Interview: NEBRASKA composer Mark Orton takes a road trip

By DANIEL SCHWEIGER 12/31/2013
NEBRASKA soundtrack | ©2013 Milan Records

From ABOUT SCHMIDT‘s gruff retiree venturing about the Midwest in his Winnebago to the two malcontents who take their beat up car for soul-searching and wine-tasting in SIDEWAYS‘ Santa Ynez Valley, filmmaker Alexander Payne has proven that he’s got an eccentric taste for movies involving road trips with bastards – especially when it comes to the eccentric scores playing on his car radio called a soundtrack. But of all the hopefully redemptive voyages for these lovable losers that Payne has staged to critical acclaim, perhaps none has the desolate whimsy we hear on our way to NEBRASKA. The state might […]Read On »


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CD Review: THANKS FOR SHARING soundtrack

By DANIEL SCHWEIGER 11/27/2013
THANKS FOR SHARING soundtrack | ©2013 Milan Records

If there’s one addiction that it’s hard to think there’s ever too much of, then it’s likely sex addiction. So understandably, that clinically diagnosed affliction is often mocked by mainstream Hollywood, especially since it usually happens to befall incredibly good looking actors we don’t mind seeing have continuous sex. Given that cinematic problem (one that’s slightly remedied here with the casting of Josh Gad), one can only imagine the score that a comedy-centric composer like Christopher Lennertz might unleash on THANKS FOR SHARING. But as opposed to the rambunctious orchestrations of MARMADUKE or the dirty retro funk of IDENTITY THIEF, […]Read On »


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CD Review: HEMLOCK GROVE soundtrack

By DANIEL SCHWEIGER 11/10/2013
HEMLOCK GROVE soundtrack | ©2013 Varese Sarabande Records

While he’s more than shown his blunt orchestral adeptness with the shrieking torture-horror scores for his two unsettling stays in the European HOSTEL,Nathan Barr is a composer who’s most unsettling creative talents lie at home in rustic America. The vampire bayou of TRUE BLOOD has made him the horror-scoring equivalent of Flannery O’Connor, creating music whose dulcimers and stings enticingly reek of Southern gothic black magic. Even when Barr packs up and travels to the imaginary Pennsylvania town of HEMLOCK GROVE, it’s still hard to take the country-sounding horror out of the boy.HOSTEL creator Eli Roth has given this Netflix […]Read On »


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Interview: Composer Steven Price makes GRAVITY soar

By DANIEL SCHWEIGER 10/23/2013
GRAVITY soundtrack | ©2013 WaterTower Music

It’s been said that in space that no one can hear you scream. Yet for all of its astonishing visual, and technical accuracy, I can be fairly certain that the audience will be thankful that GRAVITY has thrown a bone to allow one glaring stylistic inaccuracy to survive in the void. Namely, it’s the emotionally identifiable companion of music that accompanies the lonely roller coaster ride of female astronaut Ryan Stone. For hearing nothingness would be cold comfort indeed, as it’s the innovative scoring of Steven Price that gives GRAVITY‘s black oblivion a feeling, beating heart. Of course, that isn’t […]Read On »


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Interview: Rob Simonsen on scoring THE SPECTACULAR NOW and THE WAY WAY BACK

By DANIEL SCHWEIGER 09/01/2013
Rob Simonsen | ©2013 Rob Simonsen

Just as guitars and soulful rock-pop melody signaled the youthquake revolution in film scoring with Simon and Garfunkel’s score to THE GRADUATE in 1967, today’s movies about troubled teens on the cusp of a far larger adult world are sounding out with a similar spirit that reflects what the “kids” are listening to, as opposed to their grandparents’ old-school symphonic scores. However, pop-rock is an ever-growing animal as well, having ventured well off the top 40 mainstream since the days when a strumming approach was all that you needed to signal a post-adolescent breaking away from conformity. Now teen dramedies […]Read On »


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Interview: BYZANTIUM composer Javier Navarrete hears vampire grrll power

By DANIEL SCHWEIGER 08/06/2013
BYZANTIUM | ©2013 IFC Entertainment

America might have its upstart, sparkly rock-and-roll vampires. However in Europe the cinematic myths surrounding these creatures tend to be somewhat more romantically sophisticated, encouraging their scores to be similarly cloaked in poetic refinement. It’s a crimson wellspring where Intimately Baroque instrumentations conjure images of corseted eroticism and raging orchestras relish in unholy evil, all while a chorus simultaneously evokes the undead’s transgression against God, and their impossible dream of returning to his good graces. With his music’s striking mix of tenderness and savagery, Javier Navarrete takes on feminine, melodic shape to tap into the jugular of time-honored vampire music […]Read On »


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Interview: BEFORE MIDNIGHT composer Graham Reynolds creates the musical conversation

By DANIEL SCHWEIGER 06/15/2013
BEFORE MIDNIGHT soundtrack | ©2013 Milan Records

For such a visual medium as film, it’s amazing that watching two agingly attractive people gabbing away overseas at cafes, on sidewalks and in hotel rooms can prove just as cinematically engaging as a superhero blockbuster. That says much about just how great the said talk is through three BEFORE movies, a conversation first sparked 18 years ago by filmmaker Richard Linklater and co-writer Kim Krizan in BEFORE SUNSET, then continued on in 2004’s BEFORE SUNRISE with co-stars Ethan Hawke and Julie Delpy adding their own verbal food for thought for their character’s developing relationship. Now BEFORE MIDNIGHT finds American […]Read On »


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CD Review: SHE DEMONS / THE ASTOUNDING SHE-MONSTER

By DANIEL SCHWEIGER 05/23/2013
THE ASTOUNDING SHE-MONSTER soundtrack | ©2013 Monstrous Movie Music

When you want the best in shrieking, old-school genre music, then Monstrous Movie Music has been the place for any Famous Monsters fan to geek out to, as the label has gone from sumptuous re-recordings of the likes of GORGO, DAY OF THE TRIFFIDS and THIS ISLAND EARTH to releasing the original recordings of fairly prestigious genre fare like ROCKETSHIP X-M and KRONOS. They’ve even dared to branch out with such distinctly non-monstrous Ernest Gold releases as SHIP OF FOOLS and THE McCULLOCHS. Now MMM goes digging into the vault of 1 AM Chiller Theater fare, not to mention whatever […]Read On »


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Interview: EVIL DEAD composer ROQUE BANOS scares up a score

By DANIEL SCHWEIGER 04/21/2013
Roque Banos | ©2013 Roque Banos

There are over the top gore films. There are over the top horror scores. And then there is the redo of EVIL DEAD, which does its best to live up to its claim of being “the most terrifying film you will ever experience.” While that debate will be left up to those who survive its blood-splattered roller coaster ride with enough severed limbs to make RE-ANIMATOR  look like REBECCA OF SUNNYBROOK FARM, there will be little argument that Roque Banos’ score is the aural equivalent of a raging exclamation mark, it’s bottom colon fashioned into a knife that repeatedly stabs […]Read On »


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Interview: Composer Alex Heffes investigates the EMPEROR

By DANIEL SCHWEIGER 03/30/2013
EMPEROR soundtrack | ©2013 Lakeshore Records

The weight of history can be as dramatic as it is romantic, a counterpoint explored in any number of classical films, and symphonically lush scores that have dealt with the West’s awakening to the war-torn East. Now, that majestic sound has been robustly picked up by British composer Alex Heffes for EMPEROR, the new film from director Peter Webber (“Girl with the Pearl Earing”) that contrasts General MacArthur’s postwar search for the guilt, or innocence of the country’s god-ruler Hirohito with a military investigator’s desperate quest to determine if his Japanese fiancé has survived his nation’s bombing of her motherland […]Read On »


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