Soundtrack: Stranger Things

Aaron Cooper wrote on Bearded Gentleman Music, that nostalgia has become a counter-cultural juggernaut because of the Internet. “Instead of relying on a fragmented, often romanticized memory, you have the best and the worst of history at your fingertips.”  It’s true, you can indulge in nostalgia at any moment you choose; get misty-eyed over old Coke ads, find the…

PROFILE: BERNARD HERRMANN

I had the privilege of previewing one of Waxworks‘ latest releases this week; Taxi Driver by Bernard Herrmann. I’ve reviewed this and the new Stylotone release of Twisted Nerve, also by Bernard Herrmann for a double review in the upcoming issue of The Wire. I thought I’d write about one of my favourite film score composers while the…

An Interstellar Love Letter to Hans Zimmer

It’s not often that a film score like Interstellar comes along and when one does it’s usually written by Hans Zimmer. Granted, I don’t watch as many movies as I used to and age and parenthood has affected my choices, but I have become better at spotting something special. From the first musical murmur in Christopher Nolan’s…

Fricatives, Sibilance and Sonorance; singing without words

Legend has it that it all started with Louis Armstrong in 1926. In the late 30’s the BBC banned its use on air, believing it lacked respectability. But in fact, scat singing had been around long before Louis Armstrong forgot the words. In the New Orlean’s jazz scene it was said, ‘if you can’t sing it- you can’t play…

The Horror

For me, the most powerful moment of a horror film is when the action goes beyond sensorial experience. It’s the moment when the thing you are seeing is unleashed from the image and runs rampant in your imagination, taking on a life of its own. This moment where the horror comes alive is undoubtedly the aim…

Bitchin Bajas; unknown and unknowable

I’ve never been on trend, but it turns out Bitchin Bajas is a new release and I don’t normally rush into writing a post but I’m excited about this record. Research is what writers do, part of the job; but I have decided to write about this record in the spirit of the unknown and without the…

Soundtrack: Only Lovers Left Alive

When Jim Jarmusch puts a film out, I almost get more excited about the music that it will feature. I discovered Mulatu Astatke’s hypnotic Tezeta in Jarmusch’s Broken Flowers. Dead Man [VINYL] is one of my all time favourite soundtracks, featuring the crunchy echos of Neil Young’s lonely guitar. Epic and desolate, Dead Man must have provided…

Falling in and breaking out

What is it about this clip that makes the hair on the back of my neck stand up? What is it about a song with a great beat that makes you want to tap your foot? Daniel Levitin thinks it’s all about the falling in and the breaking out of the beat. He calls that…

Lalo Schifrin, nightly news and vampires

Lalo Schifrin was not a name I grew up knowing. In fact it’s only recently that I started paying attention when I heard this name, and ever since, I’ve noticed that unusual name cropping up in the most unusual places. Cool Hand Luke is undoubtedly one of Paul Newman’s best films and I love it,…

Sound, image and the making of meaning.

We’ve come to accept the idea that the score is merely a supporting part to the main event of the moving image when it comes to film. In the Fifteen Question interview we often ask the artist about the relationship between image and sound. Some recent responses to this question…”music is but one small part of…