CD review: BENEATH and WE STEAL SECRETS

By DANIEL SCHWEIGER 08/04/2013
BENEATH soundtrack | ©2013 Milan Records

Spinning out a groovily weird indie score beat with the likes of ANOTHER EARTH, 28 HOTEL ROOMS and NOBODY WALKS, the collective called Fall On Your Sword (otherwise known as Will Bates, doing that Daft Punk mask think on his company’s website) has managed to sound different with each soundtrack, especially when dealing with the dual horrors of killer fish and our government’s clandestine activities. Probably the wackiest, and perhaps creepiest musical-design treatment that a mega-piranha has yet gotten, BENEATH uses teeth-scraping metallic effects and berserk buzzing, so much so that the score’s subject feels like it’s about a swarm […]Read On »


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CD Review: NOBODY WALKS soundtrack

By DANIEL SCHWEIGER 12/19/2012
NOBODY WALKS soundtrack | ©2012 Lakeshore Records

One of the most interest alt. score duos to arrive on the Hollywood scene since Tom Hajdu and Andy Milburn went by the name of Tomandandy for KILLING ZOE, the Brooklyn-based collaborative of Will Bates and Phil Mossman have given themselves the not-so easily identifiable moniker of Fall On Your Sword. With their own impressively uniquely combination of rock-based percussion and hypnotic minimalism, Sword seemingly struck from nowhere with the surreal sci-fi score of ANOTHER EARTH before getting slightly more down to our planet to chronicle the screwed-up relationships of 28 HOTEL ROOMS, GENERATION UM… and LOLA VERSUS. But playing […]Read On »


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CD Review: ANOTHER EARTH original soundtrack

By DANIEL SCHWEIGER 08/30/2011
ANOTHER EARTH soundtrack | ©2011 Milan Records

Nothing says “sci fi” like the bleeping weirdness of electronics, whether it’s Louis and Bebe Baron’s bizarre, futuristic frequencies in FORBIDDEN PLANET, the pulsing, eerie sterility that Gil Melle brought to THE ANDROMEDA STRAIN, or the sinister, metallically grinding synths that Brad Fiedel constructed THE TERMINATOR’s killer robot with. With the dance vibes of rave and hip-hop finding their way into film scoring, courtesy of such performers-turned-composers as B.T. (GO) and The Chemical Brothers (HANNA), let alone Trent Reznor and Atticus Ross’ Oscar win for THE SOCIAL NETWORK, electro sci-fi scoring has somehow become a warmer, more energetic place, if […]Read On »


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