Archives

by Nick

Review of the Amer soundtrack at Starburst Magazine

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We Release Whatever the Fuck We Want Records has started to gain attention for the interesting things they do to their records, and locked grooves are quickly becoming a hallmark. However, while the likes of the Dark Star soundtrack featured them at the end of each side, Amer's soundtrack 10-inch record begins with not just one locked bit of sound effect, but multiple instances thereof on each side. It's absolutely diabolical.
Read the full review at Starburst Magazine. Published 1/9/17
by Nick

Review of the Lagrange Point soundtrack at Starburst Magazine

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Upon dropping the needle on Ship to Shore's release of the Largrange Point soundtrack, one wonders just how the music to an 8-bit game for the Nintendo Famicom can sound so amazingly full. Honestly, the music on Lagrange Point rivals the likes of such 16-bit scores like Outrun, and it's all due to a chip inside the cartridge -- Konami's VRC7 sound generator integrated circuit.
Read the full review at Starburst Magazine. Published 1/7/17
by Nick

Review of the L’assassino E Ancora Tra Noi soundtrack at Starburst Magazine

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When the concept of a ‘film sonoro’ was introduced on last year’s release of Detto Mariano’s score for the Rambo knock-off, Striker, it turned out pretty well, creating a fun ambience of action pieces sprinkled throughout, but it doesn’t work quite as well here. The best thing Private Records’ imprint Stella Edizioni Musicali could have done with this release of Detto Mariano’s score for the 1986 giallo, Firenze! L'assassino E Ancora Tra Noi, was make it a double LP.
Read the full review at Starburst Magazine. Published 12/2/16
by Nick

Review of Bryce Miller’s “City Depths” at Starburst Magazine

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From the cover art, featuring a silhouetted man in a carpark, to the purple-tinged cassette, to the liner notes, Bryce Miller’s imaginary soundtrack, City Depths, is absolutely gorgeous in the way in conveys discomfort. As Miller states in the liner notes, the experience he’s hoping to communicate with this music is ‘a sense of uneasy stillness as the moon casts everything in darkness and shadow.’
Read the full review at Starburst Magazine. Published 12/2/16
by Nick

Review of ‘Rocktober Blood’ soundtrack at Starburst Magazine

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Heavy metal horror was such a short-lived phenomenon in the early ‘80s, one can barely call it a movement in horror cinema. The actual metal-themed horror flicks - ones with a band bringing evil to a town - can be counted on one hand, but to their loyal legions of fans, they’re heads and shoulders above the standard fare of the day.
Read the full review at Starburst Magazine. Published 10/16/16
by Nick

Review of the BBC’s ‘The Living Planet’ soundtrack at Starburst Magazine

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Silva Screen’s continuing series of reissues from the BBC Radiophonic Workshop has absolutely delighted and amazed us, and the music from the BBC television series The Living Planet continues that trend. This LP is a bit of a departure from the past compilation releases, focusing entirely on the music of Elizabeth Parker for the 1984 documentary series.
Read the full review at Starburst Magazine. Published 10/16/16
by Nick

Review of Bryce Miller’s ‘WASP’ at Starburst Magazine

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Bryce Miller's put together an interesting musical experiment with his release of WASP. He composed all of the music while reading his way through Stieg Larsson's Millennium Trilogy (also known as “The Girl Who ...” books). It's pretty basic ambient music, for the most part, and while it really creates an atmosphere, which accurately reflects the cold world in which the Millennium Trilogy takes place, it’s not anything that really stands out, as one begins listening.
Read the full review at Starburst Magazine. Published 9/21/16
by Nick

Review of Repeated Viewing’s ‘Frozen Existence’ at Starburst Magazine

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After several years of being a Bandcamp-only release, Repeated Viewing's Frozen Existencefinds its way to physical release via Lunaris Records. Given that this was one of Alan Sinclair’s first releases as Repeated Viewing, it’s a lot more derivative than his more recent work, but as the score for a Lucio Fulci-esque supernatural gorefest, it certainly works well. Most of Frozen Existence is pretty much atmospherics which really didn’t grab this reviewer too much, but the opening and closing cuts are full on Fabio Frizzi Italo bangers.
Read the full review at Starburst Magazine. Published on 9/20/16