THE NEON DEMON composer Cliff Martinez – Interview

By DANIEL SCHWEIGER 06/25/2016
THE NEON DEMON | ©2016 Broad Green Pictures

If there’s one thing that composer Cliff Martinez shares in common with Jesse, the nymphet model of THE NEON DEMON, then it’s that both are soft spoken while rocking peoples’ worlds. For Jesse, it’s becoming a sensation that drives LA’s fashionistas wild with desire as The Next Big Thing. For former Chili Peppers drummer Martinez, it was creating a sound of alt. rhythmic minimalism that changed the face of indie scoring with Steven Soderbergh’s SEX, LIES AND VIDEOTAPE. But if Jesse has the misfortune of attracting equally gorgeous, if far more twisted people who want to absorb the blonde essence of her […]Read On »


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CD Review: The Ten Best Scores of 2013

By DANIEL SCHWEIGER 12/27/2013
Anthony Gonzalez, Joseph Trapanese / OBLIVION soundtrack | ©2013 +180 Records

THE BOOK THIEF (John Williams / Sony Classical) The kind of unabashedly thematic, and mostly melodic music that’s made John Williams into the most popular film composer of all time is often the sound of innocence itself, an unabated musical youthfulness that he’s also played to ironic effect when dealing with children confronting the unimaginable. Here it’s a genocide that’s heard, but rarely witnessed within a young German girl’s sheltered life during World War 2. Such is the devastating, gentle power that speaks volumes for THE BOOK THIEF‘s score as it encapsulates the innocence, first loves and ultimate shock of […]Read On »


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CD Review: ONLY GOD FORGIVES soundtrack

By DANIEL SCHWEIGER 10/03/2013
ONLY GOD FORGIVES soundtrack | ©2013 Milan Records

Most times, a composer’s job is to support the emotions of an actor’s performance, not become the performance. But where any other musician might be condemned for overstepping the boundaries of good taste, Cliff Martinez deserves a medal for brilliantly providing just about the only humanity for Nicolas Winding Refn’s lavish exercise in artsy sadism with ONLY GOD FORGIVES. Far more in the realm of the filmmaker’s FEAR X  than his infinitely more accessible DRIVE, Refn’s bitch slap of unending, beyond-explicit revenge is actually more of a fight club for staring. Given endless stretches of unblinking silence in between its […]Read On »


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