DAVID LYNCH'S
"Twin Peaks: Fire Walk With Me" Music From The Motion Picture Soundtrack - (1992)

Composer Angelo Badalamenti, who wrote the music for the television series for which this movie served as a "prequel," presents another low-key score mixing after-midnight jazz with ambient sounds, never taken at more than a medium tempo. The mood is dark and languid, appropriate to the unusual tone of the TV show and movie. Jimmy Scott and Julee Cruise contribute eerie vocals to songs with lyrics by director David Lynch.

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CLUB FOOT ORCHESTRA
The Cabinet Of Dr. Caligari - (1989)

The Cabinet of Dr. Caligari (1919) is generally considered the first completely realized German Expressionist film. The screenplay, written by Carl Meyer and Hans Janowitz, combined dream imagery with a STRONG anti-authoritarian message, an outgrowth of their experiences during WWI. Their screenplay had the movie end with Caligari in a straitjacket and raving mad. Fritz Lang, who had been brought in to fix the movie, is responsible for framing the screenplay with footage which suggests that the whole story is a nightmare invented by the patient, who had just been saved by the good doctor. But the fact that the sets remain distorted to the very end, suggest that despite his antiseptic appearance, all is not right with the world. The Club Foot Orchestra premiered Richard Marriott's score for this film at the Mill Valley Film Festival October 17, 1987. The film sold out San Francisco's Roxie Theatre for seven shows in February 1988 and was subsequently performed at New Music America '89. In 1991 Orchestra performed the score during the Smithsonian Institution's "Exhibit of Degenerate Art", a re-enactment of the 1937 Berlin exhibit of art deemed degenerate by the Nazis. In 1996 the Orchestra performed the score at Lincoln Center.

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TIM DeLAUGHTER AND THE POLYPHONIC SPREE
Visioneers - Original Motion Picture Soundtrack - (2008)

First-time feature filmmaker Jared Drake makes his directorial debut with this quirky black comedy set in the near future, and concerning a curious spike in cases of spontaneous human combustion. The Jeffers Corporation is the largest business in the history of humankind, and they got that way thanks to their strict philosophy of happiness through mindless productivity. But when people begin literally exploding due to unhappiness, Jeffers Corporation Level Three Visioneer George Washington Winsterhammerman (Zach Galifianakis) begins to fear that his time will come sooner rather than later. George lives a comfortable yet completely uneventful life, and when he starts having dreams in which he's the first President of the United States, his doctor informs him that they could be signs of impending explosion. Later, as the dreams become more frequent and his co-workers continue to detonate, George is prompted to reevaluate his mundane existence. Judy Greer, Missi Pyle, and James LeGros co-star in an existential black comedy featuring music by Tim DeLaughter of the Polyphonic Spree.

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MANUEL DE SICA
Dellamorte Dellamore - Original Motion Picture Soundtrack - (1995)

Achingly romantic and creepy-funny, this funereal fantasy from the director of La Chiesa (1989) is unlike any Italian film in memory. Rupert Everett plays Francesco Dellamorte, a lonely cemetery caretaker who just wants to get out of his small town of Buffalora. His assistant and sole companion, Gnaghi (played by famed French musician Francois Hadji-Lazaro) is an overweight cretin who speaks only in grunts, and the dead people outside are rising from their graves as zombies and trying to have him for breakfast. This situation, coupled with all his other problems, gives Francesco a real complex. His troubles are compounded when he meets a series of mysterious women (all played by the beautiful Anna Falchi) whom he loves before they die tragically. Soavi's film is based on a graphic-novel, Dylan Dog by Tiziano Sclavi, but Soavi's more obvious influences range from Jean Rollin's La Rose de Fer (1973) to Tim Burton's Edward Scissorhands (1990). Barbara Cupisti (of Soavi's Deliria) has a small role, and the film also benefits from Manuel de Sica's memorable score and excellent pacing by editor Franco Fraticelli. This is a film to savor and it will go down as one of the most striking Italian genre efforts of the decade, despite some weak effects work by the normally reliable Sergio Stivaletti.

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TOM WAITS
Night On Earth - (1992)

Tom Waits brings an appropriately international flavor to his mostly instrumental score for Jim Jarmusch's globetrotting taxicab movie. As in all his music of the time, Waits' chief influence is Kurt Weill, and using horns and accordion among other instruments, he re-creates Weill's creepy, catchy style in 16 short tracks running almost 53 minutes. He and Kathleen Brennan contribute three songs with lyrics, which Waits performs in a calmer, more melodic way than those on some of his recent albums. Still, this soundtrack is very much in the style of Waits' Swordfishtrombones, Rain Dogs, and Franks Wild Years albums.

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TRAINSPOTTING - Music From The Motion Picture - (1996)

Trainspotting concerns the adventures of a group of young, nearly criminal, drug-addicted Scottish friends. The novel, written by Irvine Welsh, became one of the most popular books in the British indie scene in the early '90s and was adapted to film in 1996 by the makers of Shallow Grave. Appropriately, an all-star collection of British pop and techno stars -- everyone from Blur, Pulp, and Elastica to Leftfield, Primal Scream, and Underworld -- contributed to the soundtrack, which also features a couple of oldies by veteran punk godfathers like Lou Reed ("Perfect Day") and Iggy Pop ("Lust for Life," "Nightclubbing"). The entire soundtrack holds together surprisingly well, as the techno tracks balance with the pop singles. Every song, whether it's Pulp's deceptively bouncy "Mile End" or Brian Eno's lush "Deep Blue Day," is quite melancholy, creating an effectively bleak, but oddly romantic, atmosphere for the entire record. With the exception of the oldies, every song is rare or especially recorded for the soundtrack, and nearly every one is superb. Primal Scream's title track sees them returning to the dub/dance experiments of Screamadelica with grace, while Damon Albarn's first solo song, "Closet Romantic," is as good as any of Blur's waltzes. But the finest new song is Pulp's "Mile End," with its jaunty, neo-dancehall melody and rhythms and Jarvis Cocker's evocative, haunting lyrics. That song, more than anything else on the soundtrack, captures the feeling of the film. (allmusic.com)

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DEBORAH LURIE
9 - Original Motion Picture Soundtrack - (2009)

Composer Deborah Lurie's score for animator/director Shane Acker's apocalyptic (and animated) fantasy adventure 9, dutifully complements the film's grim (yet oddly hopeful) premise of an alternate world where a small band of rag dolls attempts to rescue civilization from the machines bent on destroying it. Lurie, with a little help from Danny Elfman, with whom she has collaborated in the past as an arranger/orchestrator for Charlotte's Web and Charlie and the Chocolate Factory, fills the world of 9 with dark orchestral wonder peppered with the occasional ray of sunshine that suggests a heavy childhood diet of John Williams scores. The soundtrack concludes with "Welcome Home," a track from progressive metal outfit Coheed and Cambria's 2005 album Good Apollo I'm Burning Star IV, Vol. 1: From Fear Through the Eyes of Madness, which was initially tagged onto the film's trailer. (allmusic.com)

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NASH THE SLASH
Nosferatu - (2001)

Nash the Slash has a strong love of silent movies (his name comes from Laurel and Hardy's classic Do Detectives Think) and he has composed three other soundtracks for silent film classics (including his wonderful music for The Cabinet of Dr. Caligari). However, this is the first soundtrack that he has committed to tape and released to his rabid fans. And it is fantastic. The music actually stands alone without viewing the film. It is a combination of several styles including classical, rock, electronica, and ambient. Slash is able to combine these genres and create his own atmospheric sounds with very strong melodies. This style differs from his instrumental work (such as Blind Windows) but is equally interesting and engaging. Fans of Slash will love this CD, and fans of soundtracks will undoubtedly find something of interest here. A brilliant work. (allmusic.com)

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JOSEPH LoDUCA
Evil Dead (Original Motion Picture Soundtrack) - (1982)

Joeseph LoDuca's score for The Evil Dead is a study in contrasts. Some of its pieces are moody and even old-fashioned in composition and execution, heavy as they are on piano and strings. They are of themselves impressive. Many of the tracks make liberal use of synthesized notes, sometimes interwoven with the more traditional instruments. As you get deeper into the album, LoDuca increasingly chooses a seemingly chaotic combination of instruments, creating a manic sense that fits the film and is an exciting listening experience.

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FANTOMAS
The Director's Cut - (2001)

Fantomas stand with their feet planted horizontally across the soft dimensions of your face, warping the shape of your skull and shoulders with their off-color explosions. With expectations withering on the floor, leaving a viscous stink, nothing in their hands is concrete. As a follow-up to their 30-song debut, throughout which vocalist Mike Patton never formed a single actual word, Fantomas offer these 16 new creations, all realigned versions of film soundtracks, ranging from the notorious theme to Rosemary's Baby to the obscure and peculiar wank of Henry: Portrait of a Serial Killer. While there are many similarities to the dispersed flip-flopping styles of their earlier work, The Director's Cut breaks new ground with a thick jagged axe. First, most noticeably, are the even more varied vocal stylings; Patton's sweet croon on "Experiment in Terror" is nothing you've heard before from him on a Fantomas recording, along with many of the other croaking, spitting, pissing, screaming noises he excretes. Yet another testament to the unabashed genius of Mike Patton and his co-conspirators, leaving those caught up in the rapture with mouths even more full with thick drool. (allmusic.com)

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KRISTIN ASBJORNSEN
Factotum - Music From The Motion Picture - (2006)

It may seem odd that a notable Norwegian director (Ben Hamer) would be the one to make a movie about a tortured, against-the-grain cult writer and poet (Charles Bukowski, played by Matt Dillon) who spent all but two years of his life in Los Angeles. But the good news for music fans is the important larger discovery of the incredibly diverse and captivating Scandinavian jazz composer and vocalist Kristin Asbjørnsen. Even without images, the soundtrack to Factotum functions quite well by itself as a haunting, complex, atmospheric work with varied moods and instrumentation. The opener "On the Bus" is just over a minute but brings back magnificent creepy memories of Twin Peaks. After "Reunion," a subtle and graceful solo piano piece, is the chamber music-flavored "I Wish to Weep," featuring the composer's smoky, emotional vocals toiling sweetly over a simple Bukowski poem/lyric that gives the words a scorching urgency. There are other similarly flavored lead vocals (most notably, the classical/folk-tinged "Slow Day,") but Asbjørnsen proves herself equally adept at creating moods with wordless vocals ("Farewell I," "Beside You"). Amidst the largely melancholy vibe of most of these tracks is the rumbling and percussive acoustic jazz magic of the quirkily titled "Pickles." Asbjørnsen, making her composing debut, performs these pieces with her band Dadafon, drawing inspiration not only from her formal jazz education nbut also her love for West African griot singers. A fascinating work. (allmusic.com)

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JOHN LURIE
"Mystery Train" Original Soundtrack Recording - (1989)

This is the soundtrack to Jim Jarmusch's excellent film about various intersecting characters in the underbelly of Memphis. Most of Lurie's compositions are delicate miniatures built around spare, reverbed guitar lines that evoke a haunted, late-night Delta vista. There are much better tasters of either Memphis rock-soul or John Lurie, but for someone who just wants a bit of the flavor of the movie and isn't worried about building serious collections, it's not bad at all. In this posting you will find just the John Lurie songs from the soundtrack.

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ALAIN GORAGUER
La Planete Sauvage (The Fantastic Planet) - Original Soundtrack Recording - (1973,2000)

In 2000, the European label DC Recordings reissued on CD the soundtrack from the cult sci-fi animated film La Planète Sauvage (released in English as The Fantastic Planet). The René Laloux film, which won a Special Jury Prize at the Cannes Film Festival in 1973, was supported by a soundtrack by Alain Goraguer, mostly known for his work as Serge Gainsbourg's arranger. Goraguer's music consists of 25 short vignettes. Each is a contextualized adaptation of one of three main musical themes. The main theme is very reminiscent of Pink Floyd's "Atom Heart Mother Suite" (same half-time tempo, mellotron, harpsichord, and wah-wah guitar), and the other two are a ballad and a circus-like waltz. The music is very '70s-clichéd and will appeal to fans of French and Italian '70s soundtrack stylings. Although repetitive, the album itself creates an interesting marijuana-induced sci-fi floating mood, blending psychedelia, jazz, and funk (the album has been sampled by a few hip-hop artists). The 16-page booklet includes stills from the film, a description of the plot, and biographical notes on the composer, the director, and the illustrator, all in English — but, alas, no musicians' credits. DC Recordings reissued the album on both CD and LP, the latter version also including a poster. (allmusic.com)

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JOHN LURIE
"Down By Law" Original Soundtrack - (1988)

If John Lurie's music is most aptly described as "fake jazz" (his own description), then there are few better places to experience its fakeness than here. No matter how that sounds, it's a compliment. Lurie's earliest lineups of his Lounge Lizards featured Arto Lindsay in a deconstructive, crunching mode, and the octet that plays the roughly 19 minutes of music for Jim Jarmusch's cult classic Down by Law features not only Lindsay but also his successor, Marc Ribot, among others. They play 13 atmospheric vignettes (again, in 19 minutes!), always forcing the ear back onto the nuggets, as if Lurie is tugging at you to acknowledge that a) his is a strong, idiosyncratic ear for the meeting of auditory and visual elements; and b) his is a music built out of cells like this, which in future versions of the Lounge Lizards have served as the brick and mortar of his additive compositional techniques. Yes, there's too little music from Down by Law, but you do also get nearly 18 minutes of music from Betty Gordon's Variety, this time played with straighter rhythms, albeit ones with titles like "Porno Booth" and "Garter Belt." The band on the latter film's music is Lurie's after-Lindsay outfit, with his brother Evan on piano. The music is stylized without being overstuffed and aptly sultry and noirish. If anyone had doubts about Lurie's manifold talents, this set should confirm that he's been on similar aesthetic roads to his late-1990s bands for many years.

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JOHN LURIE
"Stranger Than Paradise" Music From The Original Score - (1985)

John Lurie has never minded throwing curveballs at crowds, and his filmmaker pal Jim Jarmusch has made a career of doing so. When they got together for Lurie to act in and compose music for Stranger than Paradise (and, of course, Down by Law), the combo worked like magic. Lurie's aloof distance on screen was well matched with his own music for string quartet, much of it crossing wires between the eerie and the aloof. There's a sense of strangeness in the music, played wonderfully by the Paradise Quartet, with Eugene Moye eking every burnished texture under the sun from his cello. When it comes time to tackle the 16-minute Resurrection of Albert Ayler, the Paradise Quartet's violinists Jill Jaffee and Mary Rowell help set an atmosphere not unlike Ayler's Live in Greenwich Village band. With two percussionists, a kit drummer, Curtis Fowlkes on trombone, Arto Lindsay on guitar, and himself on alto and soprano saxes, Lurie imagines Ayler's supersimple melodic sensibility correctly, as a launching pad for improvisation and expression. That said, Resurrection doesn't ultimately soar like Ayler but instead generates drifting clouds of low strings and percussion.

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THX 1138
The Walter Murch Cut - (1971)

To compliment the THX 1138 movie soundtrack which I posted a few months back I just had to go ahead and post this excellent project that was put together by Weil's Time Capsule blog. Here is what was said about it. "I recorded the sound of this first movie of George Lucas on my tape recorder with a microphone near the tv speaker when it was broadcasted on television, around 1973 I think.I listened to this beautiful futuristic soundscape again and again. Till my tape recorder broke and was replaced by a cassette deck. Some years ago THX 1138 came out on dvd, and it had a special feature: the soundtrack without the actors voices. A pity was, that also the voices of the electrogod and robocops were removed, which were essential for the atmosphere to me.So I made my own mix where I brought back the voices of the cops and godmachine. I divided this mix more or less into the chapters of the movie. Another extra on the dvd were comments from Walter Murch you could jump to during the film. I extracted these explanations, removed the ehh's and ahh's, added some sound references and included them too." This is highly recommended listening if you are a fan of the amazing science fiction film. Thanks Weil's. (http://www.wiels.nl/blog/index.php)

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HOWARD SHORE & ORNETTE COLEMAN
"Naked Lunch" Music From The Original Soundtrack - (1992)

You couldn't do much better for a soundtrack to David Cronenberg's adaptation of William S. Burroughs' beat classic than have Ornette Coleman team up with Howard Shore, a film composer who keeps within the strictures of classic film score ideals and colorations, but explores them with the intelligence of Bernard Herrmann. Coleman's free jazz complements the schizophrenia of the film and pays homage to the generation that preceded (and gave birth to) him, while Shore maintains the melancholic dread that powers most Cronenberg films. Like the film — where the Algiers of the story might only be Bill Lee's imagination — Shore uses Arabian elements sparingly, and in the context of the cool New York sound. Wondrous strange. (allmusic.com)

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QUENTIN TARANTINO'S
"Pulp Fiction" Music From The Motion Picture - Collector's Edition - (1994, 2002)

The soundtrack to Quentin Tarantino's darkly funny crime classic Pulp Fiction manages to recreate the film's wildly careening sense of style, violence, and humor by concentrating on the surf music that comprises the bulk of the movie's incidental music and adding a few sexy oldies integral to the film's story ("Let's Stay Together," "Son of a Preacher Man," "You Never Can Tell"). Of course, the inclusion of dialogue and Urge Overkill's seductive cover of Neil Diamond's "Girl, You'll Be a Woman Soon" don't hurt either. The two-CD collector's edition adds a second disc consisting of an interview with Quentin Tarantino (previously posted) and appends four more songs to the original soundtrack: "Since I First Met You" by the Robins, "Rumble" by Link Wray, "Strawberry Letter #23" by Brothers Johnson, and "Out of Limit" by the Marketts.

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QUENTIN TARANTINO'S
"Reservoir Dogs" Original Motion Picture Soundtrack - (1992)

Only five songs here were featured prominently in Quentin Tarantino's rousing crime film ("Little Green Bag," "Hooked on a Feeling," "I Gotcha," "Stuck in the Middle With You," and "Coconut"), but the record includes Steven Wright's introductions from the film (separately indexed, thankfully), as well as Tarantino's infamous interpretation of the meaning of Madonna's "Like a Virgin" and Harvey Keitel's monologue on how to rob a jewelry store. In total, that's about fifteen to twenty minutes of material. Padding out the rest of the disc are three new songs that were heard in passing in the film — "Fool for Love" is very good, "Harvest Moon" passable, and "Magic Carpet Ride" is abominable. After this, the disc has passed the half hour mark by two minutes. The amount of music you'll actually want to listen to makes it even shorter, but it is a soundtrack you'll want to return to. (allmusic.com)

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RYAN SHORE
Vulgar - Motion Picture Soundtrack - (2002)

Composer Ryan Shore put together this dark, yet richly textured jazz score for Bryan Johnson's directorial debut. Using a variety of instrumnets such as tenor and baritone saxophones, trumpet, flugelhorn, trombone (each with mute), strings and an extended rhythm section of upright bass/electric bass, electric guitar, piano, organ, vibraphone and percussion - he was able to not only create a soundtrack fitting the mood of the scenes in the movie, but also a mix of jazz that works great by itself. Kevin Smith co-produced this bizarre (and sometimes very dark) comedy from his high school friend and occasional acting colleague Bryan Johnson. Will Carlson (Brian O'Halloran) is a second-rate children's entertainer who barely scrapes out a living appearing as Flappy the Clown at children's parties. Determined to make a living and support his harridan mother through clowning, Will gets the idea to change his act, and starts hiring himself out as Vulgar the Clown, a cross-dressing gagman who performs at adults-only functions. Vulgar's debut performance, however, proves worse than disastrous; hired to appear at a bachelor party, Vulgar is gang-raped by three subnormal rednecks who were expecting something quite a bit different. Will's life seems to have hit rock bottom when he stumbles into the middle of a police standoff with a deranged father holding his children hostage. Will, in full Flappy the Clown regalia, accidentally saves the day, and soon the story of the heroic clown is all over the local media. A television producer gets the idea of building a children's television show around Flappy, and it looks like Will may have finally hit the big time. But just when things begin to look up, Will is informed that someone videotaped him being raped at the bachelor party, and a blackmailer threatens to release the tape and destroy his new career if Will doesn't pay up. Vulgar features supporting performances from several members of Kevin Smith's stock company and production team, including Jason Mewes, Scott Mosier, and Smith himself. The film underwent several attempts to secure an "R" rating from the MPAA.

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