtrack. So, of course, we get all the expected jump scares: slamming, frantic strings  and chaotic confrontational noise. There are plenty of terror sequences, and so any counterpoint to this becomes more poignant. The quieter moments have more meaning but are few and far between. For example, 'Morning in Shadyside' has speculative quiet pieces which are cloaked with the air of menace. 'Skullmask' has a music box-style opening, but fluttering piano soon turns orchestral and sinister – jumping between plaintive and slasher-shocking.

It’s not all predictable though. I like the main titles a lot. There are   inventive sound effects, an Industrial beat and stuttering sounds surrounding a main theme and female wordless vocals. There are two tracks which best represent what is on offer for this release – 'Sam Bait' and 'Market Massacre'; they are certainly the most changeable and the closest to mini suites. The bottom line is that Beltrami and Trumpp have taken one for the team, foregoing a more contemporary and varied stance for a purposefully stereotypical sound which fits the period. The soundtrack is there primarily to support the film, and this achieves that in more ways than one.

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Milan Records

July 2021

Milan Records releases Music from the Netflix film Fear Street Part 2: 1978 – the second in a trilogy of horror stories set across three time periods by composers Marco Beltrami and Brandon Roberts. The film, directed by Leigh Janiak and based on R.L. Stine’s best-selling horror books follows a group of teenagers who discover the terrifying events which have plagued their town of Shadyside for 300 years may be connected. For the score Beltrami this time gets to channel the scores of Jerry Goldsmith with his use of woodwinds and percussion in the orchestra. He has scored many films, including 3:10 to Yuma, The Hurt Locker, Logan, Terminator 3, I Robot, A Good Day to Die Hard, World War Z, and Venom: Let There Be Carnage. Other projects include Guillermo del Toro’s Scary Stories to Tell in the Dark, and the latest series of The Twilight Zone for TV, and Fortnite for the hit video game. Brandon Roberts has scored for, among others, Free Solo, A Quiet Place (Parts 1 & 2), The Woman in Black, and Logan. He has also composed for the TV shows Battlestar Galactica, Terminator: The Sarah Connor Chronicles, and V, among others. Fear Street Part 2 is available for download...

Right from the off this is a much more exciting soundtrack than Part 1. It opens with a nice piano piece, before hinting at a threat with discordant strings. The chase sequences are inventive, with a galloping pace of percussion and strings. These are bettered by 'Sisters', which is an extraordinarily unusual and therefore original sequence. There is semi-methodical clomping, joined by a metallic scraping, urgent strings and a chanting of what could be Latin. It ends with a plaintive reverbed female voice and simple piano. Woodwind also plays a large part in this collection. 'Tommy Turns' is a stand-out favourite, coming across like a frantic and chaotic scene of devilry and black magic – complete with eerie chants. 'Heart of Darkness' is suitably creepy, too, and not far behind it. There really is something for everyone here. 'Finding the Diary' is a good example of a nervy and tentative creeping. It’s very edgy. There are deep and grand themes as well, evidenced by 'Camper Chum'.

With twenty tracks presented for our listening pleasure, there is a good eclectic mix of moods and styles on offer here. 'Chop Chop' has a handful of these contrasting emotional triggers incorporated in one track. Many of the later titles are alternately balanced between savage threatening music as you would want to expect in a horror movie, and mellow, sad and contemplative interludes. This proves important to the conglomerate, because once you’ve ramped-up the tension and produced the "scare" where do you go from there? It’s necessary to calm the atmosphere so that the suspense can be built-up again. A sense of false security. Beltrami and Roberts are no slouches; here they prove their credentials with a very impressive score.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Milan Records

July 2021

Milan Records releases Music from the Netflix film Fear Street Part 3: 1966 – the third in a trilogy of horror stories set across three time periods by composers Marco Beltrami, Anna Drubich and Marcus Trump. The film, directed by Leigh Janiak and based on R.L. Stine’s best-selling horror books follows a group of teenagers who discover the terrifying events which have plagued their town of Shadyside for 300 years may be connected. In the Finale the origins of a curse are finally revealed, changing the lives of the Shadyside residents...

For the score Beltrami this time creates a contradictory more modern sound, with strings, percussion, choir and electronics. He has scored many films, including 3:10 to Yuma, The Hurt Locker, Logan, Terminator 3, I Robot, A Good Day to Die Hard, World War Z, and Venom: Let There Be Carnage. Other projects include Guillermo del Toro’s Scary Stories to Tell in the Dark, and the latest series of The Twilight Zone for TV, and Fortnite for the hit video game. Anna Drubich, originally from Russia, has scored for cinema, TV, animation, theatre and documentaries. Recent works include Scary Stories to Tell in the Dark, and Werewolves Within. Marcus Trumpp has scored for, among others, The Woman in Black, Love and Monsters, and the computer games Medal of Honour and GUN. He has also composed various concert pieces – including Northmen: A Viking Saga. Fear Street Part 3 is available for download...

Track List: 'Reflection', 'Devil’s Book', 'Full Moon Party', 'Maiden’s Rock', 'Pastor Miller', 'Bad Omens', 'Dalliance', 'The Pastor', 'Hysteria', 'Accusation', 'No Lamb', 'Book is Gone', 'Sarah Hides, Revelation', 'The Tunnels', 'Severed Hand', 'Sarah’s Fate', 'The Curse', 'Goode Ending', and 'A New Day'.

There’s a nice opening which uses Cello to unusual effect. In fact, the variety of strings proves its versatility and effect for multiple moods. The menace first makes itself known through quiet rumbling and scraping. Pagan rattling and other percussion seeks to create a sense of unease. A string section introduces some of the quieter moments. But it takes until 'Accusation' – the halfway point – before the composers up the ante, and so the fear factor. I have to say there are fewer dramatic and exciting tracks than on the Part 2 soundtrack. One such nice example which almost seems to belong on that collection is 'Revelation', with its stomping tempo and discordant devilish chants, surrounded by unsettling noises. Fear and trepidation pursues us down 'The Tunnels'. 'Severed Hand' is a chaotic cacophony of frantic strings and bass-driven sounds. Easily, the stand-out piece here is 'Sarah’s Fate'. This is a nice suite which incorporates sad melancholia, haunting vocals, a change in pace and direction, and a wide-encompassing orchestral sweep. Something for everyone. There is quite a grandiose conclusion, before the end piece which is familiar enough to be adapted as a single, had the film taken that path.

It's strangely at odds for a film set in 1966 to have a modern score – particularly incorporating Electronica – especially when Part 2 of Fear Street was scored more in line with the movie music of the time. I think there was a missed opportunity here to do this one while paying tribute to the compositions of James Bernard whilst working for Hammer Horror Films. Nevertheless, at least from the halfway point, this is a solid soundtrack and well worth a listen – if not quite to the standard of Part 2.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: MovieScore Media

April 2021

MovieScore releases the Original Film Soundtrack to Held, by Richard Breakspear. In the movie directed by Travis Cluff and Chris Lofing, a couple’s ailing marriage is further strained when they are held against their will in an isolated rented establishment. An unidentified voice dictates their actions. It’s described as a high-tech lockdown horror. Prior to 2010, homegrown Breakspear – hailing from the South Coast – was a live-act guitarist who at times shared a stage with the likes of Guns N’ Roses, Slayer, Incubus and Lenny Kravitz (quite a pedigree). He then moved to writing film and trailer music, contributing to CSI: NY and Top Gear USA, as well as the marketing campaigns for The   Avengers, Dark Phoenix, and Mission Impossible: Rogue Nation. His music   is played by Tottenham Hotspur FC before kicking-off every home game,   and he scored the 2019 movie, Prey.  For this one he was asked to create   music to terrorise the audience, and so sought to paint a sonic palette   which relates to the subject matter, rather than the expected melodies...

Track List: 'There is a Way'; 'Arrival'; 'Marital Bed'; 'Welcome; Lockdown'; 'To Have and to Hold'; 'The Next Morning'; 'Get Help'; 'You Must Obey'; 'Escape'; 'Run'; 'Husband'; 'Til Death Do Us Part'; 'Marriage is Hard Work'; 'I Love You'; and 'The Eden Group Orchestra'.

I fall firmly into the camp which  enjoys the use of Electronica in film   or TV soundtrack music. However, I must say from the outset that many of the fantastically created  menacing discords are repeated several times, albeit tinted with  alternative ambient noise. A stuttering rumbling and distant or  prominent metallic sound is what you might call a semi-regular  mainstay. The quieter moments come via acoustic or electric piano  sequences, at times culminating in a discordant climax of slamming,  warbling and scrabbling. Sometimes a string movement is utilised for a  similar purpose. By far the best track is 'Lockdown', which takes the time to throw at the listener all of the sounds of danger, hypertension and disturbing melodic threat. The deep basslines, stomping and shrieking Electronica is further enhanced by use of fuzz and other background effects.

There is stuttering noise, weird  piano sounds which assault one ear at a time, a dramatic run/chase  moment, and a sort of engine sound of changing up through the gears.  This last idea is repeated at least a   couple of times. Again, this is more of soundscape accompaniment to the   movie, rather than any music  approaching that of a suite. 'The Eden Group Orchestra' track which  closes this collection is nice and, at less than two minutes in duration, should have been at least twice as long.

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: MovieScore Media

May 2021

MovieScore Media releases the soundtrack to the TV documentary series Sasquatch, by H. Scott Salinas. Directed by Joshua Rofe, the story follows journalist David Holthouse as he investigates the 25-year-old crime of three cannabis growers who were supposedly killed by a mythical creature. It mixes true crime with monster hunting. Award-winning composer H. Scott Salinas has worked on a number of scores, including Bruce Lee action fable Birth of the Dragon, heist thriller The Banker, and film noir detective thriller Baghdad Central. For this one, the attempt is to take the listener deep into the forest when darkness is falling and there is no longer a willingness to be there – to create an unnerving quality which permeates the piece. The music is available for download...

Percussion is created out of leaves being crushed underfoot, a distant and distorted organ, strings slowed down and warbled, and pianos played through guitar amps and recorded down a long hallway.

This collection of music and moods begins pertinent enough, with an acoustic twang, throbbing backdrop and piano. There is a nice eerie sense of a heavy stomping through the brush. The standout flavour in track 2 ('Mendo') has strings and horn join peripheral sounds, creating an atmospheric spacious feel. Acoustic implements pick up the pace, and a guitar melody takes centre stage. However, this strongpoint is never matched or expanded upon. To mix metaphors, the magician puts all of his eggs in one basket and reveals the metaphorical monster and all of his other tricks in one go – so that thereafter everything is a variation on a theme.

And talking of themes, two tracks contain that word in the title, but neither in any sense can be considered a theme tune – only an association with a character or place. This soundtrack is not without merit. Everything is thrown at the screen to see what sticks, which is the reoccurring ominous indefinable noises surrounding the centrepiece. Discordant strings, buzzing, and the tinkling as in an antique music box. There is the hint of melancholy and otherworldly dreamscape surrounding touches, but many of the pieces don’t go anywhere and so have no resolution.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)  

Label: MovieScore Media

June 2021

MovieScore Media releases the soundtrack to the South African fantasy art film Gaia, by Pierre-Henry Wicomb. In the movie, directed by Jaco Bouwer, a park ranger in a primordial forest brings her into contact with two survivalists living a post-apocalyptic lifestyle. The boy and his father have their own religion and a strange link with nature. The forest seems to have magical elements which emanate from a possibly divine presence. Wicomb’s music has been showcased at festivals around the world. There is something both natural and supernatural about the events in the film, and the composer has accordingly gone for a tribal sound with acoustic instruments and a layered electronic ambience...

Track List: 'Gaia', 'Lives  Separated', 'Hunter Gatherers', 'Mushroom Apostles', 'Mycelium  Malice', 'We Cannot Stay', 'His God', 'I Made Room', 'Stop Knowing', 'Mind Peripheries', 'The Offering', 'You Need to Leave Me Here', 'This Was Always a Test', 'A City Helpless', 'Summer as Spring', 'This Is Your God'.

This one is difficult to quantify due to its unusual format. I would even go as far as to say it’s both  brilliant and extremely dull. A very outré soundscape environment is created here using mostly pagan instruments such as the flute, the Tibetan horn and the dungchen, which Buddhist monks use to accompany the chanting of religious tests. Accordingly, a haunting sing-song mix of spooky, otherworldly sounds is created. I hesitate to use the word ‘melody’ because the truth is there aren’t any. The closest it gets is in 'Summer As Spring', which is the most structured piece. The melancholy strings come as a pleasant surprise, regardless of its short 2½ minute length.

The track titles are very descriptive, pinpointing obvious and specific pivotal points in the film. However, this works in associating these events with an off-kilter earthy quality, but leaves behind a standalone soundtrack  which is essentially just seemingly random sounds. Just when a rattling beat begins, it often stops to be replaced with random noises  – often replicated from other tracks but subtly changed or moved in terms of placement or intensity. Rumbling, discordant, sinister, chugging and tribal sounds become loud ringing or weird monstrous bestial cries, and there is no light and shade in terms of emotional moods. It proves to be a constant. No matter how it is dressed-up it amounts to the same tricks being rearranged.

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Sacred Bones Records

October 2021

Sacred Bones Records releases the Official Movie Soundtrack to Halloween Kills, By John Carpenter, Cody Carpenter and Daniel Davies. The film, directed by David Gordon Lee, is the second in the ‘final’ trilogy of Halloween films. Carpenter has an impressive arsenal of film scores under his belt, the majority for his own directed projects such as The Fog, Escape From New York, They Live, Prince of Darkness, In the Mouth of Madness, Assault on Precinct 13, Christine, Vampires, and many more including the original classic Halloween from 1978 and its first two sequels – plus three albums of Lost Themes. As with Halloween (2018) and the John Carpenter Anthology rejig, he is joined by his son Cody and Daniel Davies who is Carpenter’s godson and son of The Kinks guitarist Dave Davies. The Halloween Kills score is available on Vinyl, CD, for Download and Streaming...

When David Gordon Lee landed the directing job for Halloween (2018), one of the first things he did was to bring in John Carpenter – not only to compose and perform the music but in an advisory capacity. Carpenter felt that all the sequels should be discarded/ignored, simplifying the structure by having Laurie Strode (Jamie Lee Curtis) prepare herself over the forty years for a second and final confrontation with the masked killer Michael Myers, and inviting Nick Castle to reprise that role, so there was a continuity of movement. It worked really well, but for Halloween Kills Castle doesn’t play ‘the shape’ and Carpenter’s role is reduced to Executive Producer. The consequence is more than evident in the resulting film. The menace and atmosphere is replaced with blood and guts and a mob rules attitude. However, this is about the music and Carpenter returns to lift a mediocre movie with another impressive score. I, personally, enjoyed the music much more than the movie Halloween Kills itself – and the original Halloween (1978) is my joint favourite movie of all time.

Track List: 'Logos Kill'; 'Halloween Kills (Main Title)'; 'The Myers House'; 'First Attack'; 'Stand Off'; 'Let It Burn'; 'He Appears'; 'From The Fire'; 'Strodes At The  Hospital'; 'Cruel Intentions'; 'Gather The Mob'; 'Rampage'; 'Frank And Laurie'; 'Hallway Madness'; 'It Needs To Die'; 'Reflection'; 'Unkillable'; 'Payback'; 'Michael’s Legend'; 'Halloween Kills (End Titles)'.

Now, it would have been so easy for Carpenter to rehash his previous classic tracks and interludes from the original Halloween and Halloween (2018), sit back and wait for the money to roll in. However, John is a master of his craft, so those signature tunes that everyone wants to hear – the ones which inform us we are in a Halloween film with arguably the most notorious fictional masked killer – are stripped-back and rescored so that they remain recognisable but fresh and new. The effect this has is to make them more uncomfortable again, rather than familiar. There is menace and dark foreboding from the outset, and what he and his cohorts have done with the opening theme actually puts chills down me – a sure sign that I’m making a connection with that version. 'The Myers House' is short but even more dissonant, than the original. 'First Attack' uses a clattering not unlike that utilised by Carpenter in Escape From New York, the difference being that this is suitably oppressive, the structure becoming something else as it heads towards its conclusion – like an  actual obstruction. There is a lot going on in the simple structure of 'Stand Off', another track which places the listener well out of their comfort zone.

There is a lot of completely new material here and the trio really pushed the boat out to create the most gritty, gravelly, bizarre, and off-kilter chilling film music I have heard in some time. Piano and synthesiser-based but incorporating a multitude of contemporary Electronica effects to further enhance his excellent tunes. Like Gilmour of Pink Floyd, Carpenter knows when one note is more effective than many. You might say that less is more, but he wraps his simple but effective masterpieces in a web of sinister menace. But it’s not all threatening vibes. 'Strodes At The Hospital' is a lovely haunting melody, as is 'Frank And Laurie'. 'It Needs To Die' has elements of both in a great long piece. It is nice to hear longer tracks such as 'Rampage', wherein sounds come and go around a chugging centrepiece. 'Hallway Madness' has a nice hidden mix of some of his previous soundtracks (fans will know what I mean). 'Reflection' comes across like a dream sequence. 'Unkillable' features two separate all-out horror slammer themes which are exciting and entertaining.

The only downside is that the closing credits 'Main Theme' is perhaps not what Halloween (2018)’s was. But I’m nit-picking; the truth is this is a stunning collection of atmospheric music pieces. I have been quite literally stunned by this soundtrack – and I know how good Carpenter is. I have already played this through a couple of times, and the main thing which comes to mind is how little this music comes through to good effect in the film. There isn’t really much need for dialogue in the movie, and this music could really have been more prominent and carried it. I would recommend listening to this on headphones so that none of the intricate music effects are lost. Excellent. Buy it now.

Verdict: 10 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Sony Music Soundtracks

August 2021

Milan Records (Sony Music Soundtracks) releases the Original Motion Picture Score to Ghostbusters II, by Randy Edelman. In the 1989 sequel, directed by Ivan Reitman, New York faces a new threat in the shape of the dark nature of the evil Carpathian. Award-winning composer Edelman was working on his first orchestral score at the time. His other soundtracks over an illustrious career include The Last of the Mohicans, Kindergarten Cop, My Cousin Vinny, The Mask, Anaconda, and  Whole Nine Yards. He is also a conductor, a singer, a producer, and a talented pianist. The soundtrack features 16 tracks recorded for the film, plus three new ones and an additional song recorded for the film but not featured in the final production. This score is available for the first time on vinyl, and also on CD and for download...

As you would expect, considering the composer’s prowess tickling the ivories, many of these tracks are piano-dominant – or at least piano led introductions. Woodwind and full orchestral pieces all make themselves known. There is a nice balance here between the jaunty or quirky moments and the threatening or oppressive moods. The most sinister offering is undoubtedly 'A Slime Darkened Doorway', which proves eerie, with squeaks, intruding synthesiser and stalker-stomps. Many of the numbers defy genre pigeonholing and so avoid alienating any particular style of music. If anything protrudes it is a smattering of Jazz but, luckily, it’s not Freeform and so has structure and direction.

There is an amalgamation of separate moods within individual tracks, tantamount to pitting opposites against each other to see how they fare. For example, 'A Few Friends Save Manhattan' throws light and heavy atmospheres into the ring, 'A Baby Carriage Meets Heavy Traffic' plays it both upbeat and reflective, 'Order in the Court' has a rise and fall of fantastical elements, 'He’s Got Carpathian Eyes' uses harsh sounds with a withdrawal to delicate touches (and horror slams), and 'The Scoleri Brothers' presents percussion and strings with a brief re-working of the Ghostbusters theme.

Of course, it’s not all a battle of contradictions. There are some very nice standalone tracks as evidenced by a divine piano piece in 'The Sensitive Side', and a dramatic action-packed track which pulls out all the stops in 'Virgo’s Last Stand'. 'Final Portrait -Finale' acts as a main theme, incorporating all elements but with a prominence for piano and orchestral movement. This is an example of a film in which the music is greater than the film. I can’t imagine myself returning to this soundtrack that often, but have on the whole thoroughly enjoyed the experience.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Milan Records

April 2021

Milan Records (Sony Music Soundtracks) releases music from the Netflix film Thunder Force, by Fil Eisler. In the comedy film directed by Ben Falcone, two childhood friends create a crime-fighting duo when one of them invents a formula which turns them from ordinary people into extraordinary individuals with super-powers. The Czech-born and English raised composer has received and been nominated for several awards. Previous projects for film and TV include Empire, Proud Mary, The Titan, and The Romanoffs. For this one he’s avoided the easy path to quirkiness, instead playing it straight and allowing the humour to speak for itself. As one of the main characters is a Metal fan, the score has been split between orchestral and Metal Music – employing such luminaries as Scott Ian of Anthrax, Corey Taylor of Slipknot and Stone Sour, Dave Lombardo of Slayer, and Lzzy Hale of Halestrom. He has also incorporated the electric cello talents  of Tina Guo...

Opening track 'Thunder Force' is a pretty good chanter Metal song, with a hook riff and a nice solo. This has single written all over it, so it’s logical that this was released as a lead for both the show and the soundtrack. 'Thunder Force Suite' showcases an orchestral piece with brass bugle sounds introducing an all-encompassing stomping/galloping and soaring experience with percussion. It becomes more introspective halfway through, before taunting with ghostly cello and dark tones. 'This Town’s Gonna Get What It Deserves' applies a mix of traditional orchestral moves and Metal riffs. The best track is 'Training Complete' which adds foreground orchestration to background Metal. It’s very nicely done, so it would have been good to hear an extended version.

With 33 tracks in total you can probably guess that most of the other offerings play more like interludes than pieces in their own right. Again, I’m forced to ask the question why some of these can’t be edited together to make longer suites for the soundtrack release, rather than separating all the snippets used in the movie. Although there seems to be an overall theme of orchestral and Metal music (and I’m a fan of Metal), there are other moods. 'I Like ‘em Thick' is a great paced and throbbing Jazz suspense moment. There are a couple of mellow pieces, as well as the use of Electronica, chilling strings, guitar fuzz and edgy drama. 'Thunder Force Out' is more of a melancholic outro, which ends with a determined flourish in the style of the opening piece. A charged score, tarnished by the stop-start effect of some very short pieces of music.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: WaterTower Music

August 2021

WaterTower Music releases the Original Motion Picture soundtrack to The Suicide Squad, by John Murphy. In the film, directed by James Gunn, a collection of the most degenerate delinquent super villains are called upon to save the day, but have they got their own agendas? Liverpool born composer John Murphy has been writing scores since the age of 25. His movie projects include Sunshine, Kick-Ass, and 28 Days Later. He has also contributed to film trailers and advertising campaigns. This was the perfect opportunity for him to return to his punk band roots, writing riffs on his guitar plugged into a Vox AC15. The purpose was to make it down and dirty, whilst still incorporating orchestral and heroic moments. The release is available for download...

Track List: 'So This is the Famous Suicide Squad', 'Approaching the Beach', 'Mayhem on the Beach', 'Waller’s Deal – Meet the Teem', 'Harley Gets the Javelin', 'Approaching the Guerrilla Camp', 'Project Starfish', 'Red Flag', 'Interdimensional Virus', 'Ratcatcher’s Story', 'Harley Sings', 'Breaking into Jotunheim', 'Dirty Little Secrets', 'Peacemaker… What a Joke', 'King Shark and the Clyrax (featuring Jessica Rotter)', 'Bombs Go Off!', 'Suicide Squad vs. Starro the Conquerer', 'The Star-Crossed Wake-Up', 'Panic on the Streets', 'The Squad Turn Back', 'The Squad Fight Back', 'Ratism, and Bloodsport’s Deal'.

In truth, 23 tracks is too many – even for a soundtrack – as it means that the vast majority are going to be a minute or two at best. But I was looking forward to hearing this after seeing the press release and in particular noting the Punk-Style elements. 'Star-Crossed Wake-Up', 'The Squad Turn Back' (which has a great superhero-like dramatic theme), 'The Squad Fight Back', and 'Ratism' make a nice quartet of tracks which are all pacey but very different in format. The last two of these are probably the best tracks on the collection. The Punk elements have plenty of energy and melody, despite being basic and moderate in pace befitting a soundtrack which knows that too much will intrude upon the film itself.

Other stand-out tracks include 'So This is the Famous Suicide Squad', 'Mayhem on the Beach', 'Breaking into Jotunheim', and the end of 'Approaching the Camp'. However, it’s not all action music scenes. The composer knows when to use light and shade. There are incidental moments to relay atmosphere and emotion, there are Electronica and thematic pieces such as a military march and fight sequences, there are interlinking lighter touches, acoustic numbers, and orchestral flourishes which work alone and with the restrained Punk Rock instrumentals. A very nicely structured soundtrack, some of which I can see myself returning to.

Verdict: 9 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: WaterTower Music

February 2021

WaterTower Music releases the Wonder Woman 1984 Sketch's From the Soundtrack. Unlike the separately released Original Motion Picture Soundtrack, Sketches is a rare opportunity to hear the music ideated for development for the final Soundtrack. In the DC/Warner Bros. movie, directed by Patty Jenkins and starring Gal Gadot and Chris Pine, Diana Prince is living a quiet existence as a curator of ancient artifacts in the excessive and, some might say decadent time of Earth in the 1980s. She occasionally uses her powers to help in certain situations, but is forced to step into the limelight to save mankind from a world of its own making. During this time, she will face Max Lord, as well as her fated nemesis Cheetah. The music is by Academy Award-winning composer Hans Zimmer, who has previously scored The Dark Knight Trilogy, Interstellar, Inception, and The Lion King. For this one, thedirector discussed with the composer not only a number of themes which would relate to the '80s, but layers of emotion for the character, and purer, more heroic variations on the original film version of Wonder Woman. The Sketchesalbum is available for download...We begin with '’84' – Vangelis-type synthesiser music with a theme behind it. This is a nice piece, apart from the annoying electronic drums. 'No Hero Is Born from Lies' has shades from the first track, but begins more low-key. It evolves into a semi-dramatic Christmas-like score – complete with bells! 'Apex Predator' features caustic guitar sounds which cut through a lighter melody. It has an otherworldly feel which turns to a chase pace. The drama steadily builds and the beat becomes a stomping. A grand piece. 'The Monkey Paw' has a light, atmospheric tune which is a little more orchestral in its format. A shuddering tone is ever-present, and there is something reminiscent of a Blues sequence. 'Barbara Minerva' carries a synthesiser style which reminds me very much of the early work of Gary Numan. I like this very much, but then – aside from my Rock and Metal background – I was always a fan of the early electronic bands, before they lost their edge and became ‘Poppy’. This one is far too short.

'Dechalafrea Ero' rumbles and fades. It takes until the seven-minute mark before it becomes scratchy and introduces electronic noises and strings. At 11 minutes this is far too long and dull, but is perfectly acceptable as incidental music. 'In Love' is a sweet emotional piece, perhaps belonging more in a John Williams score. The difference here is that it’s more restrained. Imagine a 19th Century toff’s ball. 'Citrine' is a John Carpenter synthesiser mood, with background high tones which are brought together as it becomes louder and more prominent. 'In Harm’s Way' is a repeated beat with music which is added and builds to brass sounds and heavy, dramatic themes. Somewhere between a march and superhero melodrama. 'Life Is Good, But It Can Be Better' (great title!) introduces a fluttering/chattering pattern that is joined by piano and strings, plus a new recurring theme. Although this is close to 12 minutes long there is always something new and interesting going on. Good stuff.

The Final track is 'The Amazon', which is basically the Wonder Woman character theme Zimmer created earlier. However, this is a fuller piece with orchestral moments halfway through – along with quieter interludes. The ideal and obvious one to sign-off with. My main complaints regarding the Original Motion Picture Soundtrack were returning too often to similar themes and the loud, dramatic sections. Hans Zimmer should have just released this one; it’s a marked improvement. The music is much more varied, it’s weighted more heavily in electronica, and nearly all of the tracks are lengthy offerings – rather than unrelatable short snippets. Although a couple of examples are overly long; nevertheless, this has turned into a quite an imaginative assortment.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)  

Label: Milan Records

July 2021

Milan Records (Sony MusicMasterworks) releases the Original Motion Picture Soundtrack to The Green Knight, by Daniel Hart. In the film directed by David Lowery, King Arthur’s reckless nephew, Sir Gawain, embarks on a foolhardy quest to confront the Green Knight, a gigantic emerald-skinned stranger. Based on the Arthurian tale of Sir Gawain and the Green Knight, this is more about  defining his character and proving his worth to his family, as he contends with ghosts, giants, thieves and schemers along the way to his destiny. Hart began (and continues) as a session musician for at least four bands. More recently, he recorded strings for St Vincent’s 2021 album, and re-arranged songs for Anjimile’s latest release. Hart has also written music for Dark Rooms – his own band – and toured the US and Europe during the last eight years. Based in Los Angeles, he has scored all of Lowery’s movies to date, including Pete’s Dragon, A Ghost Story, Old Man and the Gun, and The Green Knight. Daniel Hart sees this collaboration as particularly satisfying considering the amount of time they spent achieving the right musical balance...

Before I assess the music, it’s worth pointing out that the track titles (29 in all) are somewhat long, eccentric and quirky, and probably deserve noting – even though, as I’ve stated in a handful of previous reviews, I’m not an advocate of multitudes of overly short pieces, as opposed to longer and more coherent suites with direction.

'In Stori Stif And Stronge'; 'Christ  Is Born Indeed'; 'You Do Smell Like You’ve Been At Mass All Night'; 'Tell Me A Tale Of Yourself, So That I Might Know Thee'; 'Shaped By Your Hands'; 'O Greatest Of Kings'; 'Remember It Is Only A Game'; 'One Year Hence'; 'I Promise You Will Not Come To Harm'; 'Child Thou Ert A Pilgrim'; 'Rest Them Bones My Brave Little Knight'; 'A Meeting With St Winifred'; 'Your Head Is On Your Neck, My Lady'; 'Are You Real, Or Are You A Spirit'; 'I Will Strike Thee Down With Every Care That I Have For Thee'; 'Aiganz O Kulzphazur'; 'The Giants Call'; 'Brave Sir Gawain Come To Face The Green Knight'; 'Should Not A Knight Offer A Lady A Kiss In Thanks'; 'Hold Very Still'; 'Do You Believe In Witchcraft';  'You Are No Knight'; 'I Never Asked For Your Help Anyway'; 'Gawain Runs And Runs'; 'Blome Swete Lilie Flour; Excalibur'; 'Oh Nyghtegale'; 'Now I’m Ready, I’m Ready Now'; and 'Be Merry, Swete Lorde'.

We begin with a Pagan-like percussion and xylophone which comes and goes, and tone vocals. It’s followed by a whistle or pipe lead and rattling backing; almost a medieval dance. An acoustic drum and bass strings, bottles and harp introduce the return of the angelic vocals and then vocals. We are then treated to a melancholic piece which slowly builds. Tracks 6 and 7 are the first indicators that something sinister is afoot, the latter employing a heavy stomping effect and haunting vocals. Acoustic guitar, strings and shakers create quite a nice period piece with ringing vocals for track 10 (probably the most inventive of the collection). I also like the dark Electronica of Track 22. It is truly quite amazing that, apart from the ‘Ah, ah’s’ and atmospheric vocals (which are extensively over-utilised), Hart manages to convey a mental image of setting, period, ambience and action/emotion without representing the same tricks too many times. A ‘sound’ score.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Monotreame Records

March 2021

Monotreme Records releases Golem 202020, a 10-track ‘recording synthesis’ created by Italian Avant/Post/Progressive Rock band Stearica for the classic silent horror film Der Golem: wie er in die Welt kam (The Golem: How He Came into the World). Stearica consists of Francesco Carlucci on guitars, synths, milltone drums, and additional sounds; Davide Compagnoni on drums, wood and metal percussions, and loops; Luca Paiardi on bass, synth and kalimba; plus special guest Nazzarena Galassi on vocals. The soundtrack was commissioned by The Italian National Museum of Cinema and the Traffic Free Festival, and performed in the museum’s cinema as a live score to  the film – as part of the MiTo Settembre Musica in September 2011. The tracks were recorded live in 2014 during a studio session to preserve the work, and further embellishments added in 2019. The album is available for download and on limited edition vinyl...

'The Stars Reveal (an impending calamity)' is up first, which has an atmospheric keyboard introduction and light, flickering guitar effects. There is a rumbling of  anticipation. 'How He Came Into The World (shaping his soul like clay)' is the best of the bunch. A thundering bass and percussion is played over by a nice trebly guitar and simple drum beat. The sound builds and widens. You connect with this immediately. The basic theme holds court, but everything else evolves around it, so that the seven minutes-plus passes in no time. It’s rather hypnotic and spellbinding… Talking of which, 'The Great Spell (the invocation of Astaroth)' is a full band sound which is both in your face and at times distant and reverb-enveloped. I love the bits of original percussion and guitar sound effects which come and go around the psychedelic tune itself.

'The Shem (Golem comes to life)' has percussion and low keyboard sounds resonate. Clicking drumsticks herald a sudden great Rock riff whilst never straying from the soundtrack format. A great heavy rhythm which floats off into the ether. 'A Strange Servant (Golem’s first errand)' begins as a repeated ringing. Accompanying sound effects makes-up the tentative atmospheric keys. Rumbling and light touches signifies as tentative or curious emotion. 'The Rose Festival - Part 1 (the sad scent of a different flower)' employs a heartbeat bass played with by a ringing guitar. Drums gradually build into a nice beat which takes prominence over the guitar and keyboard atmospherics. But it just as quickly dies. The track then turns into a Prog Rock and Jazz psychedelic combination. 'The Rose Festival - Part 2 (save me and I will pardon your people)' has a tentative intro which evolves into an all-out repeated theme with constant changes to the format.

'Rejoice Ye, Ye (the sound of the Shofar)' starts off as a Pagan clattering beat that soon gets dragged into a 21st Century produced sound. Bass guitar has various other sounds jump out at it. Wah-wah guitar comes and goes, as do keyboards, a wave synthesiser and other surprises. There is more going on here than you first realise. 'In Flames (the fire spell)' is a somewhat ritualistic gathering of ringing guitar and drums. I can envisage people dancing to this at an all-night club in Camden. The whole rushes away, as if blown by a hurricane, leaving only bell noises. We conclude with 'Der Golem (the Angels theme)'. An insect buzzing and otherworldly soundscapes invite in a distant echoed voice which abruptly comes to the fore, with touches of acoustic guitar to counter the tinkling keys.

As a lover of horror films you won’t find it surprising when I say I’ve seen the 1920 silent classic Der Golem a number of times over the years – the most recent occasion being when I reviewed a new 4K restoration Blu-ray copy in 2019. On that edition there was three choices of soundtrack, but this one as a standalone music score cannot be faulted for its originality. It proves – as it has before with groups like Pink Floyd and Tangerine Dream – that bands can often produce some of the best and most innovative scores. I Am Vengeance, by Greenhaus is another good example. Golem 202020 is a pleasant and exciting listening experience.

Verdict: 10 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Sony Music Masterworks

July 2021

Sony Music Masterworks releases the Original Motion Picture Soundtrack to Escape Room: Tournament of Champions. In the film directed by Adam Robitel, six people find themselves locked in a series of escape rooms and have to uncover what they have in common to survive – only to find they have all played the game before. The soundtrack is by Brian Tyler and John Carey, who worked together on the previous Escape Room movie. Tyler has scored more than 70 feature films, including the Marvel logo music, Avengers: Age of Ultron, Thor: The Dark World, Fast & Furious films, Now You See Me, and What Men Want. Carey has scored for both film and TV, and worked on a number of projects with Tyler. The intention on this one was to create an emotional, dark and sonically rich soundscape. This 21-track release is available for streaming and download...

I’m a huge advocate for the use of Electronica in both soundtracks and normal band music – and love the inclusion of analogue along with the latest digital sounds. This score doesn’t just implement it, rather it is for the most part full-on, in-your face, piledriving Camden nightclub extreme. For anyone who  lives for the all-night, sweat-soaked, flickering lit futuristic technoscope (a step to far for me), then I would recommend this release purely for that purpose – particularly for 'It’s Electrifying', 'The Beach Part 2', 'Caught in the Rain', the remix version of the title track (which you can imagine being the theme from a Cyberpunk set movie) and many others. Most of the sounds hardly pause for  breath. Unfortunately, it’s too tribal and not melodic enough, in my opinion.

There is a lot to appreciate here, however. There is the underlying but prevalent clicking/ticking reminiscent of passing time. I like the ultra-low bass synth pieces, with clattering, chugging, rumbling and electric piano touches. The beat of 'Let’s Drive' sounds like a comic monster eating people, though it does keep in touch with a simple tune. 'Mystery Bag' has a  Pagan feel. 'Fighting Back' and 'Back to Normal' are the only reflective tracks, so I would say that the balance of the whole is not quite right – whilst appreciating the edgy, panic-driven style. The best of the bunch, from an individual stand-alone viewpoint, is 'Tournament of Champions', which is a slower and spookier version of the title music. It has the ticking sound again and is very atmospheric, using standard synthesiser melodies surrounded by a multitude of threatening moods.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: Plaza Mayor Company Ltd

November 2020

Plaza Mayor Company Ltd releases the Original Motion Picture Soundtrack to The Crumbs. Directed by David J. Espinosa (who also writes, produces and acts in various projects), the film follows Doctor Benjamin and his family who run a Bed & Breakfast in the woods. The Crumbs may be a loving family, twisted, quirky and off-beat, but they also perform experiments on unsuspecting guests. The music score is written and produced by Lance Warlock, whose other work includes 24 Little Hours (2020) and The Mass Shooting Monologues (2021). For this one it was decided to utilise percussion and wavering textures to create a bizarre and outré atmosphere...

It is seldom there is little to say regarding a soundtrack – or any media release, come to that – however, the obvious problem with The Crumbs is that for a score with so many tracks it suffers from diminishing returns. I was impressed with the opening. 'Crumb Cottage' sounds like a child playing with sticks on pots and pans, but still manages to convey a weird and unbalanced environment. Objects utilised as percussion also works for  'Sleazy Dr B', 'Valente Won’t Go Away', and 'Valente Digs Deep', the latter of which employs other unnerving tactics, too. The majority of the other segments use other household objects, such as bottles with added rumbling and scraping, and the dropping of ball bearings so that they bounce, along with some fluttering and juddering.

There are exceptions, of course. 'Leonard Takes Care of Business' includes creepy breathing sounds; 'My Big Beautiful Leonard' is more plaintive and dreamy; 'He’s a Perfect Fit' is slow and low and carries a feeling of foreboding portent; and 'Missing Persons Poster' incorporates a gurgling, rumbling stomach  sound which is fitting. It rises with menace, but it’s too little, too  late. With 33 tracks on offer, the only one with any type of proper melodic music is 'Finding Panties'. Nevertheless, the tune is stilted, intermittent and short. Had the tracks I’ve mentioned here been  released alone, I would probably have rated the release slightly higher, but too many similar pieces tarnish the whole.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020) 

Label: MovieScore Media

April 2021

MovieScore Media releases the Original Film Soundtrack to The Guardian, by Christopher Wong. In the movie directed by Victor Vu, Huyen is a backing singer for Vietnamese pop sensation Lam Phuong. When she is gifted a doll called Baby Na she begins to praise the doll for all her successes. But when Lam dies Huyen becomes a suspect, spurring her to delve into the background of the doll and attempt to release herself from its powers. This is the eleventh collaboration between this director and composer. In 2007 Wong was nominated for Best New Composer by the International Film Music Critics Association, for Ham Tran’s feature Journey From the Fall. His other film score contributions include The Rebel, Yellow Flowers on the Green Grass, The Immortal, The Royal Bride and Camellia Sisters. For this one, rather than the normal orchestral leanings, electronics  and sound design was used to capture the movie’s mix of the supernatural and Electro-Pop...

The track listing is: 'Twinkle Twinkle Little Suicide'; 'Bad Love'; 'Shocking News'; 'Secret Temple'; 'Shady'; 'Strange Party'; 'Cyberbullied'; 'Proposition'; 'Darker Magic'; 'First Body'; 'Concerned Friend'; 'Second Chances'; 'Accident'; 'Remembrances'; 'Khanh’s Secret'; 'More Bodies'; 'Confession'; 'The Final Stage'; 'A Grand Conspiracy'; 'Moving On'; and 'Twinkle Twinkle Little Dolls'.

This composition incorporates a stark contrast between Electro-Pop songs and a dark, underlying current of incidental soundscapes designed to keep the listener feeling uneasily off-balance and out of their comfort zone. The opening music box chimes which play the age-old nursery rhyme are returned-to periodically through the score – particularly towards the end of the collection. Early-on we are offered wandering sound effects, rumbling and sinister noises joined by ominous strings, slams and metallic scraping. 'Bad Love' and 'Shady' are the aforementioned Electronic Pop songs. The former has a nice acoustic opening, before the Electronica takes centre stage, and it ends almost as an easy listening piece. The latter is all-out Electro-Pop. It’s simple but excellent, reminding me more of late 1970s Electronica than a modern  club beat – although it would undoubtedly fit comfortably into that environment. 'Business Proposition' is similar in style. If this one  isn’t a single, it should be. 'Moving On' is also a song, although in ballad form and more sad and reflective.

The other tracks are all about laying a dark carpet of menace, eeriness and foreboding. We get  everything from an ‘Apache’-like Red Indian beat, marching or throbbing bass-lines, scrabbling ambient sounds, windchimes and other unnerving effects, to low and atmospheric reverse synthesisers. There is also moodiness and emotional interludes. Just for a moment Wong  strays into John Carpenter’s The Fog territory and puts one toe in the camp of John Williams with a grand and all-encompassing moment. 'Accident' is the only fully dramatic horror piece, encompassing many of the genre’s tropes but in a more diverse manner. 'Cyberbullied' has outré electronic sounds become more of a cohesive orchestral number. This would have been better as the title theme. This music soundtrack is very proficiently pieced together to enhance each scene in the film but, as a stand-alone score it’s much more of a soundscape, aside from the songs.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: Plaza Mayor Company Ltd

January 2021

Plaza Mayor releases the Original Motion Picture Soundtrack to L’ombre del Lupo (Shadow of the Wolf). In the 2018 movie, directed by Alberto Gelpi, mutilated corpses are discovered in an Italian town. Police believe it to be the work of a wolf, but it is not a wolf like any other. Themusic is composed by Sandro Di Stephano (The Man With the Magic Box (2017), The Executioners (2018), etc.), and performed by Dnipro Philharmonic Orchestra (conducted by Stephano). The composer worked closely with the  director, both who saw the music as a separate character – albeit invisible – who participates in dialogue and anticipates emotions. They aimed for an old style influenced by Bernard Herrmann. The score is available for download and streaming...

In 'Hidden Truth' we begin with the innocence of a music box, before low tones take over, the high pitches of the child’s toy becoming strings. A purposefully stilted sound gives the impression of impending doom. Remaining with the emphasis on a rumbling bass, but all the while tuneful and with direction. 'Chilling Discoveries' continues where the last track left off; however, there is a sense of expanse and something waiting in the darkness. This one goes more for atmosphere than melody. It does return to the music box briefly, and leaves us with a heavy menace. 'Escape into the Woods' is a simple piano melody, rudely interrupted by what is almost certainly a chase sequence with a progressive chugging pace. It soon returns to those sinister tones and a fading high pitch.

A piano intro for 'I Am a Wolf' evolves into a string and keys piece. Melancholia is the appropriate emotion. It becomes more thematic towards the end. 'Metamorphosis' is dramatic but returns to the simpler tunes of earlier in the score. 'Now I Am Alone' picks-up the piano and strings again, with surrounding suspense. 'Nico and Alba' is slow and plaintive. But the sadness is mixed with a certain verve and underlying atmospherics. 'I Know My Life' carries a Pagan feel, with a blend of instruments and an open-minded finality – if that isn’t a contradiction in terms.

One thing I love about this soundtrack is that it only has eight tracks. That means each is of reasonable length and so allowed to breathe. So many scores these days boast 30-plus tracks of 20 to 30 seconds at best –  no overall sense or pattern. On the downside, repeatedly returning to character themes produces diminishing returns, dulling the sense of progression. On the whole though, this is a solid little score.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)  

Label: Plaza Mayor Company Ltd

January 2020

Plaza Mayor Company releases the Original Motion Picture Soundtrack to Wisdom Tooth, written and directed by Liang Ming, who was nominated for the Asian Film Award for Best New Director. In the film, starring Yongzhong Chen, Xingchen Lyu, and Jiajia Wang - Guxi lives with and shares a close relationship with her half-brother. When he shocks her by having a budding romance with a new girlfriend, the newcomer causes plenty of unrest, culminating in the suspicious death of a fisherman. The music is composed by Ding Ke, whose previous work includes Port of Call, and The Looming Storm. The soundtrack is available for download...

I’m disappointed to announce there is very little to say about this release. I’m always open to new music and soundscapes, providing they actually achieve some effectiveness. I have many foreign films in my collection that really create an atmosphere, aided by non-Western cultures, unknown myths and legends, and an almost supernatural uneasiness relating to not feeling comfortably at home through the setting. Obviously, the film music can enhance these Twilight Zone moments. However, I like at least a little continuity where the score is concerned. A major requirement is variation, too; the composer can’t rely on one trick to see them through – which is precisely what happens here.

There are eleven tracks, all bar one of which encompass ‘ha ha ha’ huffed vocals, creating a very similar style and mood. The first two tracks I readily accepted because the idea was new. It created atmosphere and moody harmonising, but by track six the voices were annoying and beginning to grate. Then things began to sound more haphazard and amateurish to the point they were purposeful. There is a trumpet played sporadically, bass piano, background instrumentation and electronica, but very low key (if you’ll excuse the pun). There are a couple of tracks without the mind-numbing vocals – one which is a simple piano piece, and one with buzzing electronics, tinkling and rasping – and these come as a blessed relief. However, I heard ‘ha ha ha’ so many times I expected The Joker to turn up.

Verdict: 3 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020) 

Label: MovieScore Media

May 2021

Moviescore Media releases the film soundtrack to The Djinn, by Matthew James. In the movie, written and directed by David Cherbonier and Justin Powell, Dylan Jabobs is a mute boy who becomes trapped in his apartment with a sinister monster when he wishesfor his heart’s desire and gets more than he bargained for. It’s described as a coming-of-age story. Composer Matthew James was raised in Chicago, and has been working in Los Angeles since 2017. He began as an assistant to composer Kurt Farquhar, contributing to the scores of Being Mary Jane, The Quad, Stitchers, and the superhero series Black Lightning. For this one he pays homage to the synthesiser era of the 1980s –  which is when the story is set – but leaves plenty of room for childhood moments of innocence, reflection, mourning and sheer terror...

Track Listing: 'Fall That Same Year (Dylan’s Theme)', 'Mom?', 'Artifacts Required', 'Book of Shadows and The Spirit of Fire', 'On the Radio B-Side', 'The Djinn Awakens', 'It’s a Dream', 'Appearance and Transformation', 'Shapeshifting', 'Call  Dad', 'Night Terror', 'Guardian of the Shadow Realm', 'Trapped', 'Stroke of Midnight', 'Is It Over?', 'The Toll', 'Could I have Stopped It?', 'Showdown', and 'The End'.

There are 19 tracks here and, in my opinion, that’s too many for one standard-length film score. It means that the whole thing comes across as bitty and disjointed – with some examples being merely noises or ambient sounds – and we are denied the privilege of a more-lengthy and coherent suite, which highlights more the abilities of the composer and how these shorter pieces might come together as a digestible whole. I’m not saying this release is without merit; far from it. When you pick clean the bones you discover some little gems and a host of horror film characteristic atmospheres. For example, the opening track has a fantasy dreamlike quality, with an Electronica tune grounded in rumbling bass. The main theme fades out leaving the underlying chord structure. Quite inventive.

The overall use of electronic music and sound effects proves effective in this instance. The inherent versatility of the artform results in such diverse output as sinister and eerie layered building of suspense, or Kraftwerk/Jean-Michel Jarre-type synthesiser music with an inherent orchestral melody. James shows his proficiency at creating dramatic aural cadences, with voice samples, distant chanting and background whispers, strange radio waves, discordant effects and slamming, metal chimes or bottle chinking, and a sense of dark menace. There is also a fine understanding of when there is a need for a pause for reflection, melancholy or tentative warm touches, and when a marching or slamming should build to an all-out horror crescendo. 'Guardian of the Shadow Realm' has a sense o movement and the clicking of time. It comes across like the theme to a car travelling through the night.

Even the great John Carpenter’s style is emulated here with a sense of claustrophobia, a creeping malaise, a quickening heartbeat bass theme and the occasional sense of rushing. Some tracks employ the same or similar styles, but overall this is an enjoyable score let down only by abruptly cut-off pieces and a lack of connectivity.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021)

Label: N10Y Records

October 2020

Swedish composer Oscar Fogelström announces the digital release of his short film score for Killing Small Animals (2020). Directed by Marcus Svanberg, the film follows a privileged housewife who descends into psychological darkness with an action she never thought possible of herself. The film has won 18 awards and been nominated for a further 9. It won at the Brooklyn Horror Film Festival, Nightmares Film Festival, and Liverpool International Film Festival. As the short has no dialogue, the music is particularly important...

The title track 'Killing Small Animals' introduces us to strings and piano. It’s a calming piece, with cello added latterly. 'Breakfast by the Lake' is more of the same, with a climbing of the scale and a single hint that all is not well. 'Processing Hamsters' is another low-key track with noises conducive with an off-kilter experience. 'Lonely and Puzzled' is the first segment of music to possess an underlying thriller content, mostly through the means of piano and surrounding sounds. 'The Cat Lady' has a plucking of strings which create a metronome motion of passing time. This becomes eerie and, in places, approaches chilling. A good one. 'Trapped Inside Yourself' utilises a ringing and cello to return the music back to its origins of the opening track. 'Beginning or End' completes this short collection with a hint of the main theme.

Although this offering is more expressive than Fogelström’s other short score Bad Dreams, I remain of the opinion that it is insufficient opportunity to immerse yourself in a new audio environment. Here there are seven tracks amounting to a total of around ten minutes. It’s plain when listening to these individual pieces that they are essentially one piece of music. So, why not edit them together into one evolving suite? I’m intrigued by the prospect of viewing the film, and I’m certain this mini score will fit far more comfortably than it does individually.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020)

Label: N10Y Records

November 2020

Swedish composer Oscar Fogelström anounces the digital release of his short film score for Bad Dreams (2018). The film is based on a short story by Andy Jones and directed  by Stuart Fryer. It tells the tale of a child who believes in  monsters and then becomes one  as an adult. The make-up effects are by Pinhead creator Cliff Wallace. The director wanted a straight-up horror score to emphasise the true nature of the monster, whilst tackling the serious issue of sexual abuse...

'Childhood Memories' has a  scrabbling of violin strings which cuts in and out, with an  accompanying slamming. 'Like Any Normal Day' incorporates violin at a    leisurely pace. It is replaced in short order by a more bass hearty  sound. 'Meeting Harold' incurs a sense of impending doom that quickly    clears away to leave tentative cello and violin strings which flutter and weave. A plaintive melody attempts to play through the centre. 'You    Need a Shave' has a warbling with thumping and distortion. Imagine a    waking giant. I’m excited by a stomping blare of trepidation in 'Bad    Dreams'; however, it’s disappointingly short-lived as a low-key level piece takes over.

Much as the age of streaming and downloading music files has encouraged the releasing of short film soundtracks, it’s virtually impossible to invest sufficient enthusiasm in a score so brief it ends virtually before it has started. The entirety of the music lasts no more than six minutes and twenty seconds. Divide this by five tracks and it averages one minute and sixteen seconds. As I’m certain everyone and his dog can appreciate, there is next to no time to instil the required emotions of a longer suite. Had these tracks been drastically diverse, perhaps it may have been more acceptable. Of course, I appreciate this was written for a short film, but as a standalone piece I’m afraid it falls far short of a pleasurable experience. Perhaps releasing this with other material would prove more attractive.

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020) 

Label: Cold Spring Records

September 2019

Cold Spring Records releases the Original Motion Picture Soundtrack to Antichrist – an English language Danish horror film from 2009, shot in Germany – composed by Lars Von Trier. In the movie, starring Willem Dafoe and Charlotte Gainsbourg, a couple grieving from the death of their child travel to a cabin retreat in the woods in an attempt to save their marriage. But Nature here is Satan’s Church, and when their surroundings turn evil it doesn’t bode well. The score is presented as a Limited Edition ‘Eden Olive’ and Black Etched Vinyl. The tracks  are: 'Intro'; 'Lascia Ch’io Pianga Prologue'; 'Train'; 'Foetus; Attic'; 'Lascia Ch’io Pianga Epilogue'; 'Credits Part 1'; and 'Credits Part  2'...

There isn’t very much to say about this one, apart from the fact it’s very dull to listen to as an isolated soundtrack. To a degree, it doesn’t matter how well the product looks aesthetically; what works as incidental music or atmospheric mood pieces doesn’t always maintain its identity once removed from its mothership. In other words, this work was designed specifically to work in conjunction with the film. All bar two of these pieces are just natural sounds and internal body recordings (I can’t wait for ‘Tummy Rumbling’ - The 12” disco Remix!). There is an alternative sombre performance of Handel’s 'Lascia Ch’io Pianga', recorded in Kastelskirken church in Copenhagen, which is very nice. However, if you want to savour original classical music then surely you go to the source.

It's interesting to note that the press release blurb lists favourable quotes about the movie itself, rather than the soundtrack. 

Verdict: 3 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Plaza Mayor Company Ltd

April 2020

Plaza Mayor Company Ltd releases the Original Motion Picture Soundtrack to the horror movie Apparition. Directed by Waymon Boone, whose previous projects include The Devil’s in the Details, and Sunrise in Heaven – the film is about an app that connects the living with the dead. Young people are lured to an abandoned castle which has a dark past tied to each of the people present. The music is composed by Ben Worley, who has turned in soundtracks for Pizza Time, Willing to Lie, and Red Water. This was his first feature film. He thoroughly enjoyed working on it but, by his own admission, wasn’t paid very much. As a consequence of being brought in late to the project, Ben only had a fortnight to complete the score. He had only just moved to Los Angeles and so the  remit was simple instrumentation. These limitations were extended to keeping motion throughout the piece, and not to allow the audience a moment to relax.

Having knowledge of the backstory to writing and composing the score, the big question we need to ask is has he succeeded in his intentions against the odds? Well, no, not really. I can understand that time was pretty much of the essence, and working from his apartment reduced his options (what? – he couldn’t fit the Royal Philharmonic Orchestra in there?) –  but there isn’t even any music present. Nothing to latch on to; no suites or musical interludes. The entire score consists of noises. No, let’s be kind and call them soundscapes. Across ten tracks we get a standard format of strings, discordant piano and intermittent screeching – accompanied by a throbbing beat, often reminiscent of Red Indian drums.

If anything, the composer shows his hand too early, throwing all of his available tricks into the first couple of tracks, so that those thereafter sound dull and repetitive. I’m certain that this could have incorporated more variation through use of easily attainable music samples. Just throwing in some oddities like electronica, guitars, pan pipes or any number of instruments would have made this much more interesting. Whilst appreciating that this is here solely to enhance the emotions of the film, as an isolated soundtrack it achieves nothing of real interest – not even a main theme for the movie. I couldn’t use  a lot of the notes I made while listening to the score, because they consisted primarily of descriptive words such as rumbling, screeching, throbbing, rattling and thudding. The only track with any continuity to the sound is '#contact', which resembles complaining neighbours banging on the wall! This score proves to be a disappointment after so many excellent examples which I’ve had the pleasure of reviewing: Killer Klowns From Outer Space, and Ruin Me – to name but two. 

Verdict: 3 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020)  

Label: Plaza Mayor Company Ltd

March 2019

Plaza Mayor releases the Original Motion Picture soundtrack to Clickbait on digital CD and download. In the film, directed by Sophia Cacciola and Michael J. Epstein, Bailey is a popular ‘flogger’ who loses status to another person who is diagnosed with cancer. Bailey regains her popularity when she is stalked on a regular basis. For obvious reasons she is reluctant to report the crime. That is until she is kidnapped by a fan and has to rely on an uncaring roommate to save her. The music is by Night Kisses featuring Catherine Capozzi, Michael J.  Epstein and Sophia Cacciola...

This is a mixed bag but on the whole pleasing collection of 23 tracks where the emphasis is on the 1980s synthesiser sound, but much more refined than many of that decade’s John Carpenter wannabes. It begins with 'Broken Heart', which has a nice, smooth bass beat, but the electronics turn the vocals whiny. However, it still manages to be both a Pop and Rock song. 'Laura, Who is Dying of Cancer', has strings and bass, though it follows the chords of the previous song. 'I Lost My Key', is a nice synthesiser tune which transports you back to the emergence of New Romantics. This track should really have been longer. 'Froot in Every Toot!' brings to mind Toot Sweets from Chitty Chitty Bang Bang. 'Bailey Has a Stalker', is a menacing, atmospheric mood piece with strings. 'A Rose From Chase', is a filler incorporating a jaunty, very short solo horn tune. 'Thanks For Your Bravery', starts like a great electronic pop song, but abruptly ends the moment it begins.

Now we get to what is by far the best track on the collection. 'The  Stalker Part I', has heavy breathing and a great bass synth riff. It’s both atmospheric and funny, using drum rolls and discordant noises. It seems to fill in more of the sound as it goes on. 'It Was So Cute!' Is a jaunty circus-like filler. 'Emma Gets a Closer Look' is just a few seconds of Psycho slashes. 'Chase Loves Toot Strudels!' is somewhat similar to track 4. 'The Day Stalker' is like 'The Stalker Part 1', but with different sound effects surrounding the riff – and much shorter. I love the deep  synth sound with voice-like notes in 'Brayden Loves Stomping on Things!' 'A New Cycle' has church-type heavenly music which becomes muffled. It’s slow, becoming more mysterious and hinting at menace. 'The Favourite Snack of Night Creepers Everywhere!' is a sort of amalgamation of 'The Stalker' theme and the 'Toots' advert. 'The  Stalker Part II', begins with electronic monk voices. It becomes an alternative version of 'The Stalker Part 1'. Nice drums and sound effects.

'I Even Thought You Were a Suspect', is another obvious mixing of 'The Stalker' theme with the 'Toot' tune. 'Lair of the Stalker', has bass drum beats, heaving breathing, with the chords and subdued music of 'The Stalker'. 'The Do-Not-Call List' is only the high pitched phone ring-tone of 'The Stalker'. 'The Greatest Lives in the History of The Stalker'; a rumbling is followed by a synth version over a few bars. 'The Reflexes of the Elephant', is like an approaching storm, with rumbling and reverb. 'Beautiful Dreamer' is done in a childlike carousel manner. We finish with 'Up Above, Down Below'. This is a Rock/Punk song which is far too short.

I realise they are cues for scenes, but many of the little, few-second snippets could have been dispensed with in favour of longer and more varied suites. I love the electronica of this soundtrack; it’s just that certain ideas are returned to a few times. As mentioned 'The Stalker' has much potential and you kind of want it to be longer and more diverse. Nevertheless, this is a solid enough score. 

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Silva Screen Records

August 2020

Silva Screen Records releases for digital download the soundtrack for the 4-part Channel 5 psychological thriller The Deceived. Created and written by Lisa McGee and Tobias Beer, the drama stars Emily Reid and Emmett J. Scanlan and follows an English student who falls in love with her lecturer. A tragic death draws her into a tangled web of lust, manipulation and betrayal. Hannah Peel is a producer, composer and artist from Northern Ireland. She primarily utilises electronic synthesiser music, but includes sound design and classical scores linking nature and science. She has previously worked on Game of Thrones, and The Last Watch – as well as for music artists John Foxx and The Maths, and The Magnetic North. She is Emmy Award Nominated and an RTS Winner...

This is a difficult one to quantify. It’s a competent and varied score, but it’s only diverse within the parameters of its genre and pace. Strings are dominant, but a hint of electronica gradually increases in balance the further we progress through the music. There are 24 tracks and, although they’re far from being only seconds in length, I’m certain that several of these could have been edited together for the sake of continuity – especially as so many of them are similar in terms of tone.

The idea seems to be to portray a sense of atmospheric mood, plaintive and sad melodies, and melancholia. A third of the way through a darkness intercedes, with low fluttering, discordant piano, rumbling electronica, a menacing throbbing/whispering, and a general sense of off-kilter madness – and even one or two horror/thriller screeches. Although these sounds are incorporated it fails to ratchet-up the suspense; in other words, these emotions fail to drag you along for the ride, instead falling rather flat. I’m sure it fits the TV drama very well, but doesn’t make enough of an impact for a stand-alone soundtrack.

There is an over-abundance of strings, and yet the synthesiser doesn’t ever quite intercede enough to make an impression. I don’t wish to criticise this too much, because it’s a solid composition. There is a church feel, a marching effect, an almost John Carpenter-like beat with a Morse Code tapping, a fiddle and a music box – so a lot of thought has obviously gone into this. The problem, I believe, is with the balance. The most cohesive piece is 'Listen to Your Mother', which incorporates jaunty keys with electronica, fluttering and rumbling coming in around the edges, which then turns to classical strings and piano.

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020)

Label: WaterTower Music

September 2020

WaterTower Music releases the Original Television Soundtrack to Doom Patrol: Season One. The DC comic books characters are reimagined in a popular TV series. Robotman – aka Cliff Steele, Negative Man – aka Larry Trainor, Elasti-Woman –  aka Rita Farr, Cyborg – aka Victor Stone, and Crazy Jane are perhaps the most bizarre group of superheroes ever. Horrible accidents gave them their abilities, but also left them scarred and disfigured. Consequently, they are seldom celebrated for the good they do. The group is led by mad scientist Niles Caulder –  aka The Chief (played by Timothy Dalton). The soundtrack comes from two sought after composers: Award-winning, Golden Globe and Grammy-nominated film composer Clint Mansell (Black Swan, The Fountain), and multiple Emmy Nominee Kevin Kiner (Star Wars: The Clone Wars, Narcos: Mexico). The score is available for download...

We begin with the 'Main Titles' which consist of a nice electronic Pop/Rock vibe. There is a heavy moderate beat and dragging sound, along with a trebly guitar. Sadly, it’s far too short. 'Aftermath in Cloverton' maintains the Electronica. A deep rumbling with slamming percussion and bubbling synthesiser. A very nice theme takes over. This should really be the main title music. It settles down to simple notes and cut-off sounds. It abruptly changes to an electronic African tribal-like beat with  acoustic and electronic percussion. 'Robotman and His Daughter' has plaintive ringing piano sounds surrounded by weird noise. A basic electronic beat is introduced. Then an echoing multi-sound briefly makes an entrance before a whistling plays over a repeating mottled theme. 'Longing For Their Daughters' has keys sounding like dripping water washed over with a warm sound. Reverb plays a big part in this one, which is rather melancholy in its feel. Quite long and sleepy. 'Mr Nobody and Willoughby's thick synthesiser piece introduces a rumbling undertone. A moderate metal slamming surrounded by noises is overtaken by an eight note piece, which changes  just as quickly to a wood and clicking arrangement, and once again we’re in fantasy land territory. This becomes dark in atmosphere and somewhat spooky. A Vangelis clattering breaks-through and becomes low and ambiguous in its direction. It’s at times jaunty, and then heavy and oppressive.

For 'Vic and His Traumas' similar sounds are utilised. This time a repeating piano piece is hounded by a stomping beat, before toning-down to atmospherics with a throbbing pulse. 'Larry and His  Spirit' is another plaintive melancholy sound with a slow, bell-like melody. All the while there is an encompassing fluttering. 'Rita and Her Troubles' incorporates a slow and heart-felt beginning, which emerges into a rumbling beat and back again. 'Jane and the  Underground' has a fast-moving fluttering, scraping which belongs in a nightclub. There are a few diverse sounds inherent, before it returns to a wide film score sound and segues into a sort of alien music feel. 'Nile’s Tales' brings back the slamming Electronica, before becoming a wide and spacious landscape. It’s something that at times wouldn’t be out of place in a nature documentary or study of Shaolin Monks.

'The Bureau of Normalcy' has a bass rumbling and scraping take-off into full-blown Electronica, which reminds me of Pink Floyd’s 'On The Run', from The Dark Side of the Moon. There is a creepiness  to this, as well as a science fiction quality. This is a strong piece, certainly the best since track 2. Most of 'Silas Knows the Truth' is low-key, but it bursts forth from the chrysalis like it means business right near the end. 'The First Doom Patrol' has a light, jaunty tune which becomes something significantly more sinister, before changing back again to a moderate light beat. 'Vermin Patrol' is a fairly long piece. Strangely, the opening sounds like the score to a silent horror movie. A fuller mechanical sound encroaches and the whole metamorphoses into an off-kilter melody. It then repeats the whole cycle with subtle differences. 'End Credits (Doom Patrol)' is like a dance music version of 'The Main Titles'. I would love to hear a much longer version of this, which would really end the soundtrack on a significant high.

I’m intrigued by the premise of this series, and will certainly give it a look at some stage. This soundtrack unquestionably holds-up on its own merit, because until I’ve watched the series I have no idea whether or not it suits the mood. I love the use of Electronica in film and TV scores, as it is extremely versatile and can be easily layered. This is an impressive collection of soundscape tracks, marred only by a couple of similarly slow, melancholy and overly-long suites.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020)

Label: WaterTower Music

September 2020

WaterTower Music releases the Original Television Soundtrack to Doom Patrol: Season Two. The DC comic books characters are reimagined in a popular TV series. Robotman (played by Brendan Fraser), Negative Man (Matt Bomer), Elasti-Woman (April Bowlby), Cyborg (Joivan Wade), and Crazy Jane (Diane Guerrero) are perhaps the most bizarre group of superheroes ever. Horrible accidents gave them their abilities, but also left them scarred and disfigured. Consequently, they are seldom celebrated for the good they do. But still they investigate the weirdest phenomena in existence. The group is led by mad scientist Niles Caulder (Timothy Dalton). The show is produced by Berlanti Productions in association with Warner Bros. Television. It was developed by Jeremy Carver, based on DC characters created by Arnold Drake, Bob Haney and Bruno Premiani. WaterTower Music is the in-house label for WarnerMedia companies. The soundtrack comes from two sought after composers: Award-winning, Golden Globe and Grammy-nominated film composer Clint Mansell (Black Swan,The Fountain), and multiple Emmy Nominee Kevin Kiner (Star Wars: The Clone Wars, Narcos: Mexico). The score is available for download...'

'Miniature Patrol' is a fine way to commence this second season of music from Doom Patrol. Fantastic Electronica in the vein of a fusion between John Carpenter and 1980s Gary Numan. There are some nice fluttering noises and squeaks surrounding the central piece. Halfway through it strips right back to a more restrained sound, and then returns to the opening sound. Only this time the beat is different, feeling predatory, dark and menacing. There is a feel of building-up to a crescendo which is never quite reached. 'The Candlemaker' has a cello mood-maker with reverberating bells around it. There are some horror sound effects of slamming or stamping; a metallic resonance. Sampled background voices come to the fore, but they are purposefully off-key and create an off-kilter feel. A reflective tone becomes somewhat threatening with the brief introduction of squealing guitar and a vibrating pulse of synthesisers. This is more of a suite, and incorporates multiple emotions. 'Father and Son' introduces melancholy and more of a soundscape. Again, halfway through it gains more substance, becoming a quiet orchestral number. 'Dr Tyme and the Loose Brain' begins mysteriously and tentatively, before adding a bass beat and light sampled sounds. It evolves into a mechanical, almost industrial groove, and then withdraws to return more forceful than before with an alien freeform, like Electronica Jazz. Nice, and totally unsuspected in its direction.

'Backstories' lightens the mood entirely, with jaunty synthesizer sounds featuring delay effects. A scratchy, fuzzy electronic beat and slow, heavy reverberating bass synth informs us we have been lulled into a false sense of security. This recedes to the original sound but with a simple melody which jumps around in the background. 'Red Jack and the Butterflies' features a caustic electronic string section, amidst echoing effects and a false build-up. This is a searching-the-barn-for-noises scene straight out of a number of horror films. A bottle-tinkling and multiple off-kilter whirlwind of oppression endures here. 'To Keep Dorothy Happy' is a solo piano piece, slow and effective. It becomes an orchestral number, before bizarrely turning into a whirligig of carnival Electronica. In 'Catching Sex Ghosts' we return to John Carpenter territory for the opening, before grinding out a harsh beat and turning weird but interesting. A slipping off-beat accompanies a bass synth and a multitude of amazing sounds which come and go. There are false ends to this track, but it ends up being a down and dirty disco orgy of Electronica. Different. 'Cliff’s Heroics' incorporates a little guitar mixed with synths in a 1970s style TV show theme. It maintains this style, occasionally becoming dark and gritty, before ending in a sort of nightclub mix. 'Adventures in Space' has a space sound invaded by synths and the hints of the Doctor Who and Star Trek themes. This is lighter and more mystical, with its own melody. It’s also much more reserved, but screeches see it out.

'Scants' has a Funky Electronica vibe, with an underlying repeated bass beat like a train journey theme. Curiously it changes to a Beat Box sound with samples flittering around. This really is disjointed, as it begins a certain style, only to change it completely, and yet again. Most strange, which I suppose was being aimed for. 'It’s Time' rings in like the sands of the Mystical East. The heavier marching sound is enveloped in gently rising-in pitch synth sounds. A tapping and clattering accompanies that Industrial vibe again. An excellent theme enters the fray, but is cut off before you can begin enjoying it. 'Trauma at the Well' has some intrigue to the sound. This is all about creating an atmosphere until a simple electronic stuttering beat enters, bringing with it a ringing theme. There is a foreboding feel before a crazy fluttering plays around the central beat. 'Imaginary Friends' has a similar sound as the previous track, but incorporates a Western or Mexican piece amidst Chilean pipes and church organ. In fact, all manner of instrumental samples are thrown into the cacophony, including screaming guitar. We conclude with 'Meet Your Fate'. This is  a building of suspense with a ring tone and low oppressive juddering beat. A synth wave smooths over a juddering, and it starts to build up to a heroic crescendo with a nice theme.

I feel that Electronica is a perfect versatile sound for film and TV soundtracks. This is an excellent example. There is plenty of diverse and entertaining music here, which works perfectly well on its own merit (I’ve yet to see how it fits the series). The composers have done a remarkable job, even surpassing the score for Series One of Doom Patrol.

Verdict: 9 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020) 

Label: ScreamWorks Records

January 2019

Screamworks Records releases the Original Motion Picture Soundtrack to The Farm. Written and directed by Hans Stjernsward, the film follows a young couple who are kidnapped when they stop at a roadside diner to eat meat. Their ordeal is to endure everything an animal has to go through before being put on someone’s plate. Composer Sergei Stern’s plan was to incorporate live instruments, human voice and organic sound design – built on unconventional harmonics and unpredictable counterpoint. Stern has scored seven feature films and more than 80 short films. This is his soundtrack release debut...

The 'Main Title' is great, as you just can’t quite get a handle on it. There is percussion and some course sound effects, with music that teases on the edge of melody whilst establishing an atmosphere of weirdness and uncertainty. 'The Farm' has an old fashioned, positively pagan quality produced with strings. Uncertainty is the key word. 'Killing and Feeding' has lots of what might be described as cutting sounds, chains, knocking and dripping which turns this eerie music into a passive assault on the senses. 'Under' plays a waiting game, before strings and the occasional keys join forces with some unsettling sound effects. 'Ken Baby' features creepy, atmospheric noises which really don’t belong in the real world, and so prove unnerving. Just the slightest hint of soundscape music accompany them.

'Alec' has a throbbing pulse (I’m sure he has!), with a sound that hints at sawing phasing in and out, and becoming more electronic and fluttering. Stomping and a sort of horn-like roar takes over. 'Milk Cows' serves as a floating atmospheric piece. 'Wake Up' brings back the menace, with a number of prominent and underlying sound effects. 'Last Supper' incorporates chanting, off-kilter and ultra-low singing, and then vague music carrying a faint beat, fluttering, and the return of horror film strings and keys – but in a most original mad celebration of psychotica. 'On My Land' is an original pagan folk song written and performed by the composer. Whilst traditional in style, it still manages to sound like it’s from another time. This is heard playing through a radio in the film.

Although this is a relatively short soundtrack, it makes quite an impression and proves much more original than many longer scores. It’s very different in places to the overused techniques of the average horror piece. This one places you in an environment which is ‘not quite right’ through sound alone… and that’s no mean feat.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Silva Screen Records

December 2020

Silva Screen Records releases the Original Television Soundtrack to His Dark Materials: Series Two. HDM is based on the book trilogy by Philip Pullman. Season Two transposes the second book, The Subtle Knife. The story follows Lyra and Will, two children who are prophesied to bring multiple worlds together on the eve of a war. The BBC series, produced by Bad Wolf in association with New Line Cinema for BBC One and HBO, is very well realised. The music is scored by Grammy Award  winning, EMMY and BAFTA nominated composer Lorne Balfe. Originally from Inverness, Scotland, Balfe has created music for the genres of major studio and independent films, critically acclaimed television series, animated features, documentaries and video game franchises. The music to Season One of  His Dark Materials was universally well-received. The Series Two music is available for download...

The score hooks you in right from the beginning. It’s a dramatic opener which hints at the epic events to come. This is great music to lie back and listen to on headphones. It encapsulates all of the feelings and emotions you would hope to experience. At times you are carried away on the thrilling ride of a lifetime, and others soothed to the point of a comfortable sleep. The composer has the ability to inject a rumbling discordance and underlying menace without slapping  you around the face with stereotypical thrashing and shrieking. Sometimes there is only need for little nuances; however, never is a track left at that. Instead, it always adds substance so that you never feel that you are being served fillers. 'The Chosen', for example, informs us this is an intriguing and special moment. Every track employs a different tactic, which moves the score along in a flowing and unstilted manner. Having viewed seasons one and two of this BBC Sci-Fi fantasy drama, I can say with confidence that the  specificity of the music places you directly into the relevant scenes.

There are no flourishes in the conventional sense; everything is purposefully structured without ever coming across as forced. This is one of the most varied orchestral soundtracks I’ve heard in a long time. There is not only light and shade, but mood and presence. Also, it’s nice that the majority of the characters seem to have their own encapsulating theme. I like the otherworldliness of 'Journey Ahead', whilst incorporating a warm and grounding accompaniment. 'A Once Great City', whilst being Pagan-like, has a moderate but grand orchestral melody. 'Queen of the Southern Lanes' is wide and majestic. 'Fly Spectres' gradually builds, like a creeping malaise. 'A Mystic Explorer' has a thudding beat with a sweeping, soaring – almost  Marvel-like – grand piece playing along. 'The Eve of the War' leads like a Christmas tune before turning into a shorter but darker version of the main theme.

It would be a difficult matter to describe every piece of music, as  there are 35 tracks. But there is something for everyone on this impressive soundtrack. If I have one complaint, it’s a common one with decent movie and TV scores. Each track averages two to three minutes in duration, so the moment you’re into and enjoying it it’s gone again. I fully understand these snippets have been recorded to fit specific scenes on screen, but for the sake of the standalone album editing some of these into a much longer suite would be really welcome. Listeners would experience the music in a new light, in a relaxed setting, rather than being solely background music. Nevertheless, this is fitting music of which the composer should be proud. 

Verdict: 9 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020)  

Label: Silva Screen Records

July 2020

Silva Screen Records releases the Original Motion Picture Soundtrack to I Am Vengeance, directed by Ross Boyask. In the film starring Stu Bennett, Kevin Leslie, Gary Daniels and Anna Shaffer, John Gold is a mercenary who uncovers a conspiracy while investigating the murder of his best friend. The music score is by Greenhaus, an Electronic Rock band formed in 1999. The band consists of Steve Bellamy, Anthony Neale, Warren Farr and Ian Medany. It is available for Digital Download...

We begin with 'Second Chance', a nice slow and eerie piece with female vocals expands into moderate-paced Electronica, with drums and a ringing guitar sound holding the centre. There are nice weird noises for the outro. 'Vengeance' is a great track which owes a lot to the master of this type of film music – John Carpenter. The repeated melody becomes warmer and introduces some washing in and out sounds to it, before becoming more controlled. It reduces down to a throbbing beat and ghostly sound effects… before returning again. Very nice! 'Lost Brother' has an introspective start, which slowly introduces more elements to the number until bottle-sound Electronica – a quick backing – becomes more prominent. 'Devotion' incorporates a more chilling atmosphere. A gradual off-key fade-in produces a ticking beat with menacing surrounding elements. This is grand, wide music. A main thudding beat enters the fray at the 4-minute mark of a 12 minute track, and becomes more of a drumbeat throbbing. A fantastic background piece. The drums and deep throbbing synth sounds of 'Saving Rose' remind me instantly of Carpenter’s Ghosts of Mars. That train chugging vibe.

A ticking, rumbling on 'Interrogation' opens a short dramatic, atmospheric number. Sounds of foreboding precede a strange buzzing. 'One by One' has a Christine-like opening but which then adds a heavy but moderate feel. Complicated drum patterns jump in and the synth rides over the top or rumbles underneath. 'Second Chance (Reprise)' is the opening track returned to. 'Laid to Rest' is a piece of retrospection, with slight straining sounds struggling to be heard becoming more prominent. 'Hatcher Versus Gold' has a central theme which is crashed upon by great drums and simple but effective chord changes. Bits of guitar and odd sound effects surround it. 'The Stand Off (Part 4)' has an electronic piano sound with wind-like atmospherics and a fading tapping. A deep bass synth makes its presence known before vanishing almost before it starts. 'The Barn Assault' incorporates a throbbing melody with wider sounds which come and go. It builds to a fast beat which wouldn’t be out of place in certain nightclubs.

'Fix' has a threatening low tone which turns to a fluttering and eerie surrounding noises. This is nice but probably too long for what it is. 'Silhouette' rounds up the proceedings with a nice up-beat electronic Pop/Rock song with male vocals. Having two tracks with vocals places this release with one foot firmly in the mainstream pop category. Although this owes much to the original styles of John Carpenter (lets call it a homage), for a soundtrack this music is driving, melodic and uncommon in its direction. It’s everything you might want from a soundtrack. Of course, it helps if you like Electronica. 

Verdict: 9 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020) 

Label: Sacred Bones Records

February 2021

It’s John Carpenter; I’m going to like it, aren’t I? Well, yes, as a matter of fact. I’m a huge admirer of Carpenter’s work. I not only possess all of his films (some in two or more formats) but I also possess all of his soundtracks, and was lucky enough to see his live shows promoting his music on two separate visits to London (I have a Blu-ray of the first London show). With the score to Halloween 2018 he very much proved he still has the ‘feel’. The first Lost Themes album, released in 2015, came as a very pleasant surprise, with original film-like music and semi-regular hints of his film scores for the fans to detect and savour. Lost Themes II followed the next year. Maybe not quite as good but, nevertheless, another solid bunch of original non-movie tracks. Carpenter was very busy subsequently, touring the Lost Themes albums and getting together with his son Cody Carpenter and guitarist Daniel Davies to rerecord many of his classic big screen scores for 2017’s Anthology album – and then touring to promote that. So, it’s been a little bit of a wait for his next project. But I’m happy to announce that the waiting is over. Lost Themes III: Alive After Death is released on Sacred Bones Records, and is available on Vinyl, CD, and for Download.

The title track has a high melody with low bass synth holding chords. This shows a diversity to Carpenter’s Electronica. A drum beat is dispensed with in favour of a basic throb. But then a melodic screaming guitar announces itself, along with traditional sounding acoustic drums. A great opener. A slamming beat backs a low rumbling synth in 'Weeping Ghost'. Electric piano is introduced, with a high-pitched repeating ring. Electronic drums open-out the melody which is upbeat but with an underlying menace. This has motion; a sense of continual movement. 'Dripping Blood' has a somewhat mystical opening. Deep and heavy bass notes allow a synth to soar over the top, with a bell sound temporarily taking charge. This one is quite atmospheric. Moderate but meaningful. 'Dead Eyes' has a definite horror opening, with slightly off-kilter music and angelic voice samples. It changes quite drastically before returning to its almost creepy carnivalesque beginning. Guitar comes in at the end. 'Vampires Touch' has the deep throbbing reminiscent of some of  Carpenter’s best film themes, commencing with a reflective piece. A rumbling beat is purposefully not followed by simple but striking melodies, which have a life of their own. Everything dies away for heavy synth single notes. A recognisable clattering beat is built upon as the track steadily stomps to a conclusion, with the addition of guitar. This is the most diverse offering so far, and a definite highlight.

A background beat for 'Cemetery' breaks through to an electronic repeating pulse beat. An intruding heavy thread has fast moving melodies surrounding the main theme. It pauses before taking up the chase again, and adding increasingly more sounds. 'Skeleton' is the ideal single, as its structure is the most straightforward, whilst remaining upbeat and at times threatening. You could drop this straight into almost any early Carpenter film and it would fit like a glove as a main theme. 'Turning the Bones' has a repeating melody which plays over a bass, before a plaintive experimental synth sound sears through the middle and becomes a slightly higher pitch. This hinges on a simple structure and works all the better for it. 'The Dead Walk' has fairground high jinks turn to a flickering beat and synth sounds which build to a throbbing, almost dance beat. Crunchy guitar takes up the stamping beat. A break for electric piano allows the whole thing to build again, and you begin to realise how much thought has gone into this. The trio have learned how to communicate without words, almost knowing what each other is thinking musically. 'The Dead Walk' is another definite highlight. A phenomenal track. We finish with 'Carpathian Darkness', in which a fuzzy background has electric piano play through it and welcome the unsubtle introduction of grating guitar. But on the whole this is a quieter and more reflective moment. Again, it fits the title subject matter perfectly, whilst not particularly sounding like a film score. This is nice atmospheric music.

I love this sort of stuff, and John Carpenter has a natural affinity for it. I’ll probably play this on a loop now until I temporarily tire of it. However, I never take much persuading to dig out another Carpenter soundtrack for yet another airing. I recently bought The Fog white and green colour vinyl double album. The bottom line is this album is superb. I wouldn’t expect any different. Long may the great man reign.

Verdict: 10 out of 10

(Review originally written by Ty Power for reviewgraveyard 2021) 

Label: WaterTower Music

July 2020

WaterTower Music (Warner Media) releases Lucifer: Original Television Soundtrack to Seasons 1 to 5. The popular Netflix show, starring Tom Ellis, follows the Fallen Angel after he leaves his throne and teams-up with an L.A. detective to help punish criminals. But there are some unscrupulous individuals who seek to bring forth Lucifer’s true nature and tap into his power. The series is based on DC characters created by home grown writer Neil Gaiman and others. The music is composed by Emmy Award-winning Jeff  Russo – whose previous work includes Fargo, Lucy in the Sky, Mile 22, Star Trek: Picard, Star Trek: Discovery, and Cursed – and Emmy Award-winning Ben Decter, whose work includes CSI: Cyber, We Live in Public, Lethal Weapon, Operation Homecoming, and Shut Eye...

This is a collection of thirteen songs – or snippets of songs – ranging from seven seconds (yes, you read that correctly) to just over three minutes. The well-known songs covered – or I should say, emulated – are 'Sinnerman'; 'Heart and Soul'; 'All Along the Watchtower'; 'Eternal Flame'; 'Fever'; 'Luck Be a Lady'; 'I Will Survive'; 'My Way'; 'Creep'; 'Wonderwall'; 'Someone to Watch Over Me'; 'I Want to be Evil'; and 'Crime Solving Devil'. The genres undertaken here are quite diverse, ranging from Easy Listening, Jazz, Nightclub, Soul, through to Blues and Indie Rock. The songs are sung by the series stars Tom Ellis, Lauren German and Lesley Ann-Brandt – as well as guest star Lindsey Gort, and performer Skye Townsend.

This is a bizarre idea, and I must say I don’t know what to think about the concept. The big question is why? All that has happened here is a bunch of other people’s songs have been sold on the weight of the TV series Lucifer, using the gimmick of having some of the actors sing (and I use the word advisedly, because most of these are average at best). Some great songs have been utilised, but they are not strong renditions. Having tastes leaning heavily into Rock and Metal, I fully expected to enjoy 'All Along the Watchtower' (by Jimi Hendrix) and 'Wonderwall' (by Oasis), but 'Fever' and 'Creep' were stronger. The latter, by Radiohead, is a great song and displays voice versatility and control. This version sung by Tom Ellis is not perfect, but at least he has a go.

I know a couple of people who absolutely love the show. They are among many others, so it’s a sad indictment to short change the fans when it’s really only them who will consider purchasing this collection – a release short on both running time and ideas. 

Verdict: 3 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020)

Label: Silva Screen Records

November 2019

Composer: Various. Performed by London Music

Silva Screen Records Ltd releases Music From The Avengers Movies, Performed by London Music Works from music composed by Alan Silvestri, Danny Elfman and Brian Tyler. Not to be confused with the British Avengers serials from the 1960s and 1970s, this covers the Marvel Studios superhero movies Avengers Assemble, Avengers: Age of Ultron, Avengers: Infinity War, and Avengers: Endgame. The music is available for download...

We begin with the 'Marvel Studios Fanfare', which is the by now instantly recognisable opening for Marvel film titles. As this is only 36 seconds long, it would have been nice to have heard an expanded version. Tracks 2 to 5 explore music from Avengers Assemble. 'Avengers' has a military-like beat with accompanying fanfare, a theme often returned to in other Marvel superhero films. 'One Way Trip' has sadness and drama hand-in-hand for the first half before, suddenly, it’s action stations with heavy beats and building strings and brass. 'A Promise' is an acoustic guitar and strings piece, which has a sensitive and mild build-up. This incorporates the main Avengers theme from track 2.

On to The Age of Ultron. The 'Title' sequence is short and dramatic, whereas 'Heroes' has a horn-oriented drive which then returns to the main Avengers theme. 'Avengers Unite' includes nice  variations on the dramatic score, but it’s too short. 'New Avengers' (no, not the Steed, Purdy and Gambit one) has an almost incidental start but soon turns into one of the nicest short suites, definitely a favourite. On to Infinity War. 'Help Arrives' begins with the Avengers main theme, but this is longer and incorporates several atmospheres enveloped by a major suite. It’s the first time that we hear the lighter side, and it’s very welcome in order to inject a little change in tempo. 'Even For You' carries emotion, but somewhat slaps you round the face with it. 'Forge' features a nice building of suspense piece. 'Infinity War' handles the emotion in the music really well, although it’s really short and could have been expanded to cover the devastating events portrayed at the conclusion of the film.

We finally arrive at Endgame – essentially the second half of the Infinity War saga. 'One Shot' returns to that military beat of the Avengers and  S.H.I.EL.D. theme, offering us a slightly fuller version. Even 'Portals' contains the Avengers theme, which is well over-cooked on this collection. 'The Real Hero' is a nice introspective suite, which also carries a lot of inherent emotion. With all the bombastic elements in mind, this clever soul-tearing track is easily the most atmospheric of the bunch. 'Main on End' wraps things up to great dramatic effect.

The music compositions are great. There’s no doubting that. They suitably accompany and even enhance the action and drama on the screen. So, I have to ask myself what is missing. Why isn’t this knocking my socks off? It can only be that it isn’t produced by the same orchestra of instrumentalists as the impactful original. But it’s not just that. It’s missing that dynamic high quality sound we have come to expect. To me, this comes across as a little flat, a second-rate copy. It’s a huge disappointment, because I was expecting so much. Had a little more time and expense been spent on the final recording and editing product I’m sure this could have been close to the original. Another improvement would have been to offer a cross-section of Marvel film music which would surely have proved more diverse in terms of style and content.

Track listing:
01 - Marvel Studios Fanfare - Michael Giacchino
02 - Avengers (From "The Avengers") - Alan Silvestri
03 - Assemble (From "The Avengers") - Alan Silvestri
04 - One Way Trip (From "The Avengers") - Alan Silvestri
05 - A Promise (From "The Avengers") - Alan Silvestri
06 - Avengers Age of Ultron Title (From "Avengers: Age of Ultron") - Brian Tyler
07 - Heroes (From "Avengers: Age of Ultron") - Danny Elfman
08 - Avengers Unite (From "Avengers: Age of Ultron") - Danny Elfman
09 - New Avengers - Avengers Age of Ultron (From "Avengers: Age of Ultron") - Danny Elfman
10 - Help Arrives (From "Avengers: Infinity War") - Alan Silvestri
11 - Even for You (From "Avengers: Infinity War") - Alan Silvestri
12 - Forge (From "Avengers: Infinity War") - Alan Silvestri
13 - Infinity War (From "Avengers: Infinity War") - Alan Silvestri
14 - One Shot (From "Avengers: End Game") - Alan Silvestri
15 - Portals (From "Avengers: End Game") - Alan Silvestri
16 - The Real Hero (From "Avengers: End Game") - Alan Silvestri
17 - Main on End (From "Avengers: End Game") - Alan Silvestri

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Sony Classical

February 2019

Sony Music Masterworks releases the original motion picture soundtrack to the psychological horror film The Prodigy. Directed by Nicholas McCarthy, the movie has Taylor Schilling playing a mother, Sarah, whose young son Miles is suspected through his behaviour of being possessed by an evil entity. She is caught between the instinct to protect her son and seek help. Deciding to delve into the past, she begins to lose touch with reality. The composer Joseph Bishara has previously worked on the scores for The Conjuring 1 & 2, Annabelle, Insidious 1, 2 & 3, and  The Other Side of the Door...

I must say that, based on Bishara’s prolific background of recent prominent horror scores and the fact he uses influences of Classical, Punk and Industrial noise, I was expecting much from this release. Apparently, this was his “opportunity to explore the multi-life patterns of a soul’s journey, and bridging that connection into the real world where the struggle for survival takes place.” Hmm... This release is a little disappointing, to say the least. I was anticipating longer and more melodic suites; definitely something more exciting and varied. I realise that much of this is incidental music, meant to enhance the action and emotion on the screen, but as a separate listening experience it’s severely lacking.

I think this approach attempts soundscapes interspersed with surprises, but in doing so somewhat restricts itself. For example, 'Took My Hand' (track 2) jumps straight into horror territory with sudden jolts and slams, pauses and further jolts. This seems to be the order of the day. There are quiet piano and strings, with occasional woodwind and percussion, and the odd keyboard breaks. Only the final track, 'Hands Are Calling', offers up an entire orchestral moment – accompanied by a brief hummed voice.

Looking back at my notes, there seems to be one repeated process. I have written words such as ‘screeching’, ‘knife-like slashes’,  ‘jolts’, etc. This probably makes my point that the soundtrack is sadly more about effect than substance. I have reviewed so many strong scores recently, which is undoubtedly why this one comes across as  such a let-down.

Verdict: 3 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Silva Screen Records

October 2020

Silva Screen Records releases the Original Motion Picture Soundtrack to Rawhead Rex, written by classic British horror author Clive Barker – most famous for creating Pinhead in Hellraiser. Directed by George Pavlou, the movie from 1986 is about an ageless demon still alive in 1980s rural Ireland, which escapes the trappings of hell to be unleashed on a local farming community. It is up to an historian to find a way to bring a halt to Rawhead’s bloody rampage. The music is composed by Colin Towns, who is also a pianist, songwriter, arranger, producer and collaborator. His previous work includes Full Circle, The Puppet Masters, Maybe Baby – and for TV, Foyle’s War, Doc Martin, and  Pie in the Sky. For this one Towns visited the film set to take in the atmosphere, and met the actors. The score was recorded at CTS in London, and incorporated a sixty-piece orchestra and electronics. The format is available on vinyl, CD, and for Digital Download...

Rawhead Rex was one of the short stories which made up Clive Barker’s original Books of Blood.  It was one of many of his tales which were converted for the big  screen, but was not everything it could have been. The music is quite varied, though there exists a theme of peace and tranquillity interrupted by harsh and dramatic discordance. The 'Rawhead Rex Main Theme' has elements of Jaws from the outset. A piano is trumpeted over by a brass orchestral sound – loud and threatening. It turns into a nervy march. 'Welcome to Ireland' has jaunty flourishes. It’s not quite a melody. The orchestra builds but doesn’t really go anywhere. Only near the end does it sort itself out from the confusion. 'Rawhead Appears' allows taunting distant horns to introduce the high pitches common to horror. A running up and down of the scale and the stomping pace of bass drums precede a short roar. 'Nicholson’s Farm' has a distant ring come and go, before the kettle drums return to a two-tone screeching.

'Just You Wait' includes a raw noise and a low electronic bass, which  is joined by a piercing ringing. The interlude of a singing choir boy fades in and just as quickly out. This one goes through several phases  –  mostly with disconcerting sounds and rumbling, teased by lighter moments. A diverse array of electronic sounds are utilised here. 'Boy Runs For His Life Through the Wood' incorporates wet, flickering and rasping noises, accompanied by a thick synth sound. The ringing and shrieking returns. There is a dark portentous pursuit sound. 'Minty Gotta Pee' produces a country freedom flourish, with harp, pipe and piano. A feeling that all is not right enters halfway through, and it all becomes darker and more oppressive. 'The Vicarage' has innocent church music become rumbling and threatening. 'The Family is Leaving' has a piano and string piece become grand and celebratory but with foreboding undertones. It flicks between light and shade.

'Gussing Opens Book' is a dark movement, with tone and electronic atmospheres. 'Howard Discovers a Strange Glass Window in the Church' has light sounds lure us into a false sense of security, before hitting us with clicking and rattling soared over by heavy rumbling and a weird beat. A sound like a colony of screeching bats is taken over by a harrowing cacophony of angry sounds. 'Declan Goes Wild in the Church' issues a machine-like sound, and a backbeat is joined by a thriller-type pacing with orchestra and electronica. 'Howard Discovers the Power of the Stone' has a heavy stomping pace. 'Rawhead Rex End Credits' is similar to the 'Main Theme'. We end bizarrely, with a boy soprano rendition of 'There is a Green Hill Far Away'.

With fifteen mostly long tracks, you couldn’t complain about not getting your money’s worth here. Whilst not being the best soundtrack I’ve reviewed, it is a competent and pretty solid music score outing. I found it strangely soothing. I fell asleep whilst listening and had to backtrack. There are no full suites as such, but the whole creates all the pertinent moods you would want from a horror film without being too cliched. I found it to be great background music.  

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020)  

Label: Milan Records

August 2020

Milan Records (Sony Music) releases Neon’s Original Motion Picture Soundtrack to the darkly comedic psychological thriller She Dies Tomorrow. In the movie directed by Amy Seimetz (who also writes, produces and acts), Amy wakes up convinced she is going to die the next day. Her life begins to unravel as her delusions become contagious to those around her, and they all descend into tantalising madness. The score is composed by Mondo Boys, who knew the score had to handle the depth of an existential crisis without omitting the subtle comedy. They liaised with Amy and went for an indulgent dark opera. She was so  impressed by one of their tracks that it became an inspiration for filming the rest of the movie...

We begin with 'Le Portail Ouvre', an angelic opening full of hope and aspiration, with the hint of brief choral voices. 'Requiem, K.626 Lacrimosa' in main encompasses a well-known operatic classical piece by Wolfgang Amadeus Mozart. It reminds me of the music used in Endeavour,  the TV series about a young Morse. 'Desert Through the Door' has a Celtic feel to it, with stark wood-knocking sounds and angelic voices. 'Le Portail I' is a melancholy, atmospheric piece – again with the voices. 'Desert from the Car' incorporates a simple theme with pagan percussion noises. 'Le Portail II' has a simple bass sound, but is the first track to apply any real drama to the proceedings. 'Desert from a Dune Buggy' is so  similar to 'Desert Through the Door' that it’s by definition unnoteworthy. 'The Morning After' includes a clock-like regulator with a three-note repeated sequence. We conclude with 'Requiem, K.626 Lacrimosa (Reprise)', another section of track 2’s Mozart music.

I have to wonder why the two main pieces which feature Mozart have not been edited together as a longer suite. All of these tracks are pretty short and, as I’ve mentioned in a couple of other soundtrack reviews, it would have been nice to have had the composers restructure some of the similar excerpts into lengthier music which has continuity for the soundtrack and can be appreciated as a completed whole. As it stands, this score has some nice little samples but comes across as having no real substance. It’s very similar at each point, with only slight variations or sound effects. I’m intrigued by the film itself, which sounds like my sort of thing; however, the lack of variation and length here leaves the release found wanting. 

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020) 

Label: Sacred Bones Records

August 2020

Sacred Bones Records releases the single 'Skeleton' b/w 'Unclean Spirit', by John Carpenter. It is available on vinyl, to download or Stream. John Carpenter is a film director who has written and performed the music soundtracks to the vast majority of his movies – including Assault on Precinct 13 (1976), Halloween (1978), The Fog (1980), Escape From New York (1981), They Live (1988), In the Mouth of Madness (1994), Halloween (2018), and many more. He has also released two CDs of film-style music: Lost Themes (2015), and Lost Themes II (2016)...

I am a long-time big fan of John Carpenter. He is my favourite film director of all time, by a long way. What he has managed to achieve, mostly on a very restricted budget, is truly remarkable – especially as he has written or co-written the majority of the scripts, and produced the scores. It is tantamount to his skill and proficiency that none of them have ever failed to make a profit at the box office and, furthermore, Halloween was the biggest grossing independent film for many years. Even were he not famous for his filmmaking, he would be notable for his music mood prowess, which enhances his movies further still and make them identifiable purely by their main themes.

I could bore the hind legs off a donkey with what I know and love about John Carpenter (I have all the soundtracks and the films on different formats), but let’s concentrate on the new non-movie theme, 'Skeleton'. Carpenter sticks to what he is best at – and certainly recognised for – electronica and synthesiser music, latterly injected with electric guitar for added impact. A trademark rattling, throbbing is washed over by a warm synth sound. It is joined by a beat, a subtle ringing and electric guitar noise. The second time around it’s slightly different, being led by piano. The whole piece builds and has constant movement. In that respect it has some similarities to the Main Theme from Ghosts of Mars. However, if anything it’s better, and refuses to outstay its welcome with a duration of approximately three minutes.

'Unclean Spirit' is quite different, in that it is low and foreboding but strangely melancholy, too. The groundwork is sprinkled with atmospheric sounds, and is joined by electric piano. The central piece begins reasonably high and emerges much lower, injecting a couple of sequenced "Ah, Ah’s". It’s hard to do significant justice to work like this. There are lots of intrinsic eccentricities which fit perfectly but are difficult to describe. Let me simply opine that the great man has lost none of his prowess in ‘feeling’ a piece – even when there is no film to inspire the mood or direction.

This release is a taster for Carpenter’s next CD, Lost Themes III: Alive After Death, released in February 2021. Do yourself a favour: if you haven’t heard any of his music, try the Anthology album of his film music, or Escape From New York for its diversity (although I prefer The Fog for its creeping malaise). For original non-film music, the first Lost Themes album is particularly good, as it’s original but at different points puts in short teasers for the fans to recognise (“Hey, that little bit is from his Prince of Darkness score!"). I have seen John Carpenter and his band live on two separate visits to London, playing his themes to screened montages, as well as promoting the Lost Themes albums. The guy is 72 years old now, but let me tell you he can still rock with the best of them. Can’t wait for the new album. 

Verdict: 10 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020) 

Label: WaterTower Music

August 2020

WaterTower Music (Warner Media) releases Stargirl: Season 1: Original Television Soundtrack. From the DC Comics beginning in 1991, Stargirl portrays the first superhero team, Justice Society of America, and in particular High School student Courtney Whitmore, as she inspires others to confront villains from the past. The character is inspired by creator Geoff  Johns’ sister, who sadly died in a plane explosion. Composer Pinar Toprak – originally from Turkey before moving to America – has previously scored the movie Captain Marvel, the Superman prequel series Krypton, and mega-selling video game Fortnite, among others. She has won various awards for her music and been shortlisted for an Emmy and Academy Award.

'The Justice League of America' kicks-off the proceedings with a pacey short piece. 'Pat Was Right' has a sad string section, with a pattering sound that turns into an Avengers like teaser of a full-blown theme, before easing-off again into piano tinkling. 'Rescuing Starman' is  dramatic and incorporates hints of voices. I particularly like the little weird background noises.

'Friendly Folks' is a light interlude with a simple but effective  melody. 'JSA Files' has a tentative start with much going on in the background. The first hint of an orchestral score. The music of 'The Cosmic Staff' fits the piece perfectly, easing under the narrative of the story. It knows exactly when and how to pick up the pace slightly, becoming more human and feeling. Music to make a person believe in themselves. 'Brainwave Calls Icicle' incorporates sad strings once more, with dark moments. 'Pat Reviews Files' has an edgy espionage-type sound, with dark rumblings and a light conclusion.

'Brainwave Threatens Courtney' includes fluttering strings and a melody inspiring intrigue. There is dark rumbling and a portentous heaviness. 'Leave Blue Valley' is another feeling string moment of melancholy. 'Elegy For Joey' has the sad strings, but in some ways becomes  something close to a Western theme. 'Rex and Wendi Leave' portrays a galloping building of tension, which again switches to melancholy strings, before the drama ensues. 'Rick Wears the Hourglass' is piano and strings. 'Beth Meets Chuck' is a jaunty piece, whereas 'JSA Vs. ISA' has a moody, throbbing sound which evolves into a Holst-like dramatic moment.

'I’m not Stargirl' is a slow, melancholy piece. Keys and touches of electronica make this a simple but heartfelt number, with a late rumble of dark foreboding. 'Henry Vs. Henry' is a continuation of 'I’m not Stargirl', but soon takes-off with a searching horn melody and fluttering accompaniment. 'Fighting Sportsmaster & Tigress' – is an up-tempo beat which can’t help but make you connect with other heartfelt superhero battle scenes.

'ISA Manifesto' includes sounds which switch between mild strings and piano to off-kilter uncertainty, through to a mood of danger. 'Justin Needs Help' is a horror mood: dramatic with monk voices and religious aria undertones. 'The Christmas Gift' is a short linking piece. We wrap-up with 'Stargirl Destroys the Transmitter', which has dramatic themes in keeping with the superhero genre.

There is much to admire here but, for me, it’s missing a longer and more coherent suite of the main themes. This could quite easily have been done with the last track, the action and emotion playing-out at length to leave a lasting impression. Overall though, it’s a better than average score. 

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020)

Label: WaterTower Music

November 2020

WaterTower Music releases the Deluxe Edition of the Motion Picture Soundtrack to Tenet. In the Warner Bros. science fiction action film, written and directed by Christopher (TheDark Knight Trilogy) Nolan, protagonist John David Washington journeys through a twilight world of international espionage, fighting for the survival of the entire world armed with a single word: Tenet. The mission will unfold beyond real time. Not time travel, but Inversion. The international cast includes Michael Caine, Kenneth Branagh, Robert Pattinson, Elizabeth Debicki, Yuri Kolokoinikov, Himesh Patel and others. The score is by Academy- and Grammy Award-winning composer Ludwig Göransson (Black Panther, The Mandalorian). The 20-track deluxe version incorporates two bonus tracks, and liner notes from Chris Nolan and Ludwig Göransson It is available on Triple Vinyl, 2-CD, and for Digital Download...

'Rainy Night in Tallinn' kicks us off with a warming-up of string section sound. A thick, deep electronic timed beat is surrounded by a clattering and a bass synth sound. A nice but foreboding piece of ambiguity. 'Windmills' is slow and mysterious, but it still feels like there is lot going on. It’s a full and warm sound. 'Meeting Neil' serves as a linking track, with Electronica which comes and goes like trying to make radio connection. 'Priya' has a naval-contemplating sound which fights its way out of the fuzz and begins a clattering beat. 'Betrayal' creates a feeling of introspection which tentatively builds. 'Freeport' incorporates a light electronic drum that sounds like an electronic wasp. It evolves into a brief melody. '747' begins with a basic string noise against a deep stomping. It then becomes louder and significantly more dramatic – like being stalked by a giant. Total Electronica takes over, with a threatening build-up which falls away to a space sound before changing again. This is the best offering since the opening track. 'From Mumbai to Amalfi' is atmospheric, with a cello accompanied by light space noises (think of the end titles to Gerry Anderson’s U.F.O. series). 'Foils' has a lighter, more jaunty feel, with a Vangelis-like backing. Harsher sounds are introduced to darken the mood. It would make an ideal sample, as it’s one piece of music. Little happens in 'Sator' until the second half, which is a disconcerting assortment of electronic noises and a faint, human-like voice which assaults the left speaker but says nothing.

'Trucks in Place' has a thudding, warping beat with different sounds surrounding it. More succinctly, a dragging backwards loop. An inventive sound. 'Red Room Blue Room' adapts a strange breathing sound with distortion. A high ringing invites a trepidatious feel. 'Inversion' includes a fluttering which introduces a range of synthesiser sounds – low and bass, fuzzy and fluttering. 'Retrieving the Case' is a basic tentative repeating sound that builds to a cacophony of Electronica and a fast pace. 'The Algorithm' has a string section which turns to a heavy, thudding beat and a melody of sorts. It’s a good piece strong enough to be a main theme on any action film. I believe 'Posterity' is the longest track at over twelve minutes –  although it takes four of them to get going. It then becomes a building, substantive piece. A strong track. 'The Protagonist' is slower and quite atmospheric. The grounding is in bass guitar, with touches of ringing guitar. All of this is abandoned for the Electronica. 'The  Plan' is a song by multi-platinum, Grammy-nominated recording artist Travis Scott. I’m not a fan of this type of music, especially wherein  the vocals are helped tuning-wise by artificial means. I do, however, like the electronic underlying throbbing beat. I should mention, too, that there are explicit lyrics.

On to the two bonus tracks, and we begin with 'Fast Cars'. It has a  drum machine beat, and a fast-moving pulse-like tempo. It has the feel of a chase scene without having much substance. The same sound just increases in speed. 'Turnstile' concludes the proceedings. This begins in the same style as the preceding track, before having a fast electronic beat joined by clattering and, latterly, by a cello and other Electronica. These are far from being the best two tracks on the release, so I can understand why they weren’t originally included.  Plus, it negates the end-piece of 'The Protagonist'. Like the film itself, this soundtrack will split the critics. The main deciding factor in this is whether or not the listener likes an electronic score, or is a traditionalist preferring a live full orchestra. Personally, I love Electronica with the proviso it is varied and not too samey. The soundtrack to Tenet succeeds in this respect, and overall this is an excellent collection. Standout tracks are 'Rainy Night in Tallinn', '747', 'Foils', 'The Algorithm', and  'Posterity'. It’s all very inventive, and certainly stands alone.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020) 

Label: WaterTower Music

December 2020

WaterTower Music releases the Original Motion Picture Soundtrack for Wonder Woman 1984. In the DC/Warner Bros. movie, directed by Patty Jenkins and starring Gal Gadot and Chris Pine, Diana Prince is living a quiet existence as a curator of ancient artifacts in the excessive and, some might say decadent time of Earth in the 1980s. She occasionally uses her powers to help in certain situations, but is forced to step into the limelight to save mankind from a world of its own making. During this time she will face Max Lord, as well as her fated nemesis Cheetah. The music is by Academy Award-winning composer Hans Zimmer, who has previously scored The Dark Knight Trilogy, Interstellar, Inception, and The Lion King. For this one, the director discussed with the composer not only a number of themes which would relate to the '80s, but layers of emotion for the character, and purer, more heroic variations on the original film version of Wonder Woman. The soundtrack is available for download...

'Themyscira' has a mystical opening which quickly evolves into the melodic and grand Wonder Woman theme. It has a taste of Christmas about it. 'Games' has a cheerleading and tribal mix to it. Very dramatic, it uses both orchestral and electronic elements. '1984' develops brass and string galloping music. 'Black Gold' has a marching beat which slaps you around the face before tentatively touching with tenderness. There’s underlying drama inherent. 'Wish We Had More Time' is an emotional short piece. 'The Stone' is something a little different, with a ticking chord sequence. 'Cheetah' incorporates a fantasy element with dark movement and a synthesiser beat. This track isn’t quite sure what it wants to be. 'Fireworks' is a known theme, moderate and purposeful. 'Anything You Want' has jaunty Electronica which is joined by strings, that make the piece more plaintive…  Before it builds into a theme of its own. Nice.

'Open Road' has a heavy drumbeat and an overly dramatic full melody. Ironically, this is a little dull. 'Without Armour' is a light harp piece, with strings and choir voices. 'The White House' has a running pace that is taken-over by heavy beats and slamming. In 'Already Gone' the building stomping returns with a siren, but then becomes more melancholic. A sweeping movement. 'Radio Waves' has a distorted rumble and backbeat which becomes an often-utilised clattering, with a simple repeating tune. 'Lord of Desire' is a short, with a chanting choir. 'The Beauty In What Is' jams variations on the earlier main theme. We reach 'Truth' and, as the soundtrack moves on, ideas are re-used, and the central piece is returned to far too often. Towards the end I am tiring of having my ears stomped all over… and this is from a reviewer who loves Metal music! The Bonus Track, 'Lost and Found' makes the entire soundtrack worthwhile. It is a much more restrained and emotional piece. Furthermore, at just under twelve minutes this is much more of a suite. Wonderful, you might say. This gains an extra mark by itself.

With some tracks averaging between five and seven minutes, there is opportunity to hear more of a developing piece than on many other soundtracks. However, this has to be tempered with repeating themes towards the end, and an imbalance weighing heavily on overly prolonged  dramatic themes. The Bonus Track proves the fact the composer has another feather to his cap, and is more versatile than the rest of the score would have us believe. 

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020) 

Label: OGRE Sound

January 2019

Fictitious Synth Horror Concept Album

Long-time collaborating retro musicians and recording artists Robin Ogden (known as OGRE) and Dallas Campbell release the fictitious horror movie soundtrack All Hallows’ II, available for download and on cassette. The premise is that 35 years ago, police discovered the remains of over a dozen former patients in the sub-basement of an alternative healthcare facility, The Shephard Institute For Psionic Inquiry. All Hallows’ II is the story of investigative journalist Ellis Ledstone and Shephard’s other victims, whose bodies were never found. Using the case files from the events of 1983, it is the listener’s task to assess all of the evidence and uncover what really happened at the institute. There are logged interviews, reports and artefacts which are included digitally with the release, and physically with hard prints with the soundtrack.

Loving mysteries and being a life-time horror enthusiast, I found this concept more than intriguing. Furthermore, the invocation of the weird fiction of H.P. Lovecraft (one of my favourite authors of all time) and the film music of John Carpenter (my favourite film director bar none – I have all of his soundtracks, too) this really had been built-up to the point of high expectation. This is always a danger; using classic names invariably leads to a disappointing let-down. However, these guys have a passion for what they do, which is exemplified by the fact they live 3,594 miles apart and have never met in person, collaborating only on-line using FaceTime, Dropbox and Sid Meier’s Civilisation V. All Hallows’ II is their fourth collaboration, their last score being a reimagining of George A. Romero’s Night of the Living Dead. They have a common fondness for analogue, tape machines and vintage synths. But how does the duo’s latest offering shape-up?

There are 24 tracks offered-up, many of them brief linking sections featuring mood pieces or sampled sounds, but even these include some nice surprising little melodies which I wish had lasted a little longer. The entire myth score is tributes and influences from the classic synthesiser soundtracks of the 1980s, like Tangerine Dream and bands such as Goblin and Kraftwerk. So we have 'Ident VI', which is a short Close Encounters of the Third Kind-like introduction. 'Admittance', and 'Have You Seen Me' are straight out of the John Carpenter book – the latter with added curious drum beat changes. 'The Couvert Tapes' goes one step further by emulating Carpenter’s Prince of Darkness with a back beat. 'Last Days of Daylight' is reminiscent of many neon glitzy horror films of the late 1980s.

I realise this is supposed to be a fictitious horror movie soundtrack, but I would have preferred to have had this seemingly bottomless box of electronic sounds and music patched together into longer pieces of music. In fact, many of these segments deserve an extended stay. Six or eight tracks only would have meant many of these melodies and samples could have been incorporated into one more coherent (and cohesive) piece. '911', 'The Gate is Open', and particularly 'Details Unknown' could have shone more brightly. 'Satanic Panic' promises much, but isn’t a strong piece to end the album with.

Much of this type of music hasn’t been enjoyed since the New Romantics era. For that reason it’s priceless, but I also can’t help feeling it is a missed opportunity. Look out for a selection of B-Sides and cuts entitled: All Hallows’ II: Coda, which will follow this release.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019)  

Label: ScreamWorks Records

December 2018

Screamworks Records releases the original movie soundtrack to Aurora to coincide with the film’s premiere at the Metro Manila Festival. In this supernatural feature, directed by Filipino Yam Laranas, a passenger ship runs aground on the rocks of an island. A woman and her sister are obliged to find the missing dead for a bounty to survive. The Swedish composer Oscar Fogelström believes the film asks a lot of questions about our mortality. The idea from the start was to write a requiem for the dead, and also to have the music speak for the water – which features in so many scenes – by having a swelling back and forth...

'Surge Sursum' is an introductory operatic vocal piece, for the rest of the score. There are 18 tracks, most of which are around the two- or three-minute mark. This makes for a pretty segmented and disjointed whole. What would have worked a lot better is a handful of music suites – or even a single concerto - so you can appreciate the changes and direction. Separately, they don’t feel a part of something significant. Let me give some examples.

In 'Across the Water', the background opera becomes shrieking strings and intermittent percussion. It’s briefly dramatic but contains repeated   sequences. The promised ebb and flow, as in the movement of the tide, makes its appearance here. 'The Dead Will Find Their Way Home' has more of a traditional horror style, with dramatic noises like you would expect in a religious-themed chiller. 'No Escape' has chanting reminiscent of a black magic ritual, which turns to eerie noises and a deep bass. 'One Thousand Voices' has a melancholy sound which is too often returned to. In fact, you end up in a kind of stupor listening to a pattern quilt of unexciting musical textures.

Disappointingly, everything seems dreary and dreamlike, with very little inherent tension, suspense or trepidation. There’s no sense that something remarkable is happening on screen, as much of the pace and volume is flat. It’s like listening to a church mass, with choir and orchestra, when everyone is hung-over and just going through the motions (as unlikely as that is to happen). My comment seems to suggest I dislike that genre of music but, much as I don’t seek it out, the final short track 'Aurora' is a quite impressive Requiem in Latin which wouldn’t be out of place in an episode of Cadfael. However, long before then I’d become tired of the overused themes and lack of ‘oomph’ (that’s a technical term, you know).

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018) 

Label: Plaza Mayor Company Ltd

March 2019

The Plaza Mayor Company releases the Original Motion Picture Soundtrack to The Body Tree. In the film directed by Thomas Dunn (known for writing The Ungodly), a group of American college students travel to Siberia to honour a friend who has died, and get caught-up in a cat and mouse whodunnit. “Nobody leaves.” The music is composed, produced and performed by Navid Hejazi, who was charged with coming up with a minimalist approach to capture the essence of the location. The director wanted a thriller score, rather than outright horror, to highlight the heightening tension between the characters and punctuate the scary moments...

The track listing is: Opening Titles; Siberia; The Tree of Spirits; The Doll; Shamanic Rituals; The Ceremony; Memories of Kara; Forest Chase; Suspicions; Eric Becomes the Demon; Proof; Eric Attacks; Sandra Escapes; The Only One Left; When You Love Someone; and Alternate End Credits.

I’m sorry to announce that The Body Tree is one of the dullest, non-descript scores I have come across – certainly since Cradle of Fear. This could have been so much more. I fully understand the fundamental purpose of a film soundtrack is to enhance the atmosphere of the inherent scenes. But there needs to be music which the viewer/listener can latch onto, even if it’s subconsciously. If you haven’t got proper music then you can’t hope to put everyone at their ease. To my mind, this needs to be established for any subsequent change of mood and atmosphere to take effect. You can’t have one without the other, otherwise the eyes and ears of the audience will not feel that they have been dragged out of their comfort zone into a world of uncertainly and terror.

As there is no real music present, I would describe this score as sound design. The promotional blurb has it pretty spot on when they promote it as electronic and organic/ethnic. Each track is made up of a series of separate or flowing ambient, atmospheric and tribal noises. There are lots of dark, menacing rumblings, swarming sounds, fluttering sweeps, very low percussion, fuzz and background pagan activity. All of this may well prove effective in the film, but this is a review of the stand-alone soundtrack, and I can’t imagine many people being entertained by a series of unconnected noises.

Verdict: 3 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: WaterTower Music

November 2019

WaterTower Music releases the Original Motion Picture Soundtrack to Doctor Sleep – available for digital download. Doctor Sleep is a film adaptation of international bestselling writer Stephen King’s novel – which is itself a sequel to The Shining, and in particular Stanley Kubrick’s 1980 classic movie (which I, personally, don’t like as much as the excellent miniseries). In Doctor Sleep, directed by Mike Flanagan, we meet Danny Torrance 40 years after his horrifying stay with his father at the Overlook Hotel. Music is by Andy Grush and Taylor Newton Stewart – otherwise known as The Newton Brothers – whose previous scores include: The Haunting of Hill House series, and the films Oculus, Gerald’s Game, Extinction, and Ouija: Origins of Evil...

There are no less than 36 tracks on this album, although some of them are linking pieces or short fillers. The intention here is to pay tribute to The Shining themes, whilst giving this film its own original and eclectic feel. Of course, they would say that, wouldn’t they! Indeed, the opening track 'Dies Irae / Violet'  incorporates The Shining Main Titles. The purpose is to be  different by incorporating a multitude of rare or unusual instruments, such as a modified hurdy gurdy known as a hurdy grande (played by Paul Dresher), one of the world’s largest aeolian wind harps (located in Northern California), and modular synthesisers. The orchestra (set up for panning movements between sections) was combined with a unique choir, the aforementioned modular synths and rare instruments, and sprinkled with live recordings – essential for the brothers to create the required sound palette.

There is a semi-recurring theme of a heartbeat, but dressed-up in  different disguises, and to great effect. It cleverly brings the human element of the music to your senses, making it more personal. I  thought all of the eggs had been put in one basket with '237', because it features deep, increasing rumblings, a nice use of bass synth, ringing, shrieking, tapping, buzzing, and other sound effects phasing in and out so that you have no idea what to expect regarding its direction. However, 'Who’s Tony?' Has a quite other worldly feel, 'Baseball Boy' (wrongly listed on the blurb as 'Steam') has a deep sense of foreboding, 'Astral Projection' has full-on horror slamming with inherent voices from the blue, and the early parts of 'Redrum' sound like the ‘Kill, Kill, Kill – Ha, ha, ha!’ sections from Friday the 13th.

The track lengths range from 51 seconds to 5 minutes and 58 seconds, the whole amounting to upwards of 80 minutes. I have previously criticised certain film soundtracks for not containing any music suites – only sound effects. However, in this instance the instruments, created moods, and constantly changing patterns offer the entire score quite a diverse and original assault on the senses. Although employing a little of the age-old tricks of the trade, even those are presented in a manner which makes them seem new. You wouldn’t be able to enjoy this as a music piece per se, but I can fully imagine it suitably enhancing the on-screen images of the film. I know someone who will only watch horror films with the sound muted, because it’s the music and sound effects that scare her, not the film itself. This is a good example of that priceless partnership of picture and sound.

It occurs to me that for anyone heavily into the Halloween festival, this would be an ideal soundtrack to quietly pipe through to hidden speakers outside your front door, as it incorporates practically every horror setting and feel that you can imagine. It might even frighten the trick-or-treat kiddywinks away, and then you can keep all the sweets for   yourself!  

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019)

Label: ScreamWorks Records

July 2018

Screamworks Records releases another film soundtrack for digital download. This time it’s the pagan chiller Dogged. The movie, directed by Richard Rowntree, has Sam returning to the island of his birth to attend a funeral. However, things have changed, and Sam discovers a community with a dark secret   (The Wicker Man, anybody?). James Griffiths was the composer of  The   Drift, finalist at the Music & Sound Awards 2016, The Siren, In the Park, and 68 Kill. The folk horror Dogged creates a string quartet, accompanying electronics and gut-wrenching vocals to enhance the gritty performance of the film...

'The Dogged Danse' starts things off with a main theme, a slow-paced retro string piece, which is followed-up by a moderate piano composition which  immediately brings back the strings. 'Islander' utilises a creaking reminiscent of a wooden ship, and some industrial noises. There is eerie electronica in track four, but it doesn’t last long before the central theme is back biting at its ankles. Then there is more string and piano with different sound effects and echoing. I thought that the track 'Daniel' was going to be different; there are some inventive noises at the beginning, but the same feel follows.

Twelve tracks in and 'The Chase of the Fox' is the first time anything different happens. The building-up of odd noise develops into the up-tempo chase itself, but the fade-out returns to the same tired tune. 'Displeasure' gives us some much needed atmosphere with distant wolf calls and ambient noises. However (yes, you guessed it), a semblance of the same music intrudes yet again. Even the refreshing chugging organ with woodwind accompaniment is played-out with the slow piano. 'The Cult Parts 1 & 2' are probably the stand out pieces, ostensibly because they are so different from the rest. It’s a taster of what could have been achieved had the composer been more diverse in his offerings.

The last section of 'Bad Majik' shows promise, but it’s too little too late. 'The Dogged Danse' music is slightly faster than the opening version. It reminds me of the kind of theme we might expect to hear for an Agatha Christie TV movie. Although there are 29 tracks on this release, the sheer amount of reprised work means there’s probably only six or seven worth listening to.

Verdict: 3 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018) 

MovieScore Media

May 2018

Devil’s Tree: Rooted Evil is a horror/fantasy film following Sam, a budding journalist, who investigates the dark history of the tree. Fighting her own inner demons, she uncovers the origins of what haunts the tree. ScreamWorks Records releases the official soundtrack, available for download and physical product (Quartet Records)...

Composer Chad Cannon cut his teeth as part of the orchestral team of Conrad Pope on Godzilla and the last two Hobbit films. He co-composed a Chinese score for The Cairo Declaration, won an award for his music on the documentary Paper Lanterns, and is founder of the Asia/America New Music Institute, which promotes music relationships between the USA and Japan.

The original plan was to base the score around a church organ sound, but the trick was to avoid what he calls ‘kitchyness’ – in other words, any old-school stereotypes in horror. Instead, he wanted to experiment with individual pipe sounds. He and his engineer carefully recorded the frequencies which emanated via the lowest pedals for each dissonance. The idea being to manipulate the music over a heartbeat background.

Let me take you through the tracks to get a general idea of the effect. 'The Boy' is a slow and atmospheric introduction. 'Devil’s Tree Title' is a mood piece which hints at what is to come, and then segues into a march to battle feel. 'The Mind of a Killer' is a sinister foreboding with a clockwork timing. 'The Marine' is the most incidental in structure of the lot, with low key tones, underlying cello and the occasional light pipes. 'Another Victim' has pan pipes, although not as jaunty as we normally hear with this instrument. In fact, this track is the most varied, containing creeping menace, a slight quickening of pace and a rising and lowering of volume. 'Something’s Wrong With Bob' has eerie undertones. 'Samantha Visits the Tree' is simply a low rumbling menace. 'Officer Harris' is more of the same. 'Flashback And Natalie’s Story' supplies us with a rattling/slipping sound, which sounds like a creepy washing machine! String over organ comes in late in the piece. 'The Murderer' has similar string and incidental sounds, replaced by piano, flute and a low screech. 'Paranormal Investigators' is simply rumbling. 'Possessed' has a fluttering string section and off-key piano. 'Aunt Debby’s – Closing Credits' is a disappointment; I expected more than mere noises for closing credits. 'The Spirit' is a very short sequence which reprises the off-key piano over a string rumbling.

The further through this score I got the less accomplished it seemed to become. If the soundtrack had incorporated more light and shade, more of a sense of drama, I might have scored it as high as an 8. There is good background ambience without on its own being able to instill tension, anxiety or fear. Everything is very much of the same level and the same pace. As there is no sense of danger or urgency I’m interested to see the film and gauge how well it fits.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018) 

Label: Silva Screen Records

January 2020

Silva Screen Records releases the Original Television Soundtrack to the BBC series Dracula, scored by David Arnold and Michael Price. The series, screened in three feature-length parts, was created by Stephen Moffat and Mark Gatiss, the team behind the critically acclaimed Sherlock. It followed the exploits of Bram Stoker’s vampire fiend Dracula through three time periods, and the attempts of Van Helsing and her descendants to bring his reign of terror to a close. It starred Claes Bang, Dolly Wells, and even Mark Gatiss himself. David Arnold is best known for his music accompanying the likes of James Bond and Good Omens. Michael Price has previously scored for Sherlock and Unforgotten...

It is said that the best film music is that which you don’t notice – not in terms of main themes, but certainly with incidental music. I must confess, being an enthusiast of the work of both Mark Gatiss and Stephen Moffat – and a lover of the horror classics – I couldn’t wait to see their new take on the Dracula character and situations. Although not blown away by it, I did enjoy the second segment on the ship to England. And I didn’t remember the music.

The 'Opening Titles' has a mystical East theme to the music, with strings and plenty of impending doom. 'Mina’s Theme' incorporates acoustic guitar and piano, which begin slowly, before strings pick up the pace. This is a nice track. However, I was only a third of the way into the 31 tracks when I noticed a pattern. This is more about invoking the relevant feelings and ambience of mood, than necessarily producing an enjoyable music suite. There are a few tracks of rumbling discontentment, and those with screeching and slicing. 'Boxes of Undead' has this feel, along with a galloping pace, as does 'Dracula is God'. 'Hello Jonny', 'You Are Jonathan Harker', and 'Sermon' all have a lazy melancholia inherent. 'Bats Are a Little Noisy' has a marching to battle feel, as does 'Clearing Her Throat', which sounds like something out of the classic film The Vikings (particularly the horn).

There are exceptions to this, of course. 'Vague In Parts' has an original feeling which inspires intrigue. 'In the Mirror' has a progressive, driving beat which becomes increasingly more oppressive. 'What Kept You' is a slightly different take on the 'Opening Titles'. 'Trying to Contact You' begins with a nice fluttering percussion piece, with strings which build this into a theme in its own right. 'The Fear' is the longest piece of music by far, and is the only one which could be considered a suite. It’s a very nice contribution; it definitely lifts the whole.

Over all, the music is good but repetitive in parts – probably due to the excessive number of tracks, most of them very short. It would almost certainly have been improved had some of them been combined into longer suites for the soundtrack release. Ironically, had this possessed less tracks I would have rated it higher, as it would have sounded more diverse.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2020)  

Label: Plaza Mayor Company Ltd

January 2019

Plaza Mayor Company Ltd, and The Orchard release the Original Motion Picture Soundtrack to El Silbon Origenes (The Whistler: Origins). In the film, directed by Gisberg Bermudez, a man seeks to save the soul of his daughter from a phantasmagorical creature. Through neglect, mistreatment and sorrow the creature has become a righteous spectre of vengeance and retribution. Composer Nascuy Linares has previously scored Embrace of the Serpent, Cortos Interruptus, and  Cyrano Fernandez...

After experiencing some larger than life outstanding film scores and some rather disappointing releases, this is a strange one because it incorporates very little in the way of music. Therefore, it can work only as an ambience piece. 'Infancia' has sounds similar to an old grandfather clock trying to work whilst breaking down. There is the merest hint of a tune involving bells. 'Tema Silbon' is not too dissimilar, only this time with electronica. 'Origenes' has a woodwind sound punctuated by an off-key Wurlitzer noise, fluttering percussion and, bizarrely, clapping. 'Silbon Variacion' has a Pagan or tribal feel, with ringing. Are you still with me? All of this is pretty mad, right?

It continues with 'Brujos 1', which reprises the tribal sounds with a hint of voices. 'Brujos 2' changes the percussion slightly and adds a slightly discordant piano. 'Brujos 3' opens with a rumbling, before being eclipsed with music box tunes and a screech, and then bongos! 'Brujo En El Rio' is simply a witch doctor-like shaking of bones and a ringing. 'Infante' includes a sawing sound and a return to the early clock/gong. We end with 'Mujer'; this is perhaps the closest we get to music. It portrays a piano sound with rain like hissing in the background.

The attempt by the composer to create a landscape of outré sound effects plainly doesn’t work. I realise film scores need to include shock sounds of the central character’s environment; however, we all still need to be entertained by the music which essentially enhances the emotions for each scene of a movie. It can lull us into a false sense of security, frighten us, make us feel sad or lighten the mood. This score achieves none of these goals. Very disappointing.

Verdict: 3 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Silva Screen Records

March 2011

Composers: James Bernard, Don Banks, Leonard Salzedo and Malcolm Williamson 

Here we go with the third of three music CDs, released by Silva Screen, which showcases the music of the  Hammer horror film classics.  This time it’s Frankenstein, and what better way to start than with  the super dramatic 'Opening Titles' from The Curse of Frankenstein,  from 1957. This is the one which saw Peter Cushing’s debut in the role he would return to bathe in success. Oh, and some virtually unknown bloke called Christopher Lee played the creature with real sympathy. But this is about the music; mainstay James Bernard created the score, producing a style markedly different from his earlier Quatermass pieces. Such was the trust in him by now, that he was  pretty much left to his own devices. You can actually summon up Lee’s monster in your mind with this higher and higher pitched string-dominated short.

Taking of short, the 'Closing Credits' for The Revenge of Frankenstein, from 1958 - this time by Leonard Salzedo - has no sooner begun that it’s over, well before you are able to get a grip on the mood. Bernard had been unavailable. The Evil  of Frankenstein’s 'Opening Titles' features one of the most striking  and memorable pieces of music, with a hook theme which it returns to  every several seconds, thereby giving the score a necessary grounding  point. This comes from the talent of Don Banks, commissioned by then  Hammer musical supervisor Philip Martell. James Bernard was back to  compose the music for Frankenstein Created Woman, from 1967. 'The  Opening Titles' and 'Closing Credits' consist of low, threatening  undertones, with a high, calming string piece over the top. A suitable clash of tones.

There are five tracks lifted from the  1969 film Frankenstein Must be Destroyed. James Bernard again creates the correct balance of musical light and shade; however, without the cinematic action to capture the imagination, this mainly incidental music soon fades into the background and loses your interest. The  Horror of Frankenstein, this time scored by Australian Malcolm  Williamson, is represented by just the opening titles, but it’s enough. The piece lures you into a false sense of security, with almost twee penny whistle-like twitters. A sharp contrast to other opening credit sequences, and particularly curious for a more light-hearted film venture.

We conclude with four tracks from Frankenstein and the Monster From Hell, from 1972. This was  tantamount to a reconvening of the old school, with James Bernard and Peter Cushing returning, along with other mainstays from the time. It  proved a fitting conclusion to the Hammer Frankenstein films. The music is mainly string-prominent; a dark mood builds steadily, in the old tradition.

This is probably the best of the three CD  releases, although it does have its tedious moments. This is fine  for film music collectors, but my advice would be to buy some of the DVDs so that you can appreciate both the film and the music.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2011) 

Label: Silva Screen Records

March 2011

Composers: Tristram Cary, James Bernard, Don Ellis and Dennis Farnon

This is one of three CDs, released by Silva Screen, intended to showcase  the film score music from the immensely popular Hammer horror films.  This time we concentrate on the science fiction horror and, as there  were significantly less of these than Frankenstein and Vampire films, it’s no surprise that fully nine of the twelve featured tracks are  lifted from Quatermass and the Pit.

However, we begin with the  'Opening Titles' of The Quatermass Xperiment, composed by newcomer  James Bernard, after John Hotchkis (the original commissioned  musician) fell ill. Bernard would become a recognisable name  connected with Hammer, and he launches off here with suitable  dramatic flair, employing the talents of The Royal Opera House Orchestra (TROHO) and incorporating strings and timpani, with which he felt comfortable. In fact, this is a good representation of the light and  dark, smooth and discordant formula used in the fifties and sixties. Track 2 consists of three edited together pieces from Quatermass 2. This is again from the combination of Bernard and TROHO, and  similarly carries a close style to that of his previous film - the last time before he would almost radically change his  arrangements.

Now we are into the meat of the disc. Quatermass  and the Pit was composed by Tristram Cary, probably best known for  his work on early Doctor Who  (most notably, The Daleks). The music  over the nine tracks is refreshingly diverse, with low key  incidentals being
overtaken by loud crashing climaxes, only to be  replaced by a spacey electronic sound unusual in this era, to say  the least. 'Panic in the Underground' has an arrangement that wouldn’t  be out of place in a Barry Gray piece for a Gerry Anderson show. It’s  a credit to this music that it enhances the dramatic elements of the  movie without ever taking it over. It’s curious that his closing music wasn’t deemed fit for the purpose, and was replaced by Dennis Farnon’s.

We finish with an oddity. 'Moon Zero Two' is the  only song in this collection, and it’s probably just as well, with  twee music and vocals by Don Ellis and Julie Driscoll respectively. This sort of overly-jaunty ditty was prevalent in the film and TV of the time, and seldom appropriately suited the atmosphere of the project.

So, there you are. A small memento (only 33 minutes) from the golden age of Hammer Films, but not much of a cross-section  film-wise. Association meant that I couldn’t help picturing the  films when I listened to the music, rather than appreciating the  music in its own right. It makes decent background music which won’t break your concentration from something more pressing, and will no doubt much more appeal to collectors of film scores. It acts as a happy reminder to me that Hammer is back after so long in the wilderness.

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2011)

Label: Silva Screen Records

March 2011

Composers: James Bernard, Harry Robinson, Laurie Johnson and David Whitaker

This is the second of three CD music releases by Silva Screen showcasing  the music of the classic Hammer horror films. This time we’re in  vampire territory, and my first thought is to the infinitely larger  repertoire of fanged fiend films to science-fiction held in the Hammer golden archives. This is inevitably followed immediately by  the shock that only eight movies are covered.

We begin with  two tracks from The Kiss of the Vampire. The music for this film was composed by James Bernard, who had earlier worked on the Quatermass  scores as a novice. 'The Opening Titles' is the creeping crescendo we  have come to expect from these period horror pieces. In contrast, 'The Vampire Rhapsody' from the same film is an almost classical in style piano short.

The next two tracks feature the 'Opening Titles' for The Vampire Lovers and Countess Dracula, respectively. The first  is a more subdued mood piece, whilst the second possesses more of a likeable theme. Both are composed by Harry Robinson, who had produced some quick work for the Hammer TV series Journey to the  Unknown.

Lust for a Vampire incorporates the next two pieces  of music, again both by Robinson. 'The Opening Titles' simply remind me  of something long forgotten but stored away in childhood for later  recollection; a nicely restrained section of instrumental flavour. 'The Dream' is atmospheric enough, using the main music from the  previous track, but contains some echoed vocals it can frankly do without.

Twins of Evil is represented by only a single composition, but it easily stands out as the highlight of the disc -  short as it is. 'The Opening Titles' for Vampire Circus, composed by David Whitaker, possess a cold, creepy feel using strings and flutes,  and 'The Tiger Dance', from the same film, is a weird jungle piece, using maracas and tom-toms, but sounds crazily like an old man struggling to put the dustbins out.

Four tracks are taken from The Legend of the 7 Golden Vampires, again composed by James Bernard.  A barely held in check dramatic march is followed by 'Ambush', an overly long monotonous building piece. 'The Battle Rages' is influenced by ancient eastern culture. Picture the Shaolin Temple in meditation and you’re on the right lines.

Captain Kronos Vampire Hunter, which starred the very lovely Caroline Munro, has just one introductory piece with horn-blowing military overtones, with a string accompaniment that throws you right into the film.

I don’t dispute the logic of these Hammer music releases; however, it’s obvious that most people curious about the music will simply purchase the DVDs to appreciate how it interacts with the relevant film. I’m simply astounded that none of the Christopher Lee Dracula films are represented here. Perhaps the tapes are not of sufficient quality to be remastered, but I doubt it.

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2011) 

WaterTower Music

December 2019

Water Tower Music releases the Original Motion Picture Soundtrack to IT: Chapter Two in multiple formats, including 2 x LP, 1 x LP, Picture Disc Vinyl, and digital download. The film – based on the book by Stephen King, and directed by Andy Muschietti – follows the Losers Club, a group of boys who defeated Pennywise and are now adults forced to reunite when the evil returns to   their home town. The score is composed by multi-award nominee, Benjamin Wallfisch, who has previously worked on numerous films, including Shazam!, Blade Runner: 2049, and  IT – the first chapter. Here, he has utilised a 100 piece orchestra and 40 piece choir. His plan was to give this soundtrack more scale and ambition by developing existing themes from the first movie and creating new ones...

The first two tracks are mostly sweet and soothing orchestral pieces, but it doesn’t take long for the eeriness and chills of the returning evil to make its presence known with a background nursery rhyme. In fact, several music sections follow this format of misleading normality intruded upon sharply by raw noise and the singing of 'The Bells of St Clements'. The raucous rage of Pennywise and the accompanying evil is represented with a screeching industrial sound. The balance is well done but repetitive.

'Losers Reunited' is a nice simple but effective amalgamation of piano, strings and a background throbbing bass. I like the panicked otherworldliness of 'Fortune Cookies', too. The rumbling, ripping sound of 'Shokopiwah' is an original way in which to raise the tension before disappearing into tranquillity. 'Eddie and the Leper' is nicely bizarre and off-kilter. 'Bowers Attack' has an almost Heavy Metal band approach to terror inducing music. 'It’s Stan' uses weird string sections for a hot adrenaline piece. 'The Ritual of Chud' is a grand addition reminiscent of a religious epic. 'My Heart Burns' incorporates an exciting mess of off-key electronics which is pretty effective. 'Spider Attack' you can imagine being in a film about violent evil aliens (or is that just me?).

There is more than enough material here (some might say a little too much). The music is very well written and performed, with all manner of pathways to film music incorporated to cover all emotions and approaches to life. It proves a wide knowledge of movie scores - particularly Hollywood blockbusters. However, it is almost universally incidental music, with only 'You’re All Grown Up', and 'Nothing Lasts Forever' being anywhere near a suite.

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Lakeshore Records

October 2017

Lakeshore Records releases Jigsaw – the Original Motion Picture Soundtrack, available for digital download. The scores for the previous seven Saw films in the franchise were created by Charlie Clouser, and he returns here to contribute both continuity and originality to the concept’s soundscape. In the movie itself a new game begins. When a number of elaborate killings seem to point to the Jigsaw Killer, John Kramer, the police and the public are put into disarray. After all, Kramer has been dead for ten years. Is it a sick tribute copycat or the real thing? The soundtrack features over an hour of theme and incidental music...

The first Saw  film was quite inventive, managing to incorporate gruesome set-pieces which were conducive to the plot. The killer was dying and, like a judge, enticed a group of people into a series of traps and charged them with proving their right to existence. The sequels which followed were variations on a theme; they proved watchable without saying anything new or different.

One thing immediately evident upon hearing the Jigsaw  soundtrack is that it perfectly fits the theme and premise of the movie. As you would expect, it’s essentially industrial in its design, with mechanical sound effects playing just as much a part as the music itself. In fact, this score is very much a sum of its parts. Those parts include not only the expected modulated synthesisers and electronic paraphernalia, but also electric, acoustic and pedal steel guitars, along with a Chinese ghuzheng which creates a shuddering sound by use of a bow, and a Que Lastas – a stainless steel sheet with piano strings and metal rods. The point is that this potpourri of instruments allows the origins of the sounds to be unidentifiable; thus it sneaks in under the radar screen and simply enhances the visual entertainment.

It’s difficult to fully appreciate these tracks, detached as they are from the complete film going experience. The incidental sounds mainly come across as noise and effects intended to heighten tension – which is what they are! Thus, as independent music, the best examples are 'Zepp Eight' (an adaptation of a previously utilised montage by Clouser), and 'Cycle Trap' (an enjoyable piece of industrial Metal music). 'Chain Hangers', and 'Shotgun' are also worth a listen. The first half of 'Replica Lair' sounds very similar to The Exorcist/Mike Oldfield’s Tubular Bells.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017)  

Label: Varèse Sarabande

July 2019

Varese Sarabande Records releases the combined Motion Picture Soundtrack of horror films Scream and Scream 2 on a single Red Vinyl. The films, both directed by horror favourite the late Wes Craven, are a pastiche of slasher movies wherein a Ghostface masked killer targets teens. It is one of the most successful horror franchises. The sleeve features new artwork by ‘Ghoulish’ Gary Pullin. The composer is Marco Beltrami, whose previous work includes The Woman in Black, Mimic, Don't Be Afraid of the Dark, Resident Evil, The Faculty, and all four Scream films. He was also Academy Award nominated for The Hurt Locker, and 3:10 To Yuma...

The track listing for Scream is: 'Sydney’s Lament'; 'Altered Ego'; 'Trouble in Woodsboro'; 'A Cruel World'; 'Chasing Sydney'; and 'NC-17'. The track listing for Scream 2  is: 'Stage Fright Requiem'; 'Love Turns Sour'; 'Cici Creepies'; 'Deputy for a Friend'; 'Hollow Parting'; 'Dewpoint and Stabbed'; 'Hairtrigger Lunartic'; 'Sundown Search'; and 'It’s Over Sid'.

We begin with a contemplative piece which has female vocals and is very atmospheric. It’s followed by a quiet piano and string section that is very soon obliterated by rumblings and full orchestral smashes; a sort of dark foreboding of things to come. 'Trouble in Woodsboro' is probably the most inventive music from the first Scream soundtrack. It incorporates lots of nice off-kilter tricks, but drives along with a real energy and exists as a good stand-alone tune. 'Chasing Sydney' is your normal loud slamming collection of noises. 'NC-17' is a nice mid-paced piano, keys and percussion piece, which reprises the female voice melody.

On to Scream 2, and 'Stage Fright Requiem' has an entertaining percussion band intro which then segues into a short but full-blown dramatic orchestral entrance. 'Love Turns Sour' is a mixed bag; it begins like a quieter moment in a Spaghetti Western. You can imagine the gunfighters sizing each other up. It then descends into average loud horror music which is supposed to shock. The western theme can also be said of 'Dewpoint and Stabbed', this time using guitar and a little whistling. 'Hairtrigger Lunatic' is another frantic headache-inducing cacophony of dramatic sound which is just right for the scene, but not so entertaining on its own legs. 'Sundown Search' is another lovely track, and far too short. 'It’s Over Sid' completes the collection, coming full circle by semi-reprising 'Sydney’s Lament'.

I would say that three or four of these tracks act as short fillers which don’t actually go anywhere, but on the whole these are both fairly strong scores, further improved by their coming together in one place. The music is varied enough to remain interesting. However, those inducing a Western film feel are perhaps the most original, particularly as they are so unexpected in a horror movie.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Navona Records

February 2017

Composer: Michael J. Evans (Performed by Sirius Quartet) 

The String Quartet No 1  by Michael J. Evans and the Sirius Quartet is music inspired by the H.P. Lovecraft short story The Music of Eric Zann. It is available from Navona Records.

After listening to this music I thought for some time about how I might approach this review. It’s no good being pretentious about something about which I know very little. Am I the right person to critique this then? Well, the answer to that is yes... and no! I can enjoy some classical music without knowing very much about it (aside from a little Straus). One subject I do have a good knowledge of is H.P. Lovecraft, as he is one of my favourite classic writers and certainly one of the best horror writers (or weird fiction, if you like) of all time. I owned a number of Lovecraft collections over the years before purchasing a much cherished leather-bound complete works.

Although by no means weak, The Music of Erich Zann is not one of his most well-known tales. Like many of his stories this would be difficult to represent on film or TV, but I can understand why it has been chosen in this instance for the music. In the short fiction piece in question Erich plays a Renaissance viol, whereas in the cover picture for this music a violin is clearly in evidence – even though the music itself by Michael J. Evans is played on a viol. Erich in the story is described as playing otherworldly melodies of a strange nature in order to keep away bizarre creatures which seek to enter our world from Beyond. This weirdness doesn’t creep into the music here until track three, where there are just a couple of hints of what is to come.

I know Lovecraft’s tales pretty well, so sitting back and absorbing this atmosphere through music I can accept that it fits – at least in the form of incidental sound. That’s as much as I can readily accept. This music would have little or no affect without the contextual link. Therefore, it would be easy to accuse the Sirius Quartet of using Lovecraft to sell their downloads. Personally, I wouldn’t make that assumption, because there is a very good Metal band called Rage who have written a number of hard-edged and yet eerie songs based upon events in Lovecraft tales. Check out the albums Black in Mind and End of All Days, and particularly the tracks 'Voice From the Vault', 'The Crawling Chaos', 'Alive But Dead', and 'Shadow Out of Time'.

This one is an acquired taste.

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017) 

Label: Sony Classical

February 2019

Composers: Various (played by the Czech Philharmonic Orchestra)

Sony Classical International music releases Ultimate Superheroes: Music to Save the World To. The themes originate from such composer luminaries as John Williams, Alan Silvestri, Hans Zimmer, Tyler Bates, Christopher Beck, and Ludwig Goransson. The music is performed by the Czech Philharmonic Orchestra, and conducted by Robert Ziegler. There are 13 tracks incorporating both Marvel and DC Comics characters...

There is a huge worldwide audience for superhero movies, and they’ve become increasingly more elaborate, with complex storylines and big budget special effects. They are some of the highest grossing returns in the business. Of course, films featuring epic subject matter such as super-human beings are a product of their parts, and the film score is an integral part of what carries the viewer along on a journey of what is, after all, a more than far-fetched situation.

To reflect the balance of the film, the dramatic 'Theme From Ant-Man' is interspersed with jaunty aspects which incorporate the quirkiness of the character. 'The Theme From The Dark Knight Rises' begins with the award-winning music from the Batman animated series, elaborating and extending as it progresses. 'United Nations/End Titles From Black Panther' has horn, woodwind percussion, adding tribal music and orchestra and even trumpets. Very grandiose. Atmospheric tribal dancing sounds and xylophones are joined by an encompassing big band. 'Main Theme From Captain America: The First Avenger' is a great military beat, brass-led piece, which is also used in the Marvel’s Agents of S.H.I.E.L.D. series. 'The Master of The Mystic Arts End Credits (from Doctor Strange)' has harpsichord, 1970s-style electric guitars, a mystic East sound and even Hammond organ.

'Main Theme From Guardians of the Galaxy' is dramatic enough but, compared with the others, is rather bland and non-descript (probably because I’m not a lover of the film). 'Main Title Theme From Iron Man' is excellent. I love the heavy industrial sound, and it’s one of the best films Marvel have produced. 'Main Title Theme From Spider-Man' is a more moderately paced piece, with much more of a variance in terms of style. It has moments of clear introspection before returning to the dramatic centrepiece. 'March From Superman' uses the classic and instantly recognisable music from the Christopher Reeves film, directed by Richard Donner. 'Taskforce X From Suicide Squad' has a haunting opening which then gets heavy and slightly industrial in its theme. There are light breaks, before it returns to the driving beat. I can’t help but think that certain aspects of this are borrowed from Avengers.

'Assemble From The Avengers' contains some of the best Marvel music, and has been reused in the subsequent Avengers films. A great heroic theme. 'Ragnarok From The Avengers' is introduced with quiet pagan music, before a grand orchestral piece with high angelic vocals takes over. It has a good melodic moderate pace which is fit for a Norse god. 'Suite From X2' (taken from X-Men 2) makes you appreciate how parts of this music may have inspired the main theme for the Avengers Assemble movie.

Of course, fans and collectors of these films will already be aware of the grand and atmospheric themes backing them, but for anyone interested in superhero stories or just darn good themes this is worth anyone’s money.

Track listing:

01 - Theme (From "Ant-Man")

02 - Theme (From "The Dark Knight Rises")

03 - United Nations / End Titles (From "Black Panther")

04 - Main Theme (From "Captain America: The First Avenger")

05 - The Master of The Mystic End Credits (From “Doctor Strange”)

06 - Main Title Theme (From "Guardians of the Galaxy")

07 - Main Title Theme (From "Iron Man")

08 - Main Title Theme (From "Spider-Man")

09 - March (From "Superman")

10 - Task Force X (From "Suicide Squad")

11 - Assemble (From "The Avengers")

12 - Ragnarok Suite (From "Thor")

13 - Suite From X2 (From “X-Men 2”)

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Demon Records

March 2019

Composers: Various

Demon Records releases Vault of Horror: The Italian Connection Volume 2 on 2 x 180g black vinyl, with CD version, and 12 x 12 art print of the cover by Graham Humpreys. It also contains sleeve notes by Alan Jones. This follows the success of  Volume 1. There are twenty tracks; five on each side of the records. Composers include Spaghetti Western supremo Ennio Morricone, Fabio Frizzi, Claudio Simonetti, and our very own Bill Wyman...

The full track listing is:

‘Savana’ from Savana Violenta, by Guido & Maurizio De Angelis.
‘Make Love on the Wing’ from Zombie Holocaust, by Nico Fidenco.
‘Ecologia Del Delitto (Titoli)’ from Bay of Blood, by Stelvio Cipriani.
‘Il Paese Del Sesso Selvaggio’ from Man From Deep River, by Sergio Patucchi. ‘You Are Not the Same’ from Contraband, by Fabio Frizzi.
‘Valley’ from Phenomena, by Bill Wyman. ‘Conquest’ from Conquest, by Claudio Simonetti. ‘Baby Sequenza 1’ from Manhattan Baby, by Fabio Frizzi. ‘La Luce’ from The Antichrist, by Ennio Morricone. ‘Sudden Death’ from Aenigma, by Carlo Maria Cordio.
‘La Lucertola’ from Lizard in a Woman’s Skin/Una Lucertola Con La Pelle Di Donna, by Ennio Morricone.
‘Seq 7’ from Satanik, by Roberto Pregadio. ‘John Dalton Street’ from The Living Dead at the Manchester Morgue , by Guiliano Sorgini. ‘Arizona Mountain’ from Thunder, by Francesco De Masi. ‘Shining Shadow’ from The Last Hunter/L’Ultimo Cacciatore, by Franco Micalizzi. ‘Opera Theme’ from Opera, by Bill Wyman & Terry Taylor. ‘Verso L’Alba’ from City of the Living Dead/Paura Nella Citta Dei Morti Viventi, by Fabio Frizzi. ‘Cannibal Ferox’ from Cannibal Ferox, by Roberto Donati. ‘Seq 1’ from A Cat in the Brain/Un Gatto Nel Cervello, by Fabio Frizzi. ‘Seq 1’ from Lady Frankenstein, by Alessandro Alessandroni.

In my review of Volume 1  I noted my surprise at the sheer variety of music on offer. Rather than orchestral film score music, there were songs ranging from Progressive Rock, through brass and Motown, to Jazz. This one is a little different. Aside from two or three outright songs (including ‘You Are Not the Same’, and ‘Shining Shadow’), the rest sound like soundtracks this time – only not horror. The only typical horror music here is ‘Seq 1’ from Lady Frankenstein. The others are an eclectic mix. ‘Savana’ sounds like the backing to a Jim Reeves song, or could pass as an early Pink Floyd soundscape. It has a dreamlike quality.

There are a few examples of typical 1970s soundtrack music; the kind of thing which seemed to permeate American cop and gangster TV shows and soaps. However, there are some stand out moments. ‘Baby Sequenza 1’ has an electronic monks sequence, with church-like dramatic keys. ‘Sudden Death’ has strings and angelic voices compete with a dark and rumbling keyboard. ‘John Dalton Street’ has bass and brass accompanied by great drum beats. Very enjoyable. As is ‘Arizona Mountain’ which is a funky band piece with harmonica as the lead instrument. The melody turns orchestral half way through.

I’m sorry to say that this time I didn’t receive the full retail double album, only the mp3 files – so can’t really comment on the packaging and artwork, only the music.

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2019) 

Label: Lakeshore Records

October 2018

Lakeshore Records releases What Still Remains – Original Motion Picture Soundtrack – on digital download. The film, directed by Josh Mendoza, follows the story of Anna, the last of her family, through a post-zombie virus environment known as the ‘Change’. Forced to leave the protection of her house, she encounters a group which promises salvation. But can she trust them? The score is by Jonathan Beard, whose previous projects include music for media and the concert stage (Star Wars – The Old Republic, Frank Vs. God, The Passion of Anne Frank, and Driving Miss Daisy). He has also collaborated with a number of other composers...

Beard describes the movie as a Hitchcockian psychological tapestry with subtext dialogue, and that the music needs to reflect that and dance between what is said and what is the real truth behind the situation. The theme for Peter, the leader of the group, is a four-note piece which jumps between the major and minor scales.

But how does this all shape-up as a film score album? Many horror   soundtracks these days incorporate the discordant string section mewhere along the line, which sounds like an angry swarm of bees. 'Berserker and the Forest Chase' begins with this effect before segueing into a military-like battle march. 'Journey to What Still Remains' incorporates a slower mood string piece which is reminiscent of an earlier age. 'God Doesn’t Choose Sides' is a moody undercurrent, and 'Ben and Anna Dance With Words' is a crawling, screeching string movement which belongs in a TV thriller from the 1950s or 1960s. The latter park of 'Berserker is Charged' made me laugh, as it’s pretty clichéd as far as scary music goes. You expect a shocked vocal exclamation from Shaggy and Scooby right afterwards.

'Peter Steps on a Trap' is a scrabbling, off-kilter noise. 'David Must Pay a Price' is a suitably dramatic uprising, but again it’s all strings. Where’s the variation? Where are the surprises? Of the last eight tracks, the only one with any venom is 'Attack' (and that is for only halfway through). Even the 'Main Theme/End Credits' is lacklustre, to say the least. Hardly memorable.

One of the most disappointing things about this soundtrack is that whenever piano or the horn section is introduced it is stomped all over by the string section. A wasted opportunity.

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018) 

Label: Screamworks Records

December 2018

Screamworks Records releases the film soundtrack for the horror film You Might be the Killer, directed by Brett Simmons. In the movie, camp counsellor Sam (played by Fran Kranz of  The Cabin in the Woods) wakes after a series of blackouts to find himself surrounded by murdered bodies. Along with horror movie buff, Chuck (played by the lovely Alyson Hannigan of  Buffy the Vampire Slayer and the American Pie sequels), he concludes that he must be the killer. But is he the guilty party? They are literally waiting for the next incident. The music is composed by Andrew Morgan Smith who worked on Zombie Shark, A Deadly Affair and Jeepers Creepers 3. He describes the film as a purposeful send-up of the classic slasher horrors of the 1980s, and agreed with Simmons that it should pay tribute to the scores of that decade, Jerry Goldsmith, Alan Silvestri and, of course, John Carpenter...

When I first saw this in my review batch I was intrigued, as Andrew Morgan Smith’s soundtrack for Jeepers Creepers 3, which I reviewed in 2017, was a solid and entertaining enhancement to the film. This one comes racing out of the traps in suitable style with 'Bloody Facetime' (a nice play on words). From the outset it’s dramatic and pulse-racing, before hankering down to more quiet, subtle and creepy moments with use of strings, keyboards and strangely pagan sounding horns.

'Kaywacked' opens with bells and screeching; this translates as more of an underlying menace snatched straight out of the 1980s, before turning to proper music melody just long enough to lull you into a false sense of security. 'Beyond Traumatic' is more of a linking string piece, with an underlying Jaws feel to it. It threatens to turn into a full orchestral   piece before slamming you with noise and offering an operatic-style close. 'Last Summer' is a retrospective piece with piano and strings which becomes fully orchestral. A very nice segment of music (imagine a more fleshed-out version of that scene in the original Friday the 13th when the sole survivor drifts across the lake in a boat).

'Splitting Headaches' has the horn section introducing a jaunty piece that you just know is going to be smashed aside by a heavy, otherworldly and slightly off-kilter patchwork of sounds which come and go. Very dramatic it is too. I can imagine something similar to this track being used in an H.P. Lovecraft story, with the coming of Dagon or Cthulhu. 'Campfire Tale' calms things down a bit. It goes for eeriness, with building and dissipating strings. 'Plot Holes' (nice title) conveys a feeling of intrigue which builds and concludes before it actually goes anywhere.

'Face Off' features mainly brass and strings, with a ringing-in of keys, slamming and the realisation of a threat portrayed with low bass and fluttering. 'Taking a Stab At It' is another of those calm introductions   which is suddenly ripped away from you with an almost demonic dramatic orchestral piece, the balance of which you can’t quite get a hold of. 'Final Girls' is a grand whole comprised of smaller sections different somewhat in style, but with the horn section ever-present. Finished It has intriguing high-pitch strings and a ringing which feels like the aftermath of something.

The soundtrack concludes with 'You Might Be the Killer', a very entertaining end credits 1980s-style electronic song by HARLO (check it out on Youtube). Although by 'Final Girls' I was beginning to tire of the proceedings, overall this is another solid and effective score from Andrew Morgan Smith that mixes age-old horror cliché sounds with modern techniques.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018)  

Label: Varèse Sarabande s

September 2017

Varese Sarabande Records releases John Carpenter’s classic soundtrack to Christine on LP. It is presented, remastered from the original tapes, on blue vinyl, and features new cover and label artwork by award-winning artist Gary Pullin. There are eighteen tracks, nine on each side. With the current Region B release of the film on Blu-ray and its 35th anniversary due next year, this is the ideal time to remind everyone in a new way about this often forgotten score..

In all but format this is a re-release of the Varese Sarabande soundtrack of Christine I still possess on CD from 1991. I am a huge John Carpenter film, script and music fan. I have all the soundtracks, I originally bought all the videos and now have DVD versions and several Blu-rays. Carpenter’s music, composed in association with Alan Howarth, has always been a big part of his films. I once saw him do a Masterclass at the National Film Institute on the Southbank. At one point he was asked why he composes his own soundtracks. His answer: "Because I’m quick and I’m cheap". Although funny, he did himself a major injustice. But that’s how he is… unassuming. He’s happy in commentaries or interviews to point out mistakes in his films – even though the vast majority of us wouldn’t have noticed.

Carpenter has made many hugely popular and sustaining feature films and, similarly, his soundtracks have easily managed to stand the test of time. Not many film scores are entertaining in their own right as isolated music. Carpenter has made the vast majority of his the case. Having said all this I wouldn’t recommend Christine as a stepping-on point for his music.

Setting aside a collection to demonstrate his capabilities, my favourite Carpenter soundtracks are The Fog, Escape From New York, and Halloween. That’s not to say Christine doesn’t have its enjoyable moments. 'Moochie’s Death' is a great track, managing to build, fade and build again without losing any of its initial pace. It would even go down well at a Halloween party. 'The Rape', 'Christine Attacks (Plymouth Fury)', and 'Moochie Mix Four' are all very similar. There is some good incidental music on offer here, but the soundtrack isn’t as varied as many of the other films he has worked on. Purely for its variety I would have selected Escape From New York – even though I favour his horror content.

Even if this is targeted purely at Carpenter completists (of which there are many), we are still left with a track-for-track copy of the existing CD. Of course, vinyl sometimes sounds much more raw and alive; however, I was only sent an mp3 version. How am I supposed to review a special vinyl release with new artwork when I haven’t even received any of the actual product? The points awarded here are for the music therefore, and not the retail release.

If you’re a horror fan and haven’t seen any John Carpenter films, your enlightenment starts here. Check out The Thing (1982), Halloween (1978) and The Fog (1979) to set you on your way. 

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017) 

Label: BuySoundtrax Records

July 2012

 Hot on the heels of Music From John Carpenter’s The Thing, comes Music From Assault on Precinct 13 and Dark Star. It is available from BuySoundtrax Records as a download or as a limited 1500 hard copies. Unlike The Thing, film maestro John Carpenter composed and played the music for these two movies. This mp3 format release is handled by Carpenter’s long-time collaborator, Alan Howarth.

For anyone who hasn’t read my reviews and doesn’t know, I am a huge John Carpenter fan. The man was (is) a genius, and his soundtracks - of which I have them all - fit the mood and feel of the content perfectly. As you might expect, he knows what he wants. Dark Star and Assault are early film releases of Carpenter’s; in fact he started making Dark Star when he was still at film school. Consequentially, Dark Star’s score is more composed of sound effects and dialogue. There is music present, just not very much of it.

Full CD soundtracks from Varese Sarabande Records have been released previously for both of these films, back in the 1990s. Assault has its memorable tracks, such as the simple but effective 'Main Title', 'Street Thunder', and the contemplative 'Julia'. However, it’s far from being the most varied or entertaining music - which probably falls to Escape From New York (although Halloween is more famous and instantly recognisable).

For someone such as myself this download release is nothing new or different. Why not simply re-release the original CDs? The re-recorded track listings are almost the same, only with subtle changes, such as the odd word here or there added or removed, as if Alan Howarth were stating to those that will listen that this is his version. Carpenter himself has a very philosophical view to remakes of his output: he simply takes the money and sits back and allows them to fail.

I’m all for keeping this material in the public domain, but a limited release such as this is hardly likely to make much of an impact. How about releasing a new remastered Best of John Carpenter Music CD for wider distribution? 

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2012) 

Label: MovieScore Media

June 2018

Feral is a horror film directed by Mark Young. Scout Taylor-Compton and Olivia Luccardi play two young women on a camping trip that separates them from the rest of the group. A mutated virus from the forest turns former friends into cannibal zombies. Composer Elia Cmiral was born in Czechoslovakia but moved to America. He famously scored the music for Ronin, but is no stranger to horror with soundtracks created for Stigmata, Splinter,Wrong Turn, and the remakes of the Pulse trilogy. Feral marks the fourth time Cmiral has worked with Mark Young. This time there is a string ensemble with piano and contemporary electronica.

'Journey Into the Forest' is a nice, quiet, ambient piece to introduce the story. 'Jules Encounters a Feral' has a ticking background bass which builds the tension towards quiet menace. 'Alice' has a retrospective feel, with melancholy piano and string. 'Camper Chaos' incorporates a ringing sound, building to a slamming noise, as if in pursuit. 'Jules Tricked' could well be the best track on offer here, using a clattering as in John Carpenter’s Escape From New York. The music lowers to a whisper before slowly building once more. 'Caught in the Act' is a sad-sounding piece, but threaded with menace. 'Fight to the Death' returns to the clattering. 'The Trek to Recover Jesse' is a montage of previous sounds. 'Helpless' creates a calm before the storm; an atmospheric false sense of security, using cello and keys.

'Gina Attacked' is the promised storm, with a drum-driven build-up. 'Alice Tells a Story' returns to retrospective piano and organ. 'Brienne Is Changing' follows a transformation; low undertones and then drums again. 'Talbot’s Story' consists of low organ and cello. 'The Cellar' uses low rumblings. 'Run For Your Life' is quiet until halfway through, before becoming a relentless chase sequence. 'Goodbye' is the longest track. It’s slow and melancholy music much like the first track, and so very good. 'End Titles' resurrects the John Carpenter-like clattering piece.

Without having seen the film yet, I found the soundtrack to Feral to be quite entertaining without knocking my socks off. ' Journey Into the Forest' and 'Goodbye' are particularly nice, as is 'Jules Tricked'. It’s just varied enough without losing its central thread. Every score should have a main theme to return to, after all. It’s about striking a balance between enjoying a film theme and returning to it too often. Elia Cmiral is no slouch though, and avoids the common pitfalls.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018) 

Label: Silva Screen Records

October 2012

 Arriving hot on the heels of the Dark Star / Assault on Precinct 13 release, comes the reissue of the year 2000 soundtrack of John Carpenter’s 1979 horror classic The Fog. It is issued by Silva Screen as a limited CD release or download, and this time significantly expands on the running time content of the original. The arrangement is by long-time Carpenter collaborator, Alan Howarth.

My copy was downloaded as MP3 files and, although they play just as well, giving you the option of dragging on to an MP3 player or burning to disc - I do miss the finished package which comes as part of a collection. Call me old-fashioned, but there’s nothing like walking into a shop (or even shopping online) to possess the official product complete with booklet, etc. and having it sitting on a shelf with others of its kind.  

Anyway, on to the music itself. I am a big John Carpenter fan. He was/is a master craftsman, and much of his music composed for his own films has become iconic. The compositions greatly enhance the already fantastic content, but never more so than on The Fog, which slowly builds tension by having slow piano pieces, eerie electronic wave moods, and the ultra effective slamming of the brilliant 'Reel 9' track, during which the fog moves menacingly through the town towards the survivors in the church.

Included with the music we get a couple of dialogue pieces, the most significant of which is the opening scene of the film wherein the old-timer tells the camp fire ghost story of what happened here on a foggy night many years before. In addition, there is radio interview with Jamie Lee Curtis about her part in the film. The 14-track 2000 release of this soundtrack his been remastered and further expanded by Howarth to include ten new tracks. Truth be told, most of these are, again, variations on familiar themes. But there are some welcome differences, with stand-out new tracks being 'Stevie’s Lighthouse', 'Knock at the Door' and 'Fog Reflection'. 'The Fog Enters Town' is a shorter version of 'Reel 9'.  

This is the most comprehensive collection of John Carpenter’s music for The Fog. It will certainly appeal to Carpenter fans, and almost certainly to many film music collectors. I can say one thing with conviction: “There’s something in The Fog.” 

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2012) 

Label: Varèse Sarabande

April 2018

Varèse Sarabande releases the soundtrack to the Robert Rodriguez modern Grindhouse movie Planet Terror for the first time on record, in transparent white vinyl. The movie was a double feature alongside Quentin Tarantino’s Death Proof. They were working together on a project but subsequently took an idea each and put them out simultaneously under the Grindhouse main title. The score was composed by Rodriguez, with contributions from Carl Thiel (who worked on the Dusk Till Dawn TV series), Graeme Revell (who took a hand to The Crow and Sin City), songs from Rose McGowan (who starred in the films), with additional music from Nouvelle Vague  (which certainly lets down the whole) and Chingon (which achieves the opposite).

Let me start by saying that Planet Terror is an infinitely better film than Death Proof. It’s gritty, action-packed, exaggerated without being too insanely over-the-top, humorous, incorporates a potential victim female who becomes a leg-toting and fearless Ripley-like get it done gal – oh, and it has a pretty good soundtrack, too. The best way to describe the overall sound is an electric Spaghetti Western with New Romantic-like electronic synthesisers forming much of the linking pieces between the action.

It’s worth giving a special stand-out mention to the 'Grindhouse Main Theme' and 'Cherry’s Dance of Death' (the first and last-but-one tracks). Both incorporate the central theme of down-tuned electric guitar and shrieking trumpet sample. The first adds something akin to Arabian pipes into the mix, whereas the latter by Chingon brings a Mexican feel to the grungy driving music. Chingon (which I believe means ‘Bad Ass’ in Spanish) are badly underutilised here. They were on the soundtrack to Tarantino’s Kill Bill 2, and anyone who watched the extras documentary about them would surely have been blown away by their unique mix of traditional Mexican guitars and the Western culture of modern electric guitar. It works really well. Chingon have a CD called Mexican Spaghetti Western; check it out.

The main theme is returned to a few times but avoids outstaying its welcome by means of a slightly different version each time. Aside from the aforementioned tracks, 'Go Go Not Cry Cry' incorporates hints of this within an extended grinding guitar and over-driven shrieking. 'Zero to Fifty in Four' is a good driving version with no trimmings, 'The Ring in the Jacket' uses piano to ring in the main theme with a synth beat. Then there is 'His Prescription …Pain', which is a John Carpenter-like tapping synth with a slight hint of the main theme in the background.

This brings me to the synthesiser side of the score. You can’t hear styles like this without invoking the mostly brilliant film music of John Carpenter. 'Police Station Assault' sounds very similar to Ghosts of Mars. El Wray has the clattering reminiscent of Assault on Precinct 13 or the opening bars of Chariots of Fire. It returns for an eerie electronic reprise in the track 'Dakota'. Electronic drums and synth accompany 'Useless Talent #32', one of the three songs sung by Rose McGowan. 'You Belong to Me' is a cover of the Jo Stafford original from the 1950s, with underlying steel guitar. The other is 'Two Against the World'. She is supposed to sound sexy and sultry but to me just sounds like she’s forgotten her inhaler!

'Melting Member' is the only piece which actually has an old school film score orchestral feel. The mix here is generally electric and Mexican guitars in a Spaghetti Western style, Bluesy guitar, saxophone and harmonica, and synthesised and sampled music and noise. There is plenty to enjoy here for those who prefer actual music to enhance the movement of the film, rather than bland and meaningless orchestral squeaks. This will certainly appeal to collectors of limited vinyl, too. If you haven’t seen the film check it out. It’s all those things said in the first paragraph!

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018) 

Label: BuySoundtrax Records

October 2013

To coincide with the 35th anniversary of John Carpenter’s classic grandfather of all slasher films, Halloween, comes this single CD release of 22 tracks incorporating music from the Halloween movies franchise. Included are examples from Halloween by Carpenter, Halloween II by Carpenter & Alan Howarth, Halloween III: Season of the Witch by Carpenter & Howarth, Halloween 4: The Return of Michael Myers by Howarth, Halloween V: The Revenge of Michael Myers by Howarth, Halloween VI: The Curse of Michael Myers by Howarth, Halloween H20: 20 Years Later by John Ottman, Halloween Resurrection by Danny Lux, Halloween (2007) by Tyler Bates, and Halloween II (2009) by Bates. It is available by download or on limited edition CD from BSX Records. The collection is produced and arranged by Dominik Hauser, and the colour booklet houses an article by Randall D. Larson called 'Designed to Chill – The Cinematic Musical Heritage of Halloween'.

Let me just say from the outset, I don’t like it at all. Phew! That’s got that one out of the way. However, rather suspecting the great editor may require more of an explanation, I’ll just add that this release is a missed opportunity of monumental proportions.

Now, you might just have garnered from some of my previous reviews that I’m a huge John Carpenter fan. I’ve followed the man’s progress practically from the start, reading the novelisation of Dark Star by my favourite science fiction writer, Alan Dean Foster, before I saw the actual film. Halloween, the original 1978 classic, is still probably my favourite movie of all time – it’s certainly in my top three, alongside The Italian Job and Westworld.

I could bore everyone into a coma with just a few of the countless snippets of interesting information I’ve accumulated about the film. However, this is about the music, and Halloween is one of only three famous horror scores I can think of which are instantly recognisable. Carpenter, who has composed the majority of his own films music, has a knack of finding just the right sounds to complement and enhance the action. There’s a certain atmosphere at play, and that’s something you simply don’t tamper with. And that brings me to my main gripe regarding this new collection...

The John Carpenter tracks from the first three Halloween movies I know very well, having collected them on the original soundtrack CDs and on Carpenter collections over the years. It’s the same music but it’s different. A fan can tell. These tracks have been re-recorded - or at the very least, rearranged - and have therefore lost much of their impact. By extending the tracks and adding elements in an attempt to make them more appealing to a younger generation, the opposite effect has been achieved. On some it’s simply little nuances, but to the old school fan who knows where these pieces of music fit into the pace and atmosphere of what is (in the case of the first film) a master-class of lighting and directing, it is simply sacrilege.

There are only three tracks from Carpenter’s Halloween: 'Main Title (presented with and without the top and tail children’s song), 'Laurie’s Theme', and 'The Shape Stalks'; just one from the Carpenter scripted Halloween II: 'Theme' (where is the Murder Montage?); and three from the Myers-free Halloween III: 'Silver Shamrock Commercial', 'Drive to Santa Mira', and the excellent 'Chariots of Pumpkins'. Practically every other track included on this release is a variation on these pieces – including the 2007 and 2009 remakes. There are just a couple of exceptions: 'Thorn', from Halloween VI and 'The Ceremony', from Halloween Resurrection successfully offer us original and captivating pieces.

Film score enthusiasts who haven’t come across this music before will undoubtedly hear much to appreciate. However, Carpenter fans of all generations will do better to seek out copies of the original CD soundtracks to the first three films, or pick up a collection of Carpenter’s film music, such as the Varese Sarabande releases of a few years back. 

Verdict: 5 out of 10

(Review originally written by Ty Power for reviewgraveyard 2013)  

Label: Silva Screen Records

October 2017

Composers: Various

Silva Screen Records - which has a long and illustrious tradition for presenting film scores – releases Hammer Horror Classic Themes 1958 – 1974. This is a collection of 18 tracks spanning 16 years. It incorporates sleeve notes and composer biographies by Marcus Hearn, author of such related reference books as The Hammer Story, The Art of Hammer, and Hammer Glamour.

It’s very nice to be offered music from so many horror classics in one place, as opposed to CDs or downloads of individual films, much of which (particularly the incidental soundscapes) would be skipped over. Such is the wealth of films and film music in the Hammer archive it’s not beyond the realms of possibility to expect a second volume to this release.

The collection kicks off in resounding fashion with Captain Kronos Vampire Hunter. The movie is a little po-faced but I love it to undeath for its more original approach to vampirism. It is also significant as it features the First Lady of Fantasy Caroline Munro looking as gorgeous as they come. The music is upbeat and purposeful; very ‘tally ho, charge’ – which isn’t surprising when you consider the amount of riding around on horses that takes place on screen. Twins of Evil continues the tradition of having the listener stand up and take notice. Come track three we begin to experience more of a suite, with a variety of light and shade, theme and incidental melded into single pieces. All very dramatic as you might expect for horror during this period.

James Bernard was a prolific composer for Hammer, turning out many fine scores – so it’s not surprising his output is represented here on eight of the eighteen tracks. It’s refreshing to hear examples from ten different contributors, and that often overlooked movies (such as The Lost Continent, Hands of the Ripper, and The Legend of the 7 Golden Vampires) are represented here, taking their place with the greats… as well they should. An enjoyable collection of music from an era long gone but far from forgotten.

Track listing
1. Captain Kronos Vampire Hunter (Laurie Johnson) 2. Twins Of Evil (Harry Robinson) 3. The Kiss Of The Vampire (James Bernard) 4. The Mummy (Franz Reizenstein) 4. Dracula (James Bernard) 6. Quatermass And The Pit (Tristram Cary) 7. The Legend Of The 7 Golden Vampires (James Bernard) 8. The Lost Continent (Roy Phillips) 9. Dracula AD 1972 (Mike Vickers) 10. The Devil Rides Out (James Bernard) 11. Countess Dracula (Harry Robinson) 12. The Gorgon (James Bernard) 13. Hands Of The Ripper (Christopher Gunning) 14. Dr Jekyll & Sister Hyde (David Whitaker) 15. She (James Bernard) 16. The Satanic Rites Of Dracula (John Cacavas) 17. Taste The Blood Of Dracula (James Bernard) 18. Frankenstein And The Monster From Hell (James Bernard)

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017) 

Label: Backlot Music

October 2017

Back Lot Music releases the soundtrack by Bear McCreary to the Universal Pictures horror movie Happy Death Day. The film, written by Scott Lobdell and directed by Christopher Landon, stars Jessica Rothe and Israel Broussard. Tree Gelbman wakes up in bed with Carter Davis and has recollections of having lived her life before. When a baby-face masked intruder kills her, Tree wakes up in bed again. It seems that she is destined to endure a Groundhog Day-like existence until she learns more and discovers the identity of her killer. The featured tracks are 'Day One', 'Day Two', 'Day Three', 'Day Four', 'Hospital Pursuit', 'The Bell Tower', 'Righting Wrongs', 'Tree Takes Control', and 'The Cupcake'...

Bear McCreary has quite a track record for prominent movie and TV series soundtracks, including 10 Cloverfield Lane, Animal Crackers, Rebel in the Rye, the revamped Battlestar Galactica, Black Sails, Outlander, The Walking Dead, and Marvel’s Agents of S.H.I.E.L.D. He also has an EMMY award for the theme to Da Vinci’s Demons. Quite impressive for a composer still in his thirties, I’m sure you’ll agree.

As the killer in the film wears a baby-face mask, McCreary decided to record his three-year old daughter. He collected together giggles and whispers before distorting the sounds into what he calls vocals textures. Strange breathing and even whimpering is used as the main theme for the killer. Adding a full orchestra turns the whole sound otherworldly and off-kilter.

The film’s main theme is returned to often, but not simply for the sake of uninventiveness. Each time is within a different context and soundscape. Mostly, it is utilised in the first four tracks; pivotal scenes which follow get their own sense of urgency. This work isn’t going to set the world alight, but it is a little different from what has become known as the standard sharp piano piece or screeching violins. A soundtrack exists to enhance the effectiveness and enjoyment of a movie, so it’s no surprise that this one works well as a background score to doing other things.

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017) 

Label: ScreamWorks Records

November 2017

ScreamWorks Records releases the soundtrack to horror film sequel Jeepers Creepers 3by Andrew Morgan Smith. In the movie the Creeper terrorises a farming community, prompting the assembling of an official taskforce to seek out and destroy the organ-stealing monster once and for all… The track listing is: Field Chase and the Truck, The Scent of Fear, The Team, Gaylen and Kenny, Abandoned Vehicle, Miller, The Farm, Old Secrets, Tashtego and the Hand, Highway Chase, Showdown, Gaylen and Buddy, He Found Me, and Back Outside...

This third film in the franchise – again written and directed by Victor Salva – actually takes place between the first two, due to the creature’s unique active and dormant life cycle. I love the original film; particularly the first half wherein the nature of the beast is uncertain. The music by Bennett Salvay undoubtedly aided in the heightening of the suspense, but simultaneously secreted itself in the background. They say the best incidental film music is that which you don’t consciously notice, and that was certainly the case. The question is does Jeepers Creepers 3 smoothly survive the transition to a different composer?

After graduating from composition and music media at the University of Louisiana, Andrew Morgan Smith cut his teeth writing for SyFy movies such as Zombie Shark, A Deadly Affair, and A Sort of Homecoming. He has since moved on to TV and independent films. Potentially, Jeepers Creepers 3 is the highest profile film he has worked on. His intention is to pay tribute to what has gone before and infuse the old with the new. He wants to create a Jerry Goldsmith inspired orchestral sound, but also to include separate sound design elements and a kinetic pulse. On the face of it this sounds like a standard answer for the purposes of pleasing everyone, but it turns out to be an accurate description, more or less. In fact, Andrew Morgan Smith does himself a little bit of a disservice.

Parts of this score sound like a traditional horror movie from the 1970s or 1980s, with lots of string work punctuated by slashing, screeching discordance. That’s not necessarily a criticism. Personally, I long for a partial return to classic horror music – as long as it is used to genuinely enhance the action, rather than as cheap trick slamming of doors and knocking over of props. This is old school horror ramped-up with a modern hook. There is atmospheric pacing, with a sense of impending climax. At the time of writing I haven’t yet seen this film but just the drama and edgy tension described by this music seems to draw a broad picture of increasing set pieces which I look forward to experiencing on screen.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017) 

Label: Varèse Sarabande Records

May 2018

Composer: John Massari

Performed by: The Hollywood Chamber Orchestra  

Varèse Sarabande releases Killer Klowns From Outer Space: Reimagined on CD and for digital download. The Film from 1988 follows a group of clown-like aliens who land in their trans-dimensional spaceship to terrorise an American town. It is a dark comedy, which has achieved cult status, for director Stephen Chiodo. This new version of the score by John Massari takes the original synthesised composition and re-records it using the Hollywood Chamber Orchestra. Guest performer Bear McCreary makes an appearance, and there is even a new version of the Killer Klowns theme from The Dickies...

This is the first film soundtrack I’ve ever played through twice in succession (apart from John Carpenter, of whom I’m a long-time huge fan). Klowns is an immensely enjoyable and fun movie, and this soundtrack couldn’t suit it any better. It’s bubbling over with crazy enthusiasm right from the start. 'Theme From Killer Klowns From Outer Space', by The Dickies, is an excellent Rock/Punk song. The style is close to Cheap Trick, but with horror/spooky sounds at the intro, and a great riff for the main piece which is reminiscent of the big top theme. The out of tune parts work really well to let you know – if you didn’t already realise from the words – that there is an uneasiness to whole.

'Knock my Block Off' is an Electronic Rock piece, and 'Muscle Kar Klown Jam' is a great frantic off-key band arrangement. But for me the outstanding track is 'Killer Klown March'. It’s a band and orchestra instrumental which is a fantastic main piece, with guitar, drums and keys prominent. There’s even a guitar solo. And then halfway through it changes its stance, becoming a nice moderate Rock piece with Metal undertones. Brilliant!

However, just because I prefer the above tracks, it doesn’t mean the rest is without merit. Far from it. There is much to enjoy, without ever having to keep returning to a constant sound. In fact, part of what makes this score so fresh is the sheer inventiveness and diversity. I don’t believe there is a single track I disliked. Let me give you some examples of the originality on offer here:

'Hidden Klown Ship' is a sharp string movement depicting a moment of discovery and intrigue. It also contains Psycho slashes with deep rumblings. 'Galactic Globe Theatre' has clown circus-type music; it then turns to a waltz. 'Shadow Show' contains an orchestral Tom & Jerry-like piece with parade-paced Arabian influences. 'The Inevitable' gives us a grand march suite. 'Klown Hideout' is a great example of how music can evolve in a single track. It starts with creepy music, a slam-sound introduces the strings and then drums. At that moment it turns into a band and orchestra number, before returning to the creepiness for the end. 'The Funhouse' has a rumbling foreboding atmosphere, but even this has a tune. 'Klownfrontation' is a keyboard-led Oriental Rock Piece similar in places to Big Trouble in Little China. 'Sketch For Sampled String Orchestra' is the longest piece. It’s like all the incidental music has been amalgamated in a single suite.

There are also some alternative versions, such as a Hammond organ remix of 'Knock My Block Off'; a theatre organ version of 'Escape to Klown Cathedral'; and sampled orchestra versions of 'Hidden Klown Ship', and 'Mike & Debbie’s Discovery'. We also get the original demo version of the 'Killer Klowns From Outer Space', and 'Tell Me What is Real' – a new version of the theme which is slightly different in structure.

You can see there is a good balance of band and orchestral work, with plenty of fun, dark humour and bare-faced zany craziness. This is a very fine work. Apart from the aforementioned John Carpenter, it is only the second soundtrack which I have given full marks to... and deservedly so!

Verdict: 10 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018) 

Label: Universal Music Classics / Decca Gold. May 2018

From Universal Picture Classics/Decca Gold comes Mary Shelley: Original Motion Picture Score, available for digital download. Director Haifaa al-Mansour’s Mary Shelley film is a biopic which dramatises Mary’s relationship with Percy Shelley and the events leading up to and after their stay at Lord Byron’s house at Lake Geneva, and the famous ghost story competition which brought one of the greatest novels of all time: Frankenstein. Composer Amelia Warner has had two iTunes No. 1 releases in the classic music category, and scored the film Mum’s List. Her approach for Mary Shelley was to emphasise the ghostly themes of the film by utilising vocalists and orchestral rhythms to assist in telling the tale...

The score begins with angelic vocals, slow and atmospheric, with a moderate beat piano. It’s followed by an Irish pagan feel. A chord sequence on the piano with a wider string sound turns melancholy for 'My Sanctuary'. A Piano with reverb string backing is joined by occasional angelic vocals. In 'Mary’s Decision' harp and bell turns to a full orchestral piece which is very nice. Then comes a piano melody which is taken over by the string section. 'It’s Time We Left This Place' is a very atmospheric piece using a simple bell/xylophone sound. An ambient mood piece, wherein instruments fade in and out, precedes a three-note tune in 'Bloomsbury', which is played around the edges by piano and strings and which goes to full orchestra, before returning to its simple beginning.

'Mary Meets Percy' exudes revelation, happiness and a little foreboding. An earlier melody is then given a faster pace. 'Caged Bird' has a curious Wurlitzer sound with bells in what comes across as a carnival effect. I have to say that 'Mary’s Nightmare' and 'The Book' are wasted opportunities. The former builds its momentum, but is rather restrained when you consider that this is where one of the greatest ideas in literature came from. The latter is very emotional but is still a repeated theme from earlier in the score. In fact, the last few tracks pass with a whimper. 'Clara' is, again, a longer version of an earlier track.

This is a game of three-thirds, rather than two-halves. I was impressed by the inventiveness and diversity of the first two-thirds. The score is melancholy and soothingly takes you to another place, attempting to tug at the heart strings all along the way. It comfortably puts you in another time. It would have been nice if the tracks at the end took it in a completely different direction musically, and built to more of a crescendo. But you can’t have everything, so I’ll say on the whole this is a good solid soundtrack.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018) 

Label: Lakeshore Records

February 2018

Lakeshore Records releases The Ritual – Original Motion Picture Soundtrack for digital download. Four friends get together for the first time since the tragic death of a member of their group. A hike in the wilds of Scandinavia leads to a wrong turn into the forests of Norse legend, and a confrontation with an ancient evil. The score comes from composer Ben Lovett, who worked on American Folk, Synchronicity and Black Rock. He also collaborated with director David Bruckner on The Signal (which I reviewed back in 2009) and makes a return here with The Ritual. He temporarily relocated to England and worked with the London Contemporary Orchestra...

The music opens with an electronic version of a foghorn, which sounds periodically but becomes more sustained. A Celtic element is soon introduced with an off-key/off-kilter feel and throbbing heartbeat. Definitely on the edge of John Carpenter territory. A few tracks in, and menace brings back the violin Celtic element. 'Stalker' immediately sounds like the opening to Black Sabbath’s 'Iron Man', which then turns to something similar to a motorbike! Horror movie violins and cellos invade the experience. Something very different follows, as we enter a pacey more urgent feel. However, the further we get through the soundtrack the more individual sounds of the early tracks are combined for a fuller and more varied sound. The feeling of encroaching darkness and malevolence is created to good effect, but similar sounds are perhaps just a little over-used.

A competent and original soundtrack which is let down somewhat by repeated techniques.

Verdict: 6 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018)  

Label: Demon Music

December 2017

Composers: Various

Courtesy of Demon Records comes Vault of Horror – The Italian Connection, 20 tracks from composers Ennio Morricone, Fabio Frizzi, Franco Micalizzi, Stelvio Cipriani and others taken from horror films from their heyday in the 1970s and 1980s – with one or two outside of that period. The format comes as 2 x 180G black vinyl records, a CD version and a 12 x 12 art print. In addition, film historian Alan Jones provides comprehensive biographical notes.

The full track listing is: Blood and Black Lace (Carlo Rustichelli), The Last Hunter (Franco Micalizzi), Porno Holocaust (Nico Fidenco), Eaten Alive (Roberto Donati), The New York Ripper (Francesco De Masi), Beyond the Door (Franco Micalizzi – featuring Warren Wilson), Tentacles (Stelvio Cipriani), Cannibal Ferox (Roberto Donati), Cannibal Apocalypse (A. Blonksteiner), Absurd (Carlo Maria Cordio), Zombie Flesh Eaters (Fabio Frizzi), City of the Living Dead (Fabio Frizzi), The Beyond (Fabio Frizzi), House by the Cemetery (Walter Rizatti), Zombie Flesh Eaters 2 (Stefano Mainetti), Bronx Warriors (Walter Rizatti), The New barbarians (Claudio Simonetti), Rome 2033 – The Fighter Centurions (Riz Ortolani), Holocaust 2000 (Ennio Morricone), and Emanuelle in America (Nico Fidenco).

It comes as a very nice surprise to receive this as a vinyl release. Vinyl is making a big comeback, particularly for collectors. I possess a retro-style modern turntable, but – although I still have all my old discs – I seldom dig them out for a spin. It’s down to laziness, I suppose, because I’ve always considered records to be something special. CDs and downloads are often over-produced, whereas a record encapsulates that energy and raw power. It feels much more natural.

I have viewed a number of Italian horror movies and so fully expected this to be a collection of loud and over-dramatic shrieking noises punctuated by jazzy 1970s The Streets of San Franciso music. What I didn’t expect was such diverse music styles. Imagine normal suites showcasing the music of the time. For example, the brass-led treatment of track one becomes keyboard influenced in the style of Barry Gray’s UFO series in another piece. This trek through the 1970s and 1980s continues, to incorporate progressive rock guitar, concept-like meanderings, jazzy rock, before descending into a little soul and Motown. The singing on one track sounds so out of place you wonder if you’re actually hearing it. It’s not until track nine that the soundtrack incorporates uneasiness into the equation. But it all changes again as right afterward we temporarily enter Emerson, Lake and Palmer country.

Variety is the spice of life, they say; that’s certainly the case here. No two tracks are alike, and only one or two actually offer a hint that they are from a horror film. It’s almost as if the records have been put in the wrong sleeve. That doesn’t change the fact, however, that this offering is something a little different. My music tastes are a little heavier than this, but it does make for prog-style easy listening. I love the cover artwork by Graham Humphreys which, aside from the motorbike, looks all very H.P. Lovecraft – particularly the sea monster lurking in the background. The poster print is a nice touch, and the overall presentation earns this release an extra point.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017) 

Label: ScreamWorks Records

July 2018

Screamworks Records releases the motion picture soundtrack to the horror movie Ruin Me for digital download. Ruin Me has a group of teens travelling to Slasher Sleepout – a sort of horror reality event (escape room/haunted house/36-hour endurance trip). Alexandra has never seen a horror film but tags along with her boyfriend, and ends up having to solve a real life murder. Composer Holly Amber Church has previously scored the sci-fi short Archtype, the crime/horror/thriller Rites of Spring, and the supernatural The Devil’s Dolls. New projects include the biopic Butterfly in the Typewriter, and the horror The Toybox. Church’s intention with director Preston DeFrancis’' Ruin Me was to focus on the themes and strong melodic material that morphs and twists with the events in the movie...

Let me say up front that this is one of the most inventive, creepy and claustrophobic horror soundtracks I’ve heard in quite some time. But how have I come to this conclusion? The score is atmospheric from the very start, with piano and dark rumblings briefly introducing the aforementioned string quartet. Piano seems to be intrinsic to horror these days, but it isn’t overdone. The strings which return for the second track are melancholic. 'Slasher Sleepout' has a cowbell and electronic bongo sound (which isn’t as crazy as it sounds), with peripheral rushes, discordant shriek and slam. This is shocking and unexpected. It made the hairs stand up on the back of my neck … and you could call me a veteran of horror!

'Alex Takes Her Pill' leads the listener into a false sense of security, before bringing in a slamming and rumbling which is almost otherworldly. A creepy fluttering, a string build-up and stomping, creates a stalking feel for the following track. Even a prospective pondering scene, such as 'Puzzling it Out', has electronic bells in a simple pattern but with a menacing rumbling in the background, like an approaching storm. 'Alex is Not That Lucky' achieves the same feel but in a completely different manner. 'Tree #4' is a simple Halloween-like slow piano with the intermittent oppressive background. The deep beat frightening feel of menace which comes later is underlined in 'Underwater' by a fluttering string sound with peripheral echo. A melody begins but is taken-over by the rising/falling sound design and retrospective feel. Reassurance vies with the ever-present threat.

'The Trap' begins with a bass tom sound, and then … it all happens! Everything in turn. Even a weird knocking at the door noise. This is stuff you don’t expect to hear and it’s so refreshing. 'The Murder Hole' invokes a wasp swarm, with a shrieking and melody which is not quite allowed to play out. There is a panic-stricken flight feel to 'Running For Answers'. 'The Grain of Truth' has a creeping stomp with high-pitched keys and strings which emerge into a light of realisation – tempered by an almost industrial imbalance. 'End Titles' is a reasonably long suite which conjures-up every emotion you would expect to feel (and some you wouldn’t) in a horror movie.

This is a diverse assortment of quite obviously carefully planned soundtrack music and effects – which still feel very much a part of the overall puzzle. I like this a lot. It avoids all of the modern clichés. It’s a breath of fresh air for the horror music genre. Not only do I want to seek out the film now, but I also feel inclined to check out Holly Amber Church’s other work.

Verdict: 10 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018) 

Label: Lakeshore Records

November 2017

Lakeshore Records releases Saw: Anthology: Vol 1 and Vol 2 for digital download, CD and LP formats. Vol 1 incorporates music from films 1 to 4 in the franchise, and Vol 2 films 5 to 8 – including the latest film Jigsaw. Approximately twelve hours of title and incidental score has been reduced to around two by composer and arranger Charlie Clouser, keyboard player for Nine Inch Nails during The Downward Spiral tour, and remix and production contributor for David Bowie, Marilyn Manson, Rob Zombie and Rammstein. He has scored around fifteen feature films, and six TV dramas – including American Horror Story. This anthology has no fewer than 66 tracks of suites and montages over the two volumes...

I have always considered the Saw films as basically okay, but nothing special. The first was and will probably always be the best, but then the originality disappeared to be replaced by fatally sadistic set-pieces. I have no problem with gore so long as it’s conducive to a well-written plot. It has been said the best incidental music is that which you don’t hear – meaning its sole purpose is to bolster and aid the dramatisation of what is taking place on screen. We hear it but subtly and almost subconsciously. The right balance of music can double the scare-factor. However, separated from its visual source it can be difficult to sufficiently analyse and do justice to what is essentially a number of harsh sound effects dropped into a partly orchestral score.

Not enough justice is given to the fact the incidental music has to match the score and so is part of a whole. Unlike normal Rock music, for instance, soundtracks can stop and start abruptly and, unless there is a building menace, in turns both ‘shout’ and ‘whisper’ to the listener.

Believe it or not, people forget this ultimate fact unless they’re well used to making the distinction. Much of the Saw music is Industrial in its noise and sound construct, as you might expect considering the elaborate construction of the metal traps in the films. Understandably, keyboards are utilised in many of the pieces, but used with other effects which disguise their normal presence. There are a lot of ‘screeching’, ‘grinding’ and ‘chugging’ sounds which conjure-up images of blades and heavy machinery, even if you haven’t seen the films.

I’m surprised to discover this collection works far better than I expected. Whittling the music down to two hours couldn’t have been as difficult as indicated; for the casual listener the longer suites are always going to come across as more coherent: a progression of chilling music rather than short and abrupt noise. So, although we have such titles as Footcuffed, Sewer Runs, F**k This S**t, Needle Pit, Bed Ripper, S**thole, Eye Trap, and Pigs Revealed, it is Hello Zepp + Overture, Wilson Steel, Hello Eric, Just Begun Your Test, What It Takes, Zep Six, Jill Dream, and Doctor Gordon which prove to be the more palatable offerings. This is a good anthology for collectors of film music and Saw fans (Saw Tips?) alike.

Verdict: 7 out of 10

(Review originally written by Ty Power for reviewgraveyard 2017) 

Label: Varèse Sarabande

April 2018

Varèse Sarabande Records releases The Strangers: Prey at Night original movie soundtrack both digitally and on CD. This film has been a long time coming. The original Strangers film from 2008 (in which a couple is terrorised in their home by three strangely masked intruders) was supposed to have been followed-up pretty quickly with a sequel. For one reason or another it never quite happened. That is until now, ten years later. This time it happens at a secluded mobile home park. The music is composed by Adrian Johnston, who has worked previously on Kinky Boots, Brideshead Revisited, and Becoming Jane. This soundtrack also includes five previously released songs from different eras...

The songs here consist of two from Kim Wilde ('Kids in America', and 'Cambodia'), 'Total Eclipse of the Heart' by Bonnie Tyler, 'Making Love Out Of Nothing At All' by Air Supply, and (probably the best of the bunch) 'Live it Up' by Mental As Anything. Any fans of these songs will be surprised and delighted to experience them again while watching the film, but on a film soundtrack they are a bit of a non-entity. Had this collection been made up of songs matching the theme (such as School of Rock, for example) I can understand the attraction. However, anyone who likes one or two of these songs will already have downloaded them.

As for the incidental music, the main theme is stolen straight from John Carpenter’s The Fog. The following tracks consist of a lot of low rumbling indicating underlying menace, with electronic flourishes and music box tinkles. Probably the best track is 'Pulled to Safety' which contains an inherent wonky, off-kilter feel to it. 'End Titles' is a rehash of the main theme (or should I say, Carpenter’s The Fog), and 'Bonus Track' is a sort of a remix of the main theme (or should I say… etc.). I will say this version is somewhat different and should have been used instead.

Adrian Johnston mixed acoustic instruments, vintage synths and organs, and this is most evident on 'Inferno'. He apparently recorded the music at night in an atmospheric, centuries old deconsecrated chapel. He projected the film onto a 30-foot high screen and improvised to the pictures. It makes for a better story than the music itself which is, at best, average.

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018)  

Label: Varèse Sarabande

November 2017

Composers: Tangerine Dream, W.G. Snuffy Walden, James Newton Howard, Nicholas Pike

Varèse Sarabande releases the Stephen King Soundtrack Collection, a box set of four film scores across eight CDs. The projects covered are Dreamcatcher (2 x CD), The Stand (2 x CD), the mini-series version of The Shining (3 x CD), and Firestarter (1 x CD). The set is limited to 1500 copies, and incorporates a 24-page bound booklet.

Let’s begin with Firestarter. In the 1984 movie directed by Mark L. Lester and featuring a young Drew Barrymore after the days of E.T. The Extraterrestrial, a college couple acquire telekinetic abilities and have a daughter born with the power of pyrokinesis. They are forced to go on the run from government personnel determined to use her as a weapon. This music is being reissued for the first time in 15 years.

The score is by Tangerine Dream, who are no strangers to film music. In fact, their output over the years has been more than prolific – and revitalised by the recent release of Sorcerer on Blu-ray. Christopher Franke of Tangerine Dream composed and played all the music for the outstanding SF series Babylon 5. A ground-breaking achievement. Firestarter is considered to be some of their best work, but for me it’s too symptomatic of the 1980s with lots of high-pitched synthesizers battling with each other. There were so many movies from this period with a similar flavour it was difficult to see where it all came from. Many film scores are over-dramatic and this one comes across as Kraftwerk on speed! More than a little chaotic.

In 1994’s The Stand, directed by Mick Garris, a catastrophic influenza virus wipes out half the population. The scattered survivors join with either Mother Abagail or Randall Flagg, and will clash in the ultimate battle between good and evil. This music by EMMY nominated composer W.G. Snuffy Walden is for the four-part mini-series adapted from King’s best selling book. Walden has composed music for a number of films and TV shows including The West Wing, The Wonder Years, Roseanne, and Leaving Normal.

This is by far the best of the bunch on offer here. For anyone who likes rock and blues it will stand out as atmospheric and entertaining. Certainly, it is mostly music in its own right as opposed to incidental background vignettes. It begins with a chorus-effect steel guitar piece, and is followed by a slow guitar-picking melody. The remainder of disc one incorporates an electric guitar, keyboard effects and a drum machine; a slow piano piece, atmospheric mid-paced guitar in the style of Dave Gilmour, harmonica and violin.

The final track of this disc is a gentle introduction to disc 2, which is more in the traditional vein of an incidental film with orchestral overtones. Immediately, the mood is darker and off-kilter. The guitar returns but is used sparingly – sometimes to create menace. There is some disturbing off-key piano, and a driven band concept which reminded me of John Carpenter’s Big Trouble in Little China (and in particular, Pork Chop Express). There is also a montage piece which brought back The A-Team building a Sherman tank out of old paint pots and a bag of nails! The Stand soundtrack is varied and very enjoyable.

In 2003’s Dreamcatcher, directed by Lawrence Kasdan, a group of friends on a camping trip come into contact with a nearby town being assaulted by parasitic extraterrestrial creatures. Through the outsiders they will be attacked from within. This is one of those King adaptations I keep changing my mind about. But as for the music, it comes from Academy Award nominee James Newton Howard. There is a running theme of a ticking/clicking pace inherent in the music of these two discs. The first three tracks are upbeat and entertaining, but the standard isn’t maintained as much as I would have liked. There is a piano section as if to a child, an industrial piece which builds towards a crescendo but just stops instead, and low haunting rumbles and creaks like you would expect to hear in a 1950s science fiction show. Dramatic shrieks and orchestral flourishes turn to traditional horror score shock effects, before becoming a drama-like throb of televisual sound to wrap-up disc one. A similar throbbing music introduces disc two. Here there are Psycho slashes, wide film score moments, and paced action pieces. It then turns to the territory of the early tracks of disc one. It ends with a funky bass which fugues into the main theme.

In 1997’s The Shining TV Series, directed by Mick Garris, a recovering alcoholic writer moves his family into a house as caretaker, only to discover to everyone’s cost that it’s haunted. This is a three-disc score penned by Nicholas Pike. Each disc follows the events of an episode, so that we get an approximation of the emotions endured by the characters over a three day period. Ambient noises, Halloween-like piano and wibbly you-are-now-entering-another-dimension sounds begin disc one. The first proper music comes with track seven’s 'Red Between the Lines'. The real menace begins two tracks later, and Halloween makes a return with some angelic singing.

The order of the day here seems to be moderately-paced ambient sounds punctuated by the odd rumble and industrial slashes for shock value. It’s the same formula for disc two but with much more underlying menace. Also, the traditional horror music element of the cello to build suspense creeps in. Ditto for disc three. I expected some greater crescendos and longer suites for the conclusion of the piece, but no such luck.

There are some alternative mixes at the end which, frankly, sound the same as the original versions. These three discs are the least entertaining as isolated music, which is odd as the TV version of The Shining is considerably better than the film and I’m certain I would have noticed if the soundtrack felt out of place. They do say the best incidental music is that which you don’t notice; it’s all part of the overall film-going experience.

Verdict: 7 out of 10

 (Review originally written by Ty Power for reviewgraveyard 2017) 

Label: BuySountrax Records

October 2011

Composed by Ennio Morricone

Produced/Arranged by Alan Howarth/Larry Hopkins

To replace the original deleted soundtrack, comes The Thing: Music From The Motion Picture, available as a limited edition CD or as a digital download from BuySoundtrax Records. To avoid confusion it should be pointed out that this is the classic John Carpenter version from the early eighties, and not the recent very average prequel. Carpenter composed very powerful enhancing music for his films, but in this case he wanted to bring in Ennio Morricone who had impressed him greatly with several memorable spaghetti western tunes.  Morricone produced an orchestral soundtrack, but Carpenter wanted something more in the vein of his own music from Escape From New York, released only the year before. So, Morricone offered up a more electronic synthesizer score. Even then Carpenter utilised only a part of the music given to him, because he needed a recurring theme - something a little sinister to reflect the isolation of the characters and the siege feel so favoured by the director.  Alan Howath, who collaborated with John Carpenter on many of his soundtracks, as well as providing sound effects for a handful of blockbuster movies in the eighties, before composing some of his own - has painstakingly reconstructed Morricone’s original full soundtrack using new technology to create the sounds of the old recording. The tracks have also been rearranged to match the order they would have been in the film.  Listening carefully to the content it’s difficult to imagine where the music would have fit in to the very different mood of the film. The Thing has a very claustrophobic feel, and this would have been destroyed by some of the more orchestral pieces. To be frank, there is only one powerful track on this collection and that is the building electronic throb which was actually used as the main piece in the movie. The rest is not exactly entertaining. The composer himself described his electronic theme as Morricone doing John Carpenter. This begs the question, why didn’t Carpenter do it himself in the first place?

Verdict: 4 out of 10

(Review originally written by Ty Power for reviewgraveyard 2011) 

 Label: Screamworks Records

September 2018

Screamworks Records releases the soundtrack to the horror film The Toybox, directed by Tom Nagel (Clowntown). In the movie a cursed mobile home becomes lost in the desert, along with the dysfunctional family inside, who are quite suddenly in dire peril. The composition is by Holly Amber Church, who has previously worked on Worry Dolls and Ruin Me. The music for this one is described by her as atmospheric textures, cinematic orchestral elements, and some old-school '80s synths to capture the feel, characters and emotions of the film.

When   I reviewed the soundtrack to Ruin Me – Church’s previous release – I   was blown away by the sheer impact, originality and total avoidance of the standard horror film clichés. I seldom give maximum marks but that one deserved it without any shadow of a doubt. Therefore, you can imagine my interest when this one came winging its way to me for review. How does it compare? I’m glad you asked.

'The Main Titles' consist of piano and other keys, with discordant sounds coming and going. This is nice because it doesn’t sound like a tune you can properly get a hold of. 'Bike Ride into Trouble' is hesitant music which then bursts into life before being instantly cut off. 'Crunchy Carrot Finger Crunch' consists of strings that bring to mind a picture of a coming menace. 'The Trip Begins' has a jangling as if a normal tune will ensue, only to interject strange noises and a slam to end. 'Out of Control' sets up a panic-like build-up which turns to an eerie ringing and low rumbling and then returns in part to the 'Main Titles'. There’s a low bass ever present in 'Gunthry Appears'. There is light piano and otherworldly sounds, followed by jump moments interspersed by low ringing. 'Steve’s Nightmare' introduces indistinguishable voices. This is a very nice, if short, piece. 'Charles in Charge' is a drum arrangement which evolves into an orchestral number. Again, it would be nice if this were a little longer. 'Olivia' has a busy, almost galloping start, which soon reduces to single-chord bars and the occasional piano. Whereas 'It’s Slowly Killing Us' has a contemplative or retrospective feel.

'Jennifer and the Jumprope' has a mystical intro which suddenly lets rip with bass synth-like weird sounds, slams, discord and droning. 'Breathe' is a meditative sound of low strings, organ and slow piano. 'The Photo' returns once again to touches of the 'Main Titles'. 'Gunthry’s Stash' consists of an atmospheric piano piece. 'It’s Him' begins with keys and sinister strings. Then the all-out nastiness arrives, bringing slamming drums and high-pitch strings. When quick orchestral music takes over it’s some of the best of this score. There’s no doubt, this should have been the main theme. 'I’m Not Doing It' covers some previously trodden territory, with moderate themes, deep bass and keyboards, ending in some scary electronic rumbling. 'Samantha Vs Gunthry' is permeated with low rumbling, leaving the listener waiting for the inevitable clash of sounds. There is eerie music with electronic background bells and generally loud electronica. 'The Toolbox End Titles' starts like the 'Main Titles', and is reminiscent of a ghost story. There is a running sound going on in the background, which is like the needle running over an old vinyl record with scratches.

Overall, it’s a good soundtrack. There are some newly-used tricks here, but also some which have been reused from Ruin Me. Furthermore, although it doesn’t happen repeatedly as in some film scores, the 'Main Theme' is returned to more than once. The Toybox music isn’t as instantly gratifying as the excellent Ruin Me. But it has its moments.

Verdict: 8 out of 10

(Review originally written by Ty Power for reviewgraveyard 2018)