Werewolves in Siberia sound like new wave, synth rock and horror soundtracks were thrown into a blender to create this electronic/horror-syth masterpiece.
Дата: Понедельник, 29.09.2014, 21:08 | Сообщение # 23
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Brand X Music - Epyllion (2014)
An epically crafted compilation stretching the landscape of fantasy adventure inspired by masked avengers, caped crusaders, valiant soldiers and conquering heroes of past, present an intergalactic future.
Sub Pub Music is a music production company based in Los Angeles, California. We score custom music for Film, Television, Commercials, and Movie Trailers.
Epic and aggressive orchestral/rock hybrid album with driving guitars, triumphant choral arrangements, glitchy dark synth programming and sound design. Rise is an encouragement to stand up to the oppressors, whoever they may be, fictional or real.
Genre: Electronic, Rock, Soundscape, Trailer music.
Continuing with our showcase of horror from directors around the world, today's selection is from Hungarian director Tibor Takács. The Gate has gained a cult following since it first appeared in theaters in 1987, where it did rather well also. The plot revolves around a group of young children who unwittingly open the gates of hell in their own backyard, and must fight for their lives in their struggle to close the gate.
Unfortunately the soundtrack to The Gate was never officially released. I have read that this soundtrack is only available at horror conventions, but I can't confirm how accurate that statement is. As you can see by looking at the tracklist below, there are a number of alternate takes on the original themes that appear within the film. Whoever ripped this made a number of mistakes with the track names, such as misspelling several words, as well as cutting off the names of some of the tracks. I have seen this posted on a few different blogs, but all of them left the multiple spelling errors and track names which had been cut off as they were. I have carefully retagged all of the tracks, correcting the spelling errors and the shortened track names. Since an official version of this soundtrack was never released, and I wasn't a big fan of the album art that the original ripper included, I decided to go ahead and create a similar cover. It's basically just a quick crop job of the movie poster, which is what the original ripper had done, but the version I made is significantly larger.
The music was composed by Michael Hoenig & J. Peter Robinson, who also collaborated to compose the soundtrack for "The Wraith". Michael Hoenig is a German composer who is credited with a number of film and television scores, including a few other horror films some of you may be familiar with. He wrote the score for the 1988 remake of "The Blob", the 1990 sci-fi/horror film "Class of 1999", and the direct-to-video b-movie "Dracula 3000". J. Peter Robinson is an English-born composer who has also composed scores for a number of horror movies, including Nightmare Cafe, Wes Craven's New Nightmare, Vampire In Brooklyn and The Believers.
Michael Hoenig - The Blob (Original Motion Picture Soundtrack) (1988)
The Blob is a 1988 horror film remake based on an original horror film of the same title from 1958. This is one of few times I will say a remake surpasses the original. A small meteor crashes into the earth unleashing a formless pile of goo that eats almost every warm-blooded thing it comes across. The remake takes all of the good stuff about the original and throws in a healthy portion of visceral gore, decent effects for such a modest budget, and little dose of 80s trash.
The music is by Michael Hoenig, a German composer who collaborated with J. Peter Robinson on 1987's The Gate. The music in The Blob sounds like it was performed using the same equipment. If anyone reading here is a fan of 80s electronic cheese, get this. The first two tracks are sorta ambient and foreboding, then it kicks in with action, utilizing cheddary synthesizers, then closes with more ambient foreboding. It has that unmistakable B movie sound. I'm not saying it is bad. I find it entertaining, but I'm not saying it is good either. I like The Gate better, but for some reason this schlockier offering appeals to me, too.
Tracklist:
1. Main Title (3:21) 2. It Fell From The Sky (4:46) 3. Brian's Chase (1:39) 4. In The Hospital (2:35) 5. The Reverend (2:13) 6. Elkins Grove (1:55) 7. Blob In Theatre (2:27) 8. The Town Has Changed (1:01) 9. Into The Sewer (1:25) 10. Chase In Sewer (3:20) 11. Close The Manhole (0:43) 12. The Standoff (2:34) 13. Blob On Mainstreet (2:05) 14. Mayhem In Townhall (1:19) 15. The Rescue (2:54) 16. Snowfall (1:42) 17. When The Lord Gives Me A Sign (3:05)
Дата: Воскресенье, 08.03.2015, 19:48 | Сообщение # 26
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Profondo Delle Tenebre - Black Gloves (2014)
Welcome to the Giallo/Horror inspired world of Profondo Delle Tenebre. We are a three piece dedicated to creating insanely atmospheric dance music for the grindhouse gorehounds out there. Think Italo meets Prog meets Synthwave meets Industrial, meets actual film music. We were inspired by the music of classic 60's - 80's Horror cinema, and countless artists from those era's as well as modern revival acts.
Дата: Воскресенье, 05.04.2015, 19:21 | Сообщение # 27
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Trammell Scruggs - The Brew (2010)
In the spirit of John Carpenter's soundtracks, The Brew is a soundtrack to a nonexistent fantasy film, filled with moody tracks entirely created on analog synthesizers.
The Brew is a soundtrack to a non-existant fantasy film about a middle aged spinster who is driven to madness by longing for her youthful beauty. She embarks on a quest to discover a magical potion capable of making her lovely again. In her madness, she creates and admixture of Magick and the Kaballah, as well as from Cosmo magazine.
Дата: Воскресенье, 05.04.2015, 19:55 | Сообщение # 28
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Cremator - Clear Air Turbulence (2014)
London one-man synth geek Matt Thompson (Zoltan, Guapo) takes you on a sci-fi tune-fest ala John Carpenter meets Kraftwerk.
Berlin School-influenced music by Matt Thompson, in the spirit of Klaus Schulze's 1970's works.
Cremator's new album title comes from a tale about a sudden, radical shift from a controlling, benevolent, and sterile society to one of individuality and danger ruled by an elite group called the Instrumentality. Now picture the soundtrack circa 1979 by Klaus Schulze and filmed by Jean Painlevé. Flickering images beyond your stars have trapped you in the dark as you recline in your velvet-lined pod whilst arpeggios and synth washes swirl around the ship, returning from the ether, leaving crystal contrails - and that is just the opening sequence.
After the night sea journey of Francesco Clemente-Heinrich Dressel’s split release Il Faro, MinimalRome returns with a concept album inspired by the silence and the noises of the plague. Heinrich Dressel, Umberto, Antoni Maiovvi, Alessandro Parisi, and Vercetti Technicolor explore the solitude, terror, stillness and unsophisticated chaos of the epidemic in a 5 tracks LP that is limited to 250 hand-stamped copies and comes with a 12 pages color A5 booklet. "C’est au moment du malheur qu’on s’habitue à la verité, c’est-à-dire au silence."
Born from a love of 80s film soundtracks and electronic music, this is an attempt to meld the two together to create a narrative style of synth/electro/new wave that anyone can dance to or put behind a film.
I've always loved film and soundtracks, especially from the 80s. The films and soundtracks from John Carpenter, Vangelis, Tangerine Dream, Goblin, etc. have defined my love of the genre as well as many more. I've only recently become a big fan ot the electronic scene, and Outrun as a subgenre is what truly spoke to me. For me, it's a near-perfect meld of my love of narrative soundtracks and an awesome beat. I take influence from a large range of synth music, from darkwave, synthpop, new wave, and even some Moog-heavy rock bands.
