Wolfgang Amadeus Mozart - "Vesperae Solennes De Confessore - Laudate Dominum, K 339" (1:38)
The Middle Of The World (1:56)
The Spot (1:18)
Interlude (0:25)
Chiron's Theme (0:54)
Metrorail Closing (1:36)
Chiron's Theme Chopped & Screwed (Knock Down Stay Down) (2:00)
You Don't Even Know (2:08)
Don't Look At Me (0:34)
Goodie Mob - "Cell Therapy" (4:40)
Atlanta Ain't But So Big (0:53)
Sweet Dreams (0:57)
Chef's Special (1:11)
Barbara Lewis - "Hello Stranger" (2:44)
Black's Theme (0:54)
Who Is You? (0:49)
End Credits Suite (5:13)
The Culmination (bonus track) (1:54)
Review: Nicholas Britell's 2016 soundtrack to Oscar-winning movie Moonlight has been universally praised for its eccentric and surprisingly experimental approach. Britell, best known for composing neo-classical works, delivered a score inspired by the "chopped and screwed" production style that has been a feature of the experimental hip-hop scene for the last few years. Yet he wasn't slowing down and tampering with R&B vocal samples, but rather his own chamber music compositions (think violins, violas and cellos). It's a curious formula that makes for breathlessly exciting listening throughout, and a movie soundtrack that pleasingly eschews familiar themic staples in favour of something a little more daring and avant-garde.
Review: Oliver Coates is a composer, cellist and producer who has worked with notable bands lie Radiohead and artists such as Mica Levi. He turns out some of his best work here on the score for Significant Other which is dark and dense, unsettling and absorbing. The movie follows some rather sinister happenings that blight a young couple on a trip backpacking through the forest of the Pacific Northwest. This edition comes on nice blue vinyl and with a download code as well as a double-sided printed inset. It's a real collector's edition for sure.
Review: Contrasting with the already-released soundtrack vinyl (full of 80s pop hits a-la Kate Bush, Siouxsie & The Banshees, and The Cramps), this Invada release of Kyle Dixon and Michael Stein's original soundtrack to Stranger Things' fourth series takes an obviously different approach. While the pop songs that scoured the series tended to be upbeat and of the best curatorial quality, Dixon and Stein's original motifs come in two versions of moodier intent. Volume 2 is obviously more climactic, as the music increases to a crescendo to complement the season's latter half.
Review: We thought they didn't make them like this anymore. Then they made four seasons like this, and we all remembered what it meant to combine fantasy, horror, coming of age, and stick the lot in the most nostalgic decade for many people aged between mid-20s and late-50s. An age that, even if memories are hazy or you weren't even born ye, still manages to reflect the way the world was and had been for some time. The culmination of half a century's progress in mechanics and engineering, the final hurrah before the tech revolution got underway and changed our lives for good.
A key part of what makes Stranger Things so evocative is the music itself. Each instalment is littered with great chart tracks from the year in which they are set - not least this time round, with Kate Bush rocketing to the top of the charts with 'Running Up That Hill' thanks to its use in the show. Nevertheless, the finest sounds on offer are the original tracks, which come in the form of these synth heavy masterpieces, which should be longer, but instead opt for a 'keep them wanting more' philosophy.
Review: Talk to anyone about Stranger Things and it will only be a matter of minutes before the sensational soundtrack is mentioned. The future retro synths of Kyle Dixon and Michael Stein have a huge impact on deepening the occult feelings you experience when watching the show and that continued through Series 3. Now you can grab the accompanying tracks on neon pink vinyl, which features the vulnerable "You're A Fighter", celebratory 80s synth pop stomps of "Starcourt" and meditative charms of "The Ceiling Is Beautiful" amongst other nuggets of gold. The producers themselves have said this is less a score and more a series of cues, and it certainly got us thinking.
Review: It can often take months or even years of therapy to even begin to start addressing the real reason you're in the room talking to a trained professional. For Gazelle Twin, it has taken three albums - and more than a decade - to get to a point where it feels comfortable enough to turn her razor sharp songwriting gaze inwards. So, whereas before we heard observations on outward looking subject matter, here we take a turn for the insular. The result is an altogether darker experience, musically and thematically. There's a constant sense of drama and tension to this art-pop odyssey, and subjects such as childhood trauma - and its impact on our adult selves - are never off the table. Almost operatic, while there's plenty here to challenge, not least the universal expectation that later in life things get less scary, ultimately Black Dog is also about overcoming and confronting our most existential fears.
Review: Jonny Greenwood is of course best known for his work with Radiohead, but like all members of that particular band he has side projects. The latest was soaring the music for the film The Power of the Dog. The result is a dark, absorbing and disturbing listen to accompany Jane Campion's Western with Benedict Cumberbatch in the lead as a difficult cowboy in early 20th-century Montana. It is Greenwood's third movie soundtrack this year alone with Pablo Larrain's "Spencer" about Princess Diana already out and next up Paul Thomas Anderson's "Licorice Pizza" arrives before the end of the month.
College - "A Real Hero" (feat Electric Youth) (4:27)
Riziero Ortolani - "Oh My Love" (feat Katyna Ranieri) (2:49)
The Chromatics - "Tick Of The Clock" (4:45)
Cliff Martinez - "Rubber Head" (2:58)
Cliff Martinez - "I Drive" (2:00)
Cliff Martinez - "He Had A Good Time" (1:29)
Cliff Martinez - "They Broke His Pelvis" (1:52)
Cliff Martinez - "Kick Your Teeth" (2:30)
Cliff Martinez - "Where's The Deluxe Version?" (5:12)
Cliff Martinez - "See You In Four" (2:28)
Cliff Martinez - "After The Chase" (5:23)
Cliff Martinez - "Hammer" (4:37)
Cliff Martinez - "Wrong Floor" (1:26)
Cliff Martinez - "Skull Crushing" (6:02)
Cliff Martinez - "My Name On A Car" (2:14)
Cliff Martinez - "On The Beach" (6:42)
Cliff Martinez - "Bride Of Deluxe" (3:37)
Review: OK. Let's face some facts. The Original Motion Picture Soundtrack to Drive is up there with one of the best scores ever put together. And that goes for the compositions of Cliff Martinez as much as the guest bands and artists drafted for the other songs. Where else are you going to hear Riziro Ortolani and Katy Ranieri's operatic overture, 'Oh My Love', and The Chromatics' low sung, mood-building electro tracker 'Tick of the Clock', side by side? The answer is, of course, nowhere. And that's just skimming the surface. Deeper inspection take us to some stunning pieces of ambient and drone. 'I Drive' is a remarkable example of gong bath on record, 'Skull Crushing' is overwhelmingly heavy thanks to its use of distant sound and up front quiet. It feels like you're in a pressurised chamber. We could go on, but that wouldn't save any room to mention the trophy piece - College and Electric Youth's spectacularly emotive synth stunner, 'A Real Hero'.
Review: Billy Nomates' third studio album is the first that the Bristol-based Invada Records-signee recorded in the studio with a band. Formerly a solo artist standing alone on stage and making albums much the same way, now she has bass player Mandy Clarke (The Go! Team) and drummer Liam Chapman (BMX Bandits) backing her. They all went to Paco Loco Studios in beautiful Andalucia, Spain to record with James Trevascus (her hit single 'No' was the first thing they did together and they have a solid working relationship since). The resulting tracks - not least 'Plans' and 'Dark Horse Friend' (featuring actual Stranglers man Hugh Cornwell) from this adventure to sunnier climes are staggeringly impressive. It seems Billy Nomates, real name Tor Maries, has made the best album of her artistic life to-date. And it's a milestone that's bound to ensure this talented artist remains part of the fabric of British popular music for years to come.
Review: Billy Nomates has been on quite a journey since seeing a Sleaford Mods show in her native East Midlands persuaded her to return to making music. Her first appearance, guesting on the Sleafords' 'Mork & Mindy' single, and Geoff Barrow-produced debut album were definitely hailing from the rough and ready school of scrappy, DIY post-punk. Metalhorse, her third long player to date, is an altogether more mature affair, leaning on the influence of her live band - bass player Mandy Clarke (KT Tunstall, The Go! Team) and drummer Liam Chapman (Rozi Plain, BMX Bandits) - to delve further into blues, folk and piano-led compositions. A concept album revolving around an abandoned funfair as a metaphor for life itself - "some rides are nice to get on and some rides aren't" she says - it's a fascinating listen and not, perhaps, what you might have been expecting.
Review: The vinyl edition of the erst CD album The Love It Took Took Leave You by Colin Stetson is now upon us. The esteemed saxophonist and multi-reedist marks his first full-length solo recording since 2017 here, delivering an album drawn on the experience of love lost, and yet zest for life regained. Written some years before its release - yet always lurking in the background, waiting for recognition apropos the right moment - The Love It Took To Leave You was recorded over the course of a week in early 2023 at The Darling Foundry, a 144-year-old former metalworks facility in Montreal, now transformed into a contemporary art complex, with a voluminous main room that still maintains its raw architecture of brick, concrete and steel. With an arsenal of saxes and clarinets, Stetson builds a heartbroken yet integral tapestry of emotions, his saxophonic welt-geist riffing upon whirling, looping maelstroms of breath, chamber reverb and unerring focus.
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