Goblin covers:
Suspiria, with Zombie-esque synth
http://www.youtube.com/watch?v=vB-jOgtomAs
Profondo Rosso
http://www.youtube.com/watch?v=z5d4NofqFDU
They also do a mean Magic and Ecstasy from Exorcist II
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Monday, 26 July 2010
Thursday, 11 June 2009
Vampires of Dartmoor - Dracula's Music Cabinet
One of the most interesting recent phenomena in the film soundtrack scene is the imaginary score, of music for films that do not exist or as alternative soundtracks for those that do. Much like everything, the results are of variable quality: For every The Giallo’s Flame, that successfully channels the spirit of Fabio Frizzi’s mellotron, there are two or three unimaginative, lazy, fake 70s porn soundtracks that think some fuzzed-out, waka-chuka guitar is all that’s required.
Given this hit and miss aspect, when I heard about the upcoming re-issue of this late 1960s album I was intrigued, but also wanted to know more. A quick search and a rip of the original, long out of print, vinyl was on my mp3 player, via Mutant Sounds.
And what a treat Dracula's Music Cabinet is. It's sufficiently like the work of Peter Thomas. Heinz Funk and Gert Wilden to function as the alternate score to many a krimi or post-Expressionist Mabuse / mad scientist entry, with bizarre studio effects, weird vocals and self-explanatory titles like Der Henker von Blackmoore and Die Folterkammer des Dr. Sex [or Fu Manchu], whilst also being just that bit different.
The re-issue is available from Moviegrooves.
Given this hit and miss aspect, when I heard about the upcoming re-issue of this late 1960s album I was intrigued, but also wanted to know more. A quick search and a rip of the original, long out of print, vinyl was on my mp3 player, via Mutant Sounds.
And what a treat Dracula's Music Cabinet is. It's sufficiently like the work of Peter Thomas. Heinz Funk and Gert Wilden to function as the alternate score to many a krimi or post-Expressionist Mabuse / mad scientist entry, with bizarre studio effects, weird vocals and self-explanatory titles like Der Henker von Blackmoore and Die Folterkammer des Dr. Sex [or Fu Manchu], whilst also being just that bit different.
The re-issue is available from Moviegrooves.
Saturday, 15 March 2008
Altar of Giallo
Just happened to discover this Spanish death metal band, Altar of Giallo:
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=60515488
Their song titles reference black gloves and Umberto Lenzi films; I would guess anybody who likes Necrophagia might find them a fun listen...
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=60515488
Their song titles reference black gloves and Umberto Lenzi films; I would guess anybody who likes Necrophagia might find them a fun listen...
Friday, 18 May 2007
Attori a mano armata
This Mediane / Amarkord book and CD combo - the disc is housed in the inside back cover - presents an ideal introduction to the men, music and ephemera of the 1970s Italian cop film.
But, speaking as someone with a passing familiarity with the genre - i.e. I've got some of the previous compilations and seen most of what's available on DVD with English sub or dub, but not gone to the lengths of tracking down old videos or LPs - it's less satisfactory.
If you're like me you'll know who a Ray Lovelock or Maurizio Merli is and want more on the bit and supporting players, those distinctive types whose omnipresence is as much a part of the whole world of these films as, say, a Michael Ripper is to Christopher Lee and Peter Cushing in Hammer horror.
Much the same goes for the music. While it's good to have a proper version of Guido and Maurizio De Angelis's title theme for Castellari's The Big Racket to go alongside that MP3 ripped direct from the film, there are elsewhere too many of the same over-familiar selections - Micalizzi's Folk and Violence, Bacalov's Summertime Killer, Osanna's Preludio etc.
Perhaps the problem is that when the compilation strays from these familiar waters - that melange of wacka-wacka and chicken scratch guitar, funky polyrhythms, fat analog mono synths, jazz flute, bad ass brass, quaintly inflected English etc. - the selections are generally less inspiring.
Cipriani's Papaya from La polizia chiede aiuto is certainly a nice piece of easy listening to be sure, but it just feels too party scene for me.
Likewise, Franco Campanino's The Climber, from the film of the same name, seeks to channel the spirit of Barry White or Isaac Hayes through Jessy's vocals, while Alessandro Alessandroni's Sangue di sbirro is pretty much an instrumental Shaft knock-off - neither is bad, just not as evocative of that specific time, place and mood as they could have been.
What remains to justify the purchase are the poster, album and other artwork in the booklet and the other less familiar pieces - including, oddly enough, the one new track, Mecco Guidi's "Giulia 1600," a successful channeling of the spirit and sound of the era.
Don't get me wrong - I'm glad I got Attori a mano armata, that it's out there and I hope it's successful enough for more volumes like it to come out; it's just I'm not entirely sure how many casual fans there are and whether there's enough in it for those who are more hardcore.
But, speaking as someone with a passing familiarity with the genre - i.e. I've got some of the previous compilations and seen most of what's available on DVD with English sub or dub, but not gone to the lengths of tracking down old videos or LPs - it's less satisfactory.
If you're like me you'll know who a Ray Lovelock or Maurizio Merli is and want more on the bit and supporting players, those distinctive types whose omnipresence is as much a part of the whole world of these films as, say, a Michael Ripper is to Christopher Lee and Peter Cushing in Hammer horror.
Much the same goes for the music. While it's good to have a proper version of Guido and Maurizio De Angelis's title theme for Castellari's The Big Racket to go alongside that MP3 ripped direct from the film, there are elsewhere too many of the same over-familiar selections - Micalizzi's Folk and Violence, Bacalov's Summertime Killer, Osanna's Preludio etc.
Perhaps the problem is that when the compilation strays from these familiar waters - that melange of wacka-wacka and chicken scratch guitar, funky polyrhythms, fat analog mono synths, jazz flute, bad ass brass, quaintly inflected English etc. - the selections are generally less inspiring.
Cipriani's Papaya from La polizia chiede aiuto is certainly a nice piece of easy listening to be sure, but it just feels too party scene for me.
Likewise, Franco Campanino's The Climber, from the film of the same name, seeks to channel the spirit of Barry White or Isaac Hayes through Jessy's vocals, while Alessandro Alessandroni's Sangue di sbirro is pretty much an instrumental Shaft knock-off - neither is bad, just not as evocative of that specific time, place and mood as they could have been.
What remains to justify the purchase are the poster, album and other artwork in the booklet and the other less familiar pieces - including, oddly enough, the one new track, Mecco Guidi's "Giulia 1600," a successful channeling of the spirit and sound of the era.
Don't get me wrong - I'm glad I got Attori a mano armata, that it's out there and I hope it's successful enough for more volumes like it to come out; it's just I'm not entirely sure how many casual fans there are and whether there's enough in it for those who are more hardcore.
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