This is a genuinely uncomfortable listen and it is easy to see why it has become such a classic amongst synth-heads and horror fans alike. The film was featured on Sundance's Midnight section and drew immediate hype for its singular vision. The Fright File wrote Complementing every scene in an incalculable way is one of the most pronounced and inspired music scores and soundtracks in recent memory, an instantly catchy, appropriately playful lo-fi orgy of electronic synth compositions from Fuck Buttons band member Andrew Hung'.
Hung's score reflects the onscreen insanity perfectly offering an extremely twisted musical electronic soundtrack reminiscent of 80s video games complete with chiptune vocals, children's keyboards and playful bouncy beats, it's the kind of off kilter musical styling's you might find from the residents in some of their more delirious pop moments.
The group is highly regarded for their powerful live performances and all three of their album releases were met with universal critical acclaim. Since their inception in , they have headlined multiple world tours, headlined many festivals including the Park Stage at Glastonbury, collaborated and remixed Jean-Michel Jarre, Moby and Caribou amongst others , and featured in the opening ceremony of the Olympics which was watched by over million people worldwide.
In , Hung released two eps of fun-inspired music called Rave Cave 1' and Rave Cave 2' both written whilst on tour.
Pitchfork noted the music was heavy on the ears and on the heart'. The result was Shackles Gift', the album's hyperkinetic sound heaped praise on by the music press. At the end of the same year, Hung was asked by director Jim Hosking to compose the soundtrack for his depraved comedy The Greasy Strangler'. The film featured at Sundance's Midnight section and drew immediate hype for its singular vision. The two wrote and produced the music together over the course of 2 years.
The album was proclaimed a return to Orton's career high with many proposing it her best yet. Treblezine wrote, "Hung's contribution to Kidsticks may be the most striking and sweeping of any collaborator Orton's ever employed—not a paltry statement since those past partners include William Orbit and Jim O'Rourke'.
Mainstays in the darkest, most obscure netherworlds of the New England underground scene, the work of these individuals has circulated over the past decade only amongst the filthy hands and minds of those in the know. Together as Victims, the two make synthesizer music inspired in equal measure by the highest and lowest expressions of the medium. Perhaps if Tangerine Dream geared up and jammed immediately after their 12th consecutive viewing of Burial Ground: Night of Terror, it might sound something like this.
If Michael Hoenig had scored The Gate before abandoning his analog synths, those fleshy little minions would've been dancing to the arpeggiated menace of Form Hell. A thrilling adventure that spans multiple countries that pits a trio of ass-kicking ladies against a mysterious villain and his plan to create an army of female terrorists from his remote island, the film stars cult actress Raven De La Croix Russ Meyer's UP!
Howarth mixes different elements; the effortlessly cool tune for LAPD hero Angel Wolfe, the mysterious and dangerous theme for awesome Native American Whitestar, and the Eastern flavours representing the evil of Dr Sin Do and his island of terror. Artwork by Rockin Jelly Bean. Operating within the same realm as Pye Corner Audio, Pentagram Home Video's debut LP for Death Waltz Originals offers up a dystopian analog synth attack swathed in layers of distortion and heavy pounding drums, it works as an imaginary soundtrack in your headphones but also as a powerful beast on more adventurous dance floors all the time being super melodic too.
Strictly limited edition of copies for the UK , for the USA g black vinyl housed inside a gsm single pocket jacket. Bringing the legend of Bram Stoker's immortal creation into then-present day, the film pits the charismatic Count up against the disco decade after being resurrected by a group of hippies performing black magic, with Christopher Lee and Peter Cushing reprising their signature roles.
Composing this madness was Mike Vickers, former member of 60's pop quintet Manfred Mann, who provided a suitably contemporary score that followed in the footsteps of the jazz scores of the era. Dramatic drum rolls and emphatic brass mark this as the Hammer you're used to, before the main theme strides into action with its Barry-esque brass hits and uber-catchy sax melody and shocks you with just how cool it is. Vickers combines both approaches with ease, although a highlight is the psychedelic and harrowing score for the black magic ceremony.
The score gets under your skin fast, with ambient eerie textures causing maximum discomfort with minimum effort. When things really begin to ramp up, you'll start looking for a new set of underwear. Strings saw and chug along like weapons being sharpened, while it builds to some absolutely evil malevolence, punctuated by some seriously scary stingers.
And out of nowhere it comes - for YOU. Run motherfucker, just try and escape it. Like a demented wall of sound it chases you, omnipresent, oppressive. Those synths are a big red flag for one thing: inevitability. It's inevitable that this music will hook you in, it's inevitable that you won't escape.
The survivors of the cult use the Psychic Shield to protect them, as they battle to the death to make sure the cult and its members burns to the ground - forever. The score has a certain European flavour, presenting some beautifully colourful music such as that of Messrs Ortolani and Frizzi and juxtaposing it alongside some utterly creepy synth riffs.
Many fans of cinema and synthwave alike have been dying to hear the song in its entirety after hearing short snippets during the first 'TURBO KID' trailer, and the song does not disappoint.
Le Matos's yearning analog synth and drums weave perfectly with PAWWS pop vocals to create a bittersweet synth romp filled with nostalgia and bit of mystery. This track is produced and mixed about as well as they come. A group of elementary teachers - including Elijah Wood, Alison Pill, and Rainn Wilson - up against an army of feral kids infected with a mystery virus, bringing new meaning to the term 'playground violence.
Composed by the avant-garde project Kreng aka Belgian musician Pepjin Caudron the score for COOTIES reflects a number of influences, from Bernard Herrmann's work for strings to spaghetti westerns through a trip hop filter set to 'extreme foreboding'. Kreng's approach will surprise and intrigue, compared to many scores of its ilk. While it's synth-heavy, there are key roles for haunting vocal effects and violins, mixing both aesthetically beautiful and madcap cues to create waves of emotionally and viscerally powerful tunes.
Relax, put the needle on the wax, and let this record infect your ears. You'll be voracious for more. Death Waltz Recording Company have used their souped-up VW Scirroco to make a journey into the post-apocalyptic future of AD, and are proud to return with a holy artefact: The amazing score to the Enzo G. What follows is the kind of bloodthirsty montage of flamethrowers and pompadours that only 80's Italian genre cinema can provide.
Electronic effects permeate the score, enhancing the desolation and devastation, while electric guitars and synth clusters signal chaos and ultimately death. Tender romantic chords appear for Scorpion's romantic exploits, and we even get a church organ, but they're both but a short relief from the aural brutality. Grab it now so you don't have to wait another 21 years!
I have loved this album since it came out in the early 80s. Every song is memorable. It speaks to me and continues to do so. It's a mix between a girl band, punk, and pop. Holly has a great voice that carries a lot of emotion.
I've had this album on tape and it was time to move up to a new technology version. Great record. Format: Audio CD. Upon its release in , this band's debut and with this line-up, only album quickly found itself dwarfed by the iconic track, "Tell That Girl to Shut Up.
Things weren't helped by Virgin's reluctance to reissue the album on CD, nor the time-limited nature of this Wounded Bird's release.
Average at best, but an okay place for the casual fan to start. This is the first CD that I ever bought. Back in the early ninties. I know, I know, oohh and ahh, right? Seriously, this CD has outlasted about seven different stereo systems, six pieces of crap cars, and so on.
So it has great personal value to me. I have played it to death, especially track 11, "Hey You. I love it!!! But of course, the entire album is awesome. This you must remember, is before a lot of their 's material.
So "Wind of Change" is on one of their more recent greatest hit albums. It could be argued that "The Mercury Years" is the most complete compilation of their hits. But I'll settle for this little jewel. See all 11 customer reviews. Write a customer review. Want to see more reviews on this item? Death Waltz Recording Co. After Lisa Baumer's husband dies in an airplane explosion, she becomes the beneficiary of a huge life insurance payout in his name.
But things are never as they seem, and after being confronted by her husband's mistress demanding a cut, Lisa is murdered, leaving an insurance detective and crime scene photographer to solve the titular whodunnit. Accessories for protection and cleaning. Transport packaging.
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