Regression Soundtrack Review
Released by Lakeshore Records, 2015
21 Tracks with a total running time of 65 min.
Music by Roque Baños
Category Archives: Reviews: Soundtrack
Jaws 2 Soundtrack Review
Jaws 2
2-Disc Set Released by Intrada, 2015
Music Composed and Conducted by John Williams
Disc 1 – 29 tracks – 60:13 min
Disc 2 – 14 tracks – 41:35 min
Krampus Soundtrack Review
Krampus
Released by Back Lot Music, 2015
27 Tracks with a total running time of 78 min.
Music by Douglas Pipes
Abominable Soundtrack Review
Abominable
Released in 2006, by Aleph Records
21 Tracks, with a running time of
Music by Lalo Schifrin
Condemned Soundtrack Review
Condemned
Released by Lakeshore Records, 2015
14 Tracks with a total running time of 27 min.
Music by Daniel Davies and Sebastian Robertson
If a computer dreamed, I think this soundtrack would be what it sounded like. Using mainly an electronic based sound for this, Davies and Robertson are still come up with a wide variety of sounds throughout the score. Some of them are dark and creepy, almost like a futuristic film noir feel to it, using what sounds like feedback, or some sort of distortion. While other tracks, like the second half of the 3 track Hub To Dream, has a little keyboard theme in their briefly to give it a little bit of a feeling.
Jaws Soundtrack Review: 2-Disc Special Edition Release
Jaws
Released by Intrada, 2015
2-Disc Special Edition. Disc 1 features 36 Tracks with a total running time of 69 min. & Disc 2 features 18 tracks with 45 min.
Music Composted and Conducted by John Williams
Jaws is one of the perfect examples when a soundtrack actually is so powerful that it in itself, becomes so recognizable, so commanding and potent, that just hearing the first two notes of the opening theme can send chills up the spine. That, my friends, is an effective soundtrack at its finest. Sure, it might have something to do with the fact that Jaws scared the living crap out of me when I first seen it as a kid, but this score still remains one of those that upon hearing it, immediately puts me back in that theater seat all those years ago, making my stomach tighten with knots, tension rising, and nervousness ready to jump overboard. Even when this score has been parodied over and over again, it still hasn’t lost its impact.
Goosebumps Soundtrack Review
Goosebumps
Released by Sony Music, 2015.
29 Tracks with a Total Running Time of 64 min.
In the first few seconds of this, you can tell it is Danny Elfman. He seems to have such a full orchestrated sound to his scores these days, full of different sounds and instruments. Some might call them busy. Is that a good or a bad thing? Well, that is up to you to decide. For me, compared to his older scores, they seemed to have lost the deep emotional connection they used to have. The whole goal of a score, for me at least, is to create an audio picture in your head, or emotion in your heart. Or one that just enhances what we’re seeing on the screen. These days, Elfman is always good at the later. They do the job they are suppose to do. But I don’t feel they really can stand on their own, or have those feelings come through the music.
Unnatural Soundtrack Review
Unnatural
Released by Varèse Sarabande, 2015
22 Tracks with a total running time of 69 min.
Music by Edwin Wendler
The 2nd track to this score, the Unnatural Main Title, is by far, my favorite of the score. It is a wonderful piece of music that is quiet but also builds in emotion. I love the way there is a faint sound of a bell or chime in the background that slowly comes more into the forefront. I think that is when this score works the best, with quiet, slow, but steady stream of sound, usually with something going on off in the background. Track # 9, The Unexpected Guest, is another example where this works really well. But the score isn’t all just slow and moody. Tracks like # 12, Closing In, shows how he can build up tension, starting slow and low but getting louder and with a faster pace, but yet still not just making a lot of fast paced noise. He still does it with style. Track # 14, The Hunter Becomes the Hunted, is another good example of that.
Wendler proves that he can create an powerful and emotional effects through his music. Seeing it with the film, we can already tell that it will just enhance the visuals, giving it more of an impact, which is exactly what a score is suppose to do.
Bone Tomahawk Soundtrack Review
Bone Tomahawk
Released by Lakeshore Records
10 Tracks with a total running time of 20 minutes.
Music by Jeff Herriott and S. Craig Zahler.
This is a strange one. Running only 20 minutes long, this film must not have much music during its running time. But what we do have are long, slow, steady notes, drawn out. Most of the tracks are like this. No real melody or anything, but these single notes played over and over again. Some of the tracks are slightly different from one another, but very close to the same.
According to the composer Herriott, the director “wanted to use instruments that existed during the time period of the narrative, so that meant no electronic sounds.” I have to say that is a cool idea, but it just seems like they didn’t do much with that idea. The last track, a song called Four Doomed Men Ride Out, doesn’t seem to fit the feel of the rest of the soundtrack at all, and really is a head-scratcher.
For only being 20 minutes long, it is a shame that we didn’t get more of a developed audio landscape here.
Tales of Halloween Soundtrack Review
Tales of Halloween
Released by Aleph Records
15 Tracks with a total running time of 65 min.
Music by Lalo Schifrin and others
This soundtrack is for an anthology film, where the soundtrack is an anthology as well. With many different composers working on the different segments in the movie, we get a wide range of musical styles, moods, and dark and twisted feelings! The opening track and Main Title to the score was done by Academy Award winning composer Lalo Schifrin, and it probably the best track in the set. Nothing against the rest, but it is really good. The rest of the tracks really hit the gambit, hitting many different sounds and styles. For instance, the track Sweet Tooth starts out being a very slow, quiet, and very creepy piece of music, very slow in its approach. But then about halfway through, the volume picks up, with loud slashing notes, raising the tension level, before then quietly seeping back down to the original tone. Nicely done.
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