Showing posts with label Morricone. Show all posts
Showing posts with label Morricone. Show all posts

Sunday, May 22, 2011

Daniele Luppi - An Italian Story

An Italian Story is a love note to Italian soundtrack music made with many of the core players on such famous films as The Good, The Bad, and the Ugly, notably the unmistakeable whistling stylings of Alessandro Alessandroni. The album shifts through diverse moods, from laid back summer hedonism to tense fight music and horrific psychedelia. Composer Luppi became famous for his collaborations with Danger Mouse but this fine little record seems to be out of print, making it Swamp fodder for sure.
Psychovision

Wednesday, May 4, 2011

Ennio Morricone - Exorcist II: The Heretic

I make no claims that this movie is any good,but the Morricone soundtrack is of course a complex and frightening listen. While the film itself was vastly inferior to it predecessor and underrated sequel, Morricone's main theme "Pazuzu" is as terrifying as "Tubular Bells" from the original, and infinitely more alien and disorienting. Other facets of his work, such as his groovy psych/prog experiments and his percussion choruses crop up here in between calm, dirge-like string passages and eerie gospel. I promise, a dark room and a pair of headphones will give you ten times the chills "The Heretic" could ever provide.
Great Bird of the Sky

Thursday, July 8, 2010

Ennio Morricone - Quattro Mosche Di Velluto Grigio

Well, then, here's a wild treat to begin a wild weekend: Ennio Morricone's psychedelic soundtrack to Four Flies on Grey Velvet, Dario Argento's long-unavailable giallo. Several things about this soundtrack stuck out in my mind and made me want to track it down. Chief among them was the fact the main character in this movie plays drums in a psych rock band, which means that in addition to the spooky, creaky score you get Morricone's take on the genre as well, complete with organ-led combo. In place of vocals is his trademark gibberish and grunts, which at times get quite frenzied, as if the vocalist (presumably the man himself) is possessed and speaking in tongues. It manages to be groovy and disturbing at the same time. This marked Argento and Morricone's last collaboration for over twenty years, as the had some falling out over the soundtrack and refused to work with each other again. This marked the period where Argento began employing Goblin for his movies and Morricone moved on to more mainstream work. Interestingly, Argento's second choice for composer was Deep Purple.
Yes.
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