THE MAN WITH THE IRON FISTS OST – STARBURST Magazine

THE MAN WITH THE IRON FISTS OST - STARBURST Magazine

THE MAN WITH THE IRON FISTS OST - STARBURST Magazine

The soundtrack for 2012’s kung-fu epic The Man with the Iron Fists starts and ends with two of its strongest tracks. Produced by RZA of the Wu-Tang Clan – who also wrote, starred, and directed the film – it sounds unsurprisingly amazing. Given the fact that the rapper had produced nearly every Wu-Tang release, as … Continued

Source: www.starburstmagazine.com/reviews/man-iron-fists-ost

ADRIFT – STARBURST Magazine

ADRIFT - STARBURST Magazine

ADRIFT - STARBURST Magazine

Volker Bertelmann’s original score to the lost at sea film, Adrift, is a startling musical exercise. While the composer (better known as Hauschka) is best recognised for his compositions on prepared piano – including the Oscar-nominated score for 2016’s Lion – this score also features a full orchestra to bolster Hauschka’s music. As the composer … Continued

Source: www.starburstmagazine.com/reviews/adrift-2

DAUGHTERS OF DARKNESS – STARBURST Magazine

DAUGHTERS OF DARKNESS - STARBURST Magazine

DAUGHTERS OF DARKNESS - STARBURST Magazine

The score for Harry Kümel’s 1971 erotic vampire film Daughters of Darkness has long been a white whale for soundtrack collectors. The only official release of Francois de Roubaix’s music was a two-song 7” single on France’s Barclay Records, featuring the songs “Les Lèvres Rouges” (“Red Lips,” the film’s theme) and “Les Dunes D’ostende” (“The … Continued

Source: www.starburstmagazine.com/reviews/daughters-of-darkness

Marco Beltrami, “Carrie” OST LP

cover - carrie soundtrackThe Music On Vinyl release of Marco Beltrami's score for the recent Carrie remake is absolutely fantastic in terms of ... well, everything. Beltrami's score isn't presented here as a series of individual pieces, which is good. While there are slight pauses between each selection, for the most part, the Carrie score is almost arranged in such a way as to make it seem like one singular work. Which is as it should, be really. Think of it this way: if a filmmaker has a visual aesthetic for the film, you'd want it complimented by a composer who can do the same thing with the score, and that's what Beltrami has accomplished, here. Each piece plays like a movement to a larger work, rather than each scene being compartmentalized. And, honestly, it is eerie. Beltrami infuses beauty into his score by using brass and percussion only when necessary. The strings and chorus are what truly make this score work so well -- the sustained notes bring the listener high, only to cut it low with the oomph of the brass. Using those high notes to create a sense of beauty also works marvelously when the composer moves to flute and synth on the likes of "Mind Over Matter," creating a tonal difference that signifies something new has happened -- in this case, Carrie's discovery of her powers. About halfway through the second side, things get a little draggy, but they're boosted by the second-to-last cut, "House Crumbles." It bumps the energy level back up, and takes the music back from droning background to something more vibrant. Music On Vinyl's work on the physical product is excellent, with the slight streaks of black that infuse the clear, blood-red vinyl making the actual LP look evil. No mean feat, that. Granted, the gatefold sleeve is a little less heavy-duty than I'd like, but the gloss and contrast make it totally a non-issue, as does the poly-lined sleeve. Big points for including a poster, as well. [embed]http://www.youtube.com/watch?v=SdoVioPv0fs[/embed]