When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter’s direct involvement since 1982’s Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies. The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green’s film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape’s knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter’s famously shoestring original, its musical spirit was preserved. Pressed on Orange and Black Starburst Coloured Vinyl.
Eureka Entertainment to release DER GOLEM; Paul Wegener and Carl Boese’s classic silent horror, as part of The Masters of Cinema Series for the first time on Blu-ray in the UK from a brand new 4K restoration on 18 November 2019. An iconic early horror masterpiece, Der Golem was Paul Wegener’s third attempt at adapting the Golem character for the big screen. Starring and co-directing with Carl Boese, Wegener crafted one of silent cinema’s most enduring masterpieces. In the Jewish ghetto in 16th century Prague, Rabbi Low (Albert Streinruck, Asphalt) creates a forbidding clay Golem (played by director Paul Wegener) to protect his people from the tyrannical Emperor Luhois (Otto Gebuhr). Brought to life with a demon spirit and an amulet placed in the center of the creature’s chest, the Golem is a seemingly indestructible juggernaut, performing acts of great heroism. But when the Rabbi’s assistant attempts to control the Golem for selfish gain, it becomes a terrifying force of destruction, rampaging through the ghetto leaving fire and death in its wake. A landmark film in the horror canon, influencing most notably James Whale’s 1931 adaptation of Frankenstein, Der Golem, wie er in die Welt kam is also a pre-eminent example of German Expressionism, and an important contribution to the golden age of Weimar Cinema. The Masters of Cinema Series is proud to present the film in its UK debut on Blu-ray from a brand new 4K restoration. Blu-Ray Special Features: Presented in 1080p from a stunning 4K digital restoration of the original film negatives, completed by FWMS in 2017. Original German intertitles with optional English subtitles Option of THREE fantastic and unique scores, by composer Stephen Horne; acclaimed electronic music producer Wudec; and musician and film-score composer Admir Shkurtaj Brand new and exclusive audio commentary by Scott Harrison Brand new and exclusive video essay by critic David Cairns Brand new and exclusive video essay by filmmaker Jon Spira (Elstree 1976) The Golem [60 mins]– The US version of the film, also fully restored, and featuring a score by Cordula Heth A video piece highlighting the differences between the domestic and export negatives of the film [22 mins] PLUS: A collector’s booklet featuring new writing on the film by Scott Harrison; and reprints of illustrations from the original 1915 novel
Halloween Original Soundtrack - John Carpenter - When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies. The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green's film, it's familiar 5/4 refrain stabbing through the soundtrack like the Shape's knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter's famously shoestring original, it's musical spirit was preserved. We wanted to honor the original Halloween soundtrack in terms of the sounds we used, Davies explained. We used a lot of the Dave Smith OB-6, bowed guitar, Roland Juno, Korg, Roli, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano. Unlike the Lost Themes albums, where the composers wrote the soundtracks for imaginary movies, Halloween saw the Carpenters and Davies collaborating on music set to images for the first time. Though it marked a significant change from their previous creative process, the trio thrived under the constraints and tight deadlines that film scoring work demands. Being limited by the length of time in scoring the sequence, we focused on the director's tempo, timing, and vision, Davies said. He would tell us what he had in mind, how long the cue should be, what emotion he wanted, and we would take it from there. It's only the three of us, there is no elaborate system. We wrote, performed, and orchestrated everything. For John Carpenter, who reunited on the new film with original Halloween star Jamie Lee Curtis, composing the score felt like a homecoming. Not only had he not worked on a Halloween movie in 35 years, he hadn't composed a soundtrack since his 2001 sci-fi thriller Ghosts of Mars. It was great, Carpenter said of the experience. It was transforming. It was not a movie I directed, so I had a lot of freedom in creating the score and getting into the director's head. I was proud to serve David Gordon Green's vision. For Cody Carpenter, John's son, and Davies, his godson, it was surreal to work on something that means so much to generations of fans, and that they grew up around. It was an honor for us to be involved, and we are really happy to be a part of something that so many people are anticipating and excited about, Davies said. Working together with both the director of the new Halloween and the creator of the original Halloween was really a fantastic experience.
Ein Cover zum Niederknien... Eine herrliche Fundgrube mit Soundtracks italienischer Filme der 60er /70er vom Mann hinter Mah nà Mah nà (Muppet Show, Sesamstrasse)nnEin Cover zum Niederknien... Eine herrliche Fundgrube mit Stücken von Piero Umiliani, dem legendären Soundtrack-Komponisten italienischer Filme der 60er und 70er und dem Mann hinter Mah nà Mah nà (Muppet Show, Benny Hill, Sesame Street). We Release Whatever The Fuck We Want Records is thrilled to announce the vinyl re-release of sought-after experimental gem Il Mondo Dei Romani by soundtrack and avant-garde maestro Piero Umiliani, remastered straight from the original reels and available for the first time since 1972! Originally recorded for a TV documentary about ancient Rome and released on Omnicron (Umiliani's label), Il Mondo Dei Romani finds Piero Umiliani experimenting with electronic instruments (his oscillators) to offer a fascinating rendition of what synthesizer-based avant-garde ancient Roman music would sound like - a weird and extremely hypnotizing retro-futuristic experience where faux cithara, lyre, organ, and trumpet sounds are driven by proto-techno sequences and minimalist rhythms. This brilliant electronic oddity is the perfect companion to WRWTFWW's previous Piero Umiliani release, Tra scienza e fantascienza, and is a limited edition of 500 orange vinyl LPs (no digital). ABOUT PIERO UMILIANI Born in 1926, Piero Umiliani began his career as a jazz pianist (occasionally recording with Chet Baker) and started working on film soundtracks in the late 50s. Known as the man who brought jazz to Italian cinema, he left his mark on a long series of notorious Giallo and Mondo movies, soft sex films and Eurospy thrillers, getting praise for mastering sleazy funk, experimental electronica, or jazzy themes, and making a name among his peers named Ennio Morricone or Riz Ortolani. It was with the Swedish Mondo Sweden Heaven and Hell that Piero landed his biggest hit - the infamous Mah nà Mah nà (originally Hooray for the Swedish Sauna) which would later be used in Sesame Street, The Muppet Show, Benny Hill and many more. TRACKS: tbc
Die bekannte frz DJ und Produzentin mit einem furiosem Comeback nach vier Jahren Pause! Mit einem Remix von Innervisions-Mastermind DIXON!nnDie bekannte frz DJ und Produzentin mit einem furiosem Comeback nach vier Jahren Pause! Mit einem Remix von Innervisions-Mastermind DIXON! The Dawn signs the great return of Chloé! After 4 years of absence as a producer, this new 12 announces the release of her third album planned for the fall 2017. Dixon s powerful remix will delight all Panoramabar lovers and will make you dance all weekend long! Sounding the promise of long days ahead and late nights to follow with its opening salvos, Chloé s The Dawn heralds the return of the Paris-based DJ and producer, and a new dawn in her ever-evolving career. Indeed, The Dawn is her inaugural release on her own label Lumière Noire, which she recently set up as a separate entity after using the name for a collection of releases over the last few months, and of course for her infamous Rex Club night, which has since 2014 become a bit of a club house for Parisian electronic music fans. Operating Lumière Noire as a fully-fledged label will enable Chloé to release a new full-length album (of which The Dawn is the lead single) sometime in the next few months. Over the ten-plus minutes of The Dawn, a spoken-word track languishes over melodic washes in a dramatic progression that evokes a novel, or noir-ish cinema a method that the producer has taken a shine to since Take Care . This cultivation of the strange and the beautiful has become her calling card, putting her in a league with likeminded producers, who take the basic tenets of techno and inject them with their own singular poetic visions. A visual-arts analogue could be found in Noémie Goudal s photographs which grace the EP s cover as they will Chloé s upcoming releases. New Release Information This stirring aesthetic gives The Dawn a slightly cerebral dimension, which is taken to new depths by Dixon s stubbornly technoid remix. The Berlin-based whiz kid, who has over the last few years risen to the top of the international electronic music scene, inverts Chloé s light-drenched, full-bodied production into a tense, captivating chiaroscuro. The Dawn can also be explored via the CHLOÉ X IRCAM V2: The Dawn Interactive Mix installation, which embodies Chloé s music as an intimate interactive experience. It is one of the first offshoots of a constantly mutating collaboration between Chloé and the IRCAM Institution (www.ircam.fr/) that began in 2015. TRACKS: A. The Dawn (Original Mix) B. The Dawn (Dixon Remix)
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Waldo de los Ríos (7 September 1934 - 28 March 1977) was an Argentine composer, conductor and arranger.De los Rios was born as Osvaldo Nicholas Ferrara in Buenos Aires into a musical family, his father was a musician and his mother a well known folk singer, he studied composition and arranging at the National Conservatory of Music under Alberto Ginastera and Teodoro Fuchs. He was inspired by an eclectic range of music and formed a musical group called "The Waldos" which crossed folk music with electronic sounds. De los Rios turned to work in cinema and film sound tracks where his compositions were heard in the 1967 film Pampa Salvaje, for which he received a prestigious award from the Argentine Cinemagraphic Association. He relocated to the USA in 1958 and then to Spain in 1962.
(Circus Company / Because Music) Das früher als dOP bekannte frz. House-Duo mit neuem Album zwischen Moderne und klassischem Chanson.nn(Circus Company / Because Music) Das früher als dOP bekannte frz. House-Duo mit neuem Album zwischen Moderne und klassischem Chanson. Les Fils Du Calvaire are a Francophone trio from the Electronic Chanson Française's new wave. Before adopting their current name 3 years ago, the band was called dOP, and already has a solid background in the music production. Indeed, Les Fils Du Calvaire were also used to being among the best hip hop beatmakers of France providing rappers such as Oxmo Puccino and composing for mythical Jamaican figure (Horace Andy & Johnny Osborne). After a first noteworthy single Rester Avec Toi, they are releasing an album in line with the pioneers of the Chanson Française, adding a subtle note of humor and derision. Jointly created with Ash Workman (Metronomy, Christine And The Queens), Fils De is the perfect balance between French tradition and modernity. TRACKS: 1. Avec Des Si 2. Gin Fizz 3. Cinema 4. Super Hero 5. Rester Avec Toi 6. Musique 7. Single Boy 8. Qu'est-ce Qu'on Est Bien 9. Club 27 10. Angel Dark
What are the connections between sounds and abstract images? What were the first audiovisual instruments? How did music influence Kandinsky's work? What are the most significant audiovisual installations? What relationship is there between VJs and live cinema? And finally, what is synesthesia? Visual Music Masters thoroughly explores past and present research to answer these and many other questions about the relationship between music and abstract art. Covering figures that range from Toulouse-Lautrec to Nam June Paik, from Händel to Xenakis, and from Fischinger to Ikeda, this book illustrates the stages by which the artistic community has embraced the latest technologies and a multi-sensory universe, creating in the process an independent form of expression: visual music. Adriano Abbado has been working with electronic music since 1975 and with digital art since 1981, and earned a MS from MIT's Media Laboratory in 1988. He taught Computer Graphics at Milan's Istituto Europeo di Design, Electronic Music at Turin's Conservatory, and Audiovisual Art at UC Santa Barbara. His interests span from traditional Asian music to astrophotography to online trading. His works have been shown in Barcelona, Chicago, Copenhagen, Melbourne, Milan, New York, Paris, Rome, Seoul, Shanghai, Venice and Washington DC.
Hiphop Literacies is an exploration of the rhetorical, language and literacy practices of African Americans, with a focus on the Hiphop generation. Richardson analyses the lyrics and discourse of Hiphop, explodes myths and stereotypes about Black culture and language and shows how Hiphop language is a global ambassador of the English language and American culture. Richardson examines African American Hiphop in secondary oral contexts such as rap music, song lyrics, electronic and digital media, oral performances and cinema and brings together issues and concepts that are explored in the disciplines of folklore, ethnomusicology, sociolinguistics, discourse studies and New Literacies Studies.