This is the latest offering from the young and very talented composer Ilan Eshkeri, who first caused a stir in the world of film music via his tremendous soundtrack for STARDUST. Since this foray into the film music arena the composer has been involved with many well know motion pictures that have grabbed the cinema going public’s attention and done moderately well at the box office. CENTURION contains a fully symphonic score and is one of those works that grows upon you after a few listens, there is no doubt it is a powerful and exciting creation that not only contains driving and ominous sounding themes but also treats us to quieter more melodic and haunting tone poems that sit alongside the more dramatic compositions with relevant ease, all of which combine to generate not only a rewarding listening experience but a score that fits the actions and events Continue reading Centurion
This is for me at least a new composer, or one who I have not come across before. Pinar was born in Istanbul, and was encouraged by her father to embrace films and music. She has scored some 25 movies during the past five years or so and the LIGHTKEEPERS was on the short list for eligible soundtracks to be nominated for an Oscar. The LIGHTKEEPERS contains a delightful score, which is low key and intimate and radiates an atmosphere and feeling that is warm and pleasing but at the same time conveys a feeling of solitude and maybe loneliness? Light and delicate for the most part this is in a word a gratifying work. The score opens with a track entitled LOST LOVE that is performed by a variety of instrumentation, the strings taking the dominant role, enhanced and supported by woods and piano. The remainder of the score is orchestrated in a similar fashion, the composer introducing Continue reading The Lightkeepers
I remember getting this soundtrack years back in the form of the Warner Bros. long playing record, this disc contained the story of the movie as narrated by the brilliant Peter Cushing. The album also contained sound effects and an introduction by David de Keyser and music composed by James Bernard and opened with a wonderfully pompous and anthem like Chinese march, which was actually composed especially for the LP release after musical director Phil Martell suggested to Bernard that the album needed something to both open and close it. Track 12, THE LEGEND OF ANCIENT CHINA is a proud and majestic sounding composition which always put me in mind of something that the late great Bernard Hermann might conjure up for a Sinbad movie or some other fantastic tale. There had already been a similar type of recording released a couple of years previous on the EMI label Continue reading The Legend of the 7 Golden Vampires
At last, an official commercial release of this wonderful score by Welsh born composer Michael J. Lewis. The composer himself issued a promotional compact disc of the music from this British comedy horror a few years ago. Which became deleted fairly swiftly and also became a rare and very hard to find item. Collectors will therefore welcome this release with open arms. I will say if you are one of the very few collectors of soundtracks that maybe have not heard this score, then you are in for a treat, and in a way I envy you for being about to discover this now classic work for the first time. As with the majority of Michael J. Lewis’s works for the cinema THEATER OF BLOOD contains not only highly dramatically passages that fit the events occurring up on the screen like the proverbial glove but it also contains some of the most alluring and elegant melodies Continue reading Theatre of Blood
The name of composer Alex Wurman is a relatively new one to collectors of film music and connoisseurs of soundtracks. It was when Wurman scored the movie CRIMINAL in 2005 that many such collectors began to take notice of his music and also became aware of the composer’s originality and his musical expertise. I was fortunate enough to get Mr. Wurman to answer a short questionnaire for me and the questions and response set out here are the end result of that interview.
Q: What musical education did you receive?
I came from a musical family in Chicago and started to play piano at a very early age. My father had a recording studio and also was good friends with Robert Moog; he had the modular system, serial number 2, Walter Carlos had serial number 1 – they were getting parts as they were being built! With my Fathers classical training, he did amazing recordings – he had a record deal with RCA. He was reading scores like The Nutcracker and Chopin’s works and executing them perfectly on his Moog – Continue reading Alex Wurman