Oh, the horror: part 4

Title: Drammi gotici (Gothic dramas)

Year: 1977

Composer: Ennio Morricone

Drammi gotici is a rare TV miniseries of 4 episodes that has since faded into obscurity. There’s almost no information found about the series but it includes all the good stuff for Halloween like vampires, witches and madmen, and hence is a great way to end my horror reviews for this year. The series managed to get a high class score by Maestro Morricone that is once again a dissonant and demanding listen with only a few moments of serene beauty that is still shrouded in darkness.

Each new episode opens with a ‘main title’ of sorts, an atonal string and choral cluster chord. It’s a nice little distinguishing feature nevertheless that brings some cohesion to the album. The opening Kaiserstrasse continues with a short moment of a carnival tune that is buried under a dose of strings and giggling choir members. La strada della follia introduces a melody that begins similarly to Morricone’s Ecstasy of gold but is a different piece altogether. It features innocent childlike voices that disappear as the piece progresses and leave only the accompanying harp notes playing in the empty space. The follow-up Follia nella strada is largely built around the same atonal chord style as the main title but this time it’s only performed by the strings. There’s also a moment for distorted church bells that lead to the full version of the carnival tune which is my single favourite moment on the album. By itself it would be extremely moving but considering the surrounding soundscape it becomes creepy. After a moment of dissonance Morricone introduces another beautiful piece Fuori della realtà this time for solo musicbox and occasional choral voices. Pioggia is actually a reused track from Morricone’s 1971 score to Veruschka and it features menacing tinkling instruments that surprisingly are featured also during some of the album’s later cues as well.

The second episode consists of very ‘Italian’ sounding tracks relying heavily on mandolin and guitar. They too have a dark twist to them because the melodies are completely atonal. The style is introduced right after the main title in Ma non è un vampiro with playful woodwinds, solo mandolin and ‘gipsy’ inspired violin solo. Suoni dissociati and E’una vampira develop the style to more dissonant and eerie direction even though the instrumental choices remain the same. Everything comes together in Il vampiro where the melodies get their simplest arrangements for only a few instruments. The odd piece out is Città ferita which begins with atonal acapella voices creating clusters that remind me of classical works of György Ligeti. Slowly instruments are added to the structure but the overall sound still remains otherworldly and alien.

The main title introduces the third episode in La casa delle streghe followed by some unsettling moments for viola solo and strings. The viola playing culminates in track 17 that is dedicated to Morricone’s longtime collaborator Dino Asciolla who performs the viola also in this score. The track is mostly very difficult to listen to and the solo viola and its atonal melodies can get quite irritating after a while and with the duration of 5.5 minutes the cue can be quite unbearable. Viole nella nebbia combines the viola solos to the tinkling material from Pioggia and even the atonal chords from the first episode to distant ghostly voices. Those voices are also included in the best suspense track Tra sospiri e lamenti where they’re accompanied only by the viola and echoing harp notes.

Diario di un pazzo is the title of the last episode ad it’s summed almost entirely into a massive 11-minute track that begins with the main title and continues from there onward with strange sound design that can’t really be considered as music. It consists of the previously heard giggling choir members but this time there are all kinds of different laughter, whispers and moans of madmen and women. Some of the laughing has also been slowed down which is just so discomforting. There are also the’ bubble’ effect heard on many other Morricone horror soundtracks. The track includes also a sample of the following track Phantavox which is like a broken cabaret band complete with whistling and percussion that sounds like kitchen utensils. The ending cue is a passionate little piece for romantic solo violin and piano which is a surprising conclusion and a great sendoff after all the madness.

Drammi gotici is a constantly surprising effort that balances different styles of film music and experiments with atonality in a fresh and original way. However, it’s not a perfect score by any means and if you want to have a more conventional horror score to listen to this Halloween, don’t pick this one up. For the fans of Morricone’s experimental works though it’s a rewarding listen with a lot to discover.

Rating: ***1/2

Tracklist:

1. Kaiserstrasse (02:40) ****

2. La strada della follia (03:21) *****

3. Follia nella strada (08:02) ****

4. Fuori dalla realtà (03:54) *****

5. Pioggia (03:40) ***

6. Ma non è un vampiro (02:41) *****

7. Città ferita (06:08) ****

8. Suoni dissociati (02:55) ****

9. E'una vampira (02:24) ****

10. Il vampiro (06:26) ***

11. La casa delle streghe (02:41) ***

12. Viole nella nebbia (05:49) ****

13. Tra sospiri e lamenti (03:12) *****

14. Ricordo di Dino Asciolla (05:29) ***

15. Diario di un pazzo (11:44) **

16. Phantavox (02:54) ****

17. Elegia per violino e pianoforte (02:02) *****

Oh, the horror: part 3

Title: I tre volti della paura (Black sabbath)

Year: 1963

Composer: Roberto Nicolosi

This is the film which gave the famous band its name. The American version had a score by Les Baxter but luckily Digitmovies released the original score by Roberto Nicolosi in 2009. The film is an anthology of 3 different episodes, one of which features one of the great horror actors, Boris Karloff.

The score like the film is devided into 3 parts each separate film having a distinct musical style combined with a couple of unifying themes and motifs. The main theme is first presented in a form of a fanfare which is soon moved to the string section. It’s a menacing little melody that receives further variation especially during the second episode.

The first episode Il telefono is jazz-inspired film noir music with emphasis on the drum set and walking bass with occasional accents from the woodwinds and brass. The harmonies heard during the first few tracks actually remind me of some of ones heard during the main theme but the actual theme is absent during the first section. Nevertheless this section has a recurring, possibly dodecaphonic melody that forms the basis of almost every track. Though most of the jazz is very subtle and threatening, there are some more romantic tracks in the mix as well such as tracks 4 ad 10. However most of the tracks are just short stingers for jazzy brass instruments that are just there to amplify the horrors seen on screen.

The second episode I Wurdalak is a vampire story and it has the most conventional orchestral horror scoring of the three episodes.  It begins with a wonderful version of the main theme played on distant horns that introduce the rural scenery. Track 16 is the only really romantic cue on the album but the darkness creeps in during the final seconds when the man theme is reprised. It is followed by some nighttime creeping around again featuring the main theme heavily in many disguises. The music continues onward with several suspenseful short tracks, some featuring the organ and reprising both the main theme and the melody from the previous episode. The album’s longest track, number 28 nicely summarizes the moods of the previous tracks and has creepy organ effects and main theme versions. The closing track has abstract sounding strings that sound like they would form a happy ending but they surprisingly turn back to the dark main theme fanfare.

The last episode La goccia d’acqua is the shortest one and it has also the least amount of instruments. It’s dominated by the organ with some unsettling percussion and harp playing. It also has its own menacing little motif that was introduced shortly in the previous episode that forms the basis for many of the tracks. It also hints to a rather beautiful melody constantly that gets finally a full yet simple version on solo organ in track 38 which is probably my favourite track on the album (it also ends the entire album as track 56). The Finale is a strange, cheerful cabaret piano piece which differs completely from the overall mood of the album. The album concludes with stereo versions of the film’s highlights. It’s probably a better listening experience than the film versions. The only new track is Sangue Viennese which is a gramophone version of a Viennese waltz composed by Johann Strauss that skips some parts like a broken record and finally slows down which gives it a distorted quality.

There’s a lot of thought behind the score. For instance the interplay between the various motifs between the episodes creates cohesion to a film that could otherwise feel a bit disjointed. The stinger-like nature of the shorter tracks is a bit troublesome for the listening experience except for the first episode where they have a wonderful jazzy feel to them. It’s not a bad score but on the album it doesn’t work that well without the visuals.

Rating: ***1/2

Tracklist:

1. I tre volti della paura (Titoli) (01:58) *****

Episode # 1: Il telefono

2. I tre volti della paura (M 2 VII) (01:20) *****

3. I tre volti della paura (M 3 IV) (01:25) *****

4. I tre volti della paura (M 4 III) (00:42) *****

5. I tre volti della paura (M 5 VI) (00:17) ****

6. I tre volti della paura (M 6 III) (00:26) ****

7. I tre volti della paura (M 7 V) (00:38) ****

8. I tre volti della paura (M 8 II) (00:20) ****

9. I tre volti della paura (M 9 III) (00:23) ***

10. I tre volti della paura (M 10 II) (01:38) *****

11. I tre volti della paura (M 11 III) (01:20) *****

12. I tre volti della paura (M 12 II) (00:49) ***

13. I tre volti della paura (M 13 IX) (00:27) ****

Episode # 2: I Wurdalak

14. I tre volti della paura (M 14 IV) (01:19) *****

15. I tre volti della paura (M 15 III) (00:39) ***

16. I tre volti della paura (M 16 VI) (02:05) *****

17. I tre volti della paura (M 17 II) (00:55) *****

18. I tre volti della paura (M 18 VI) (00:20) **

19. I tre volti della paura (M 19 VI) (00:28) **

20. I tre volti della paura (M 20 IV) (01:55) ****

21. I tre volti della paura (M 21 II) (00:39) ***

22. I tre volti della paura (M 22 IV) (00:34) *****

23. I tre volti della paura (M 23 I) (01:40) ****

24. I tre volti della paura (M 24 IV) (00:23) ***

25. I tre volti della paura (M 25 IV) (00:43) ***

26. I tre volti della paura (M 26 IV) (01:21) ****

27. I tre volti della paura (M 26 bis) (01:49) ****

28. I tre volti della paura (M 27 IV) (03:26) ****

29. I tre volti della paura (M 28 IV) (02:26) *****

Episode # 3: La goccia d'acqua

30. I tre volti della paura (M 30 II) (00:23) **

31. I tre volti della paura (M 31 V) (00:28) ***

32. I tre volti della paura (M 32 III) (00:17) ***

33. I tre volti della paura (M 33 III) (00:30) ***

34. I tre volti della paura (M 34 II) (00:30) ****

35. I tre volti della paura (M 35 IV) (00:29) ****

36. I tre volti della paura (M 36 IV) (00:55) *****

37. I tre volti della paura (M 37 II) (01:44) *****

38. I tre volti della paura (M 37 Bis II) (01:47) *****

39. I tre volti della paura (M 38 V) (00:42) ***

40. I tre volti della paura (Finale) (01:05) ***

Stereo Versions:

41. Black sabbath (01:56) *****

42. Il telefono (01:21) *****

43. Rose e Mary (01:39) *****

44. Frank (01:20) *****

45. Wurdalak (01:19) *****

46. Vladimiro e Sdenka (02:05) *****

47. Inizia la strage (00:56) *****

48. Il vecchio Gorka (01:56) ****

49. Nessuno si salverá (01:40) ****

50. Vampiro! (01:21) ****

51. La maledizione (01:49) ****

52. Il volto della paura (03:27) ****

53. Wurdalak (#2) (02:26) *****

54. La gocchia d'acqua (Sangue Viennese) (02:18) ***

55. L'Infermiera e l'anello (01:44) *****

56. Il cadavere di Miss Perkins (01:48) *****

Giallo fever: part 6

Title: Giornata nera per l’ariete (The fifth cord)

Year: 1971

Composer: Ennio Morricone

1971 was Morricone’s greatest year in film music. He also wrote a score for this rather unknown giallo which is no classic by any means but for some reason I've always loved this score ever since I heard the first time. It has an abundant number of great vocal moments and the whole score feels like a musical depiction of a nightmare.

Straight from the opening track Morricone introduces the dreamy quality which surrounds the film’s music. Giornata nera per l’ariete is the main theme, a moody melody with unconventional harmonies and la-la voice of Edda dell’Orso. It’s simultaneously eerily beautiful yet terrifying and the several performances start to get under the listener’s skin after a while. La voce bella turns the melody into a musicbox theme with a high vocal track that is soon joined by hair-raising string clusters. The end of the track is purely abstract descending string lines which form also the basis for the cue Resa. Voce has both the musicbox version and first hints at faster action music for pounding percussion and chaotic strings. By far the most interesting version of the theme is heard in track 17 where the harmonies seem completely random and like they were about to fall apart at any moment and the only thing gluing them together is Edda’s pristine voice.

The album starts with a few longer suspense tracks. Punte d’ago begins with Hitchcockian string writing (Psycho’s shower scene in particular) which turns to uneasiness during the second half. Severamente utilizes Edda’s vocals in a more sinister way on top of high strings and steadily beating percussion section. The end loses the voice and replaces it with buzzing electronic effects. Paura e aggressione delves further into madness with a strange bouncy feel with yet another Edda style in a form of fearful breathing. The title translates to ‘Fear and aggression’ and Morricone has found an excellent way of representing them both during this scene. The second part features abstract writing for many kinds of tinkling instruments.

The chaos in unleashed in Trafelato which is the most aggressive track on the album. It has a pounding drum base that has absolutely horrifying string and piano writing and distorted electronic guitars on top which create a swirling tornado of fear. The shock radiates nerve impulses straight down my spine and gut; it’s just that powerful in its madness. It is also chosen to be the bookend to the album and that version could actually be even more shocking and surely leaves the listener with no happy ending or satisfying resolution.

After the few tracks, which you probably can’t pay much attention to because you’re still recovering from Trafelato, we’re introduced to some source music. Giocoso, giocoso is actually the main title track and is a very easygoing keyboard melody with mellow grooves. II ripresa is a strange little menacing piece in the middle with a fast pace. The second mellow source track is Voce seconda which features Edda’s scat singing skills with sleazy slow dance backing. It flows smoothly to another dreamy version of the main theme. Un organo suona is the last source track, an unexpected doomsday chorale for a giant church organ.

Giornata nera per l’ariete is an underrated effort even among Morricone fans. However its suspense writing is highly varied and the melodies are intriguing. Not to mention all the different vocal solos which make the album almost feel like an Edda concert. This score isn’t for everyone but it’s another prove of Maestro Morricone’s talent and unique sense of cinematic music making.

Rating: *****

Tracklist:

1. Giornata nera per l'ariete (02:35) *****

2. Punte d'ago (03:04) ****

3. Severamente (05:17) *****

4. Paura e aggressione (05:40) ****

5. Giornata nera per l'ariete (03:15) *****

6. La voce bella (03:34) *****

7. Voce (02:00) *****

8. Resa (02:19) ****

9. Trafelato (02:29) *****

10. Giornata nera (01:26) ****

11. Ripresa (02:50) ***

12. Giocoso, gioioso (03:23) *****

13. II ripresa (00:48) *****

14. Voce seconda (02:34) *****

15. Giornata nera (01:31) *****

16. Un organo suona (01:07) *****

17. Giornata nera per l'ariete (03:38) *****

18. Giornata nera (01:11) ****

19. La voce bella (01:00) *****

20. Giornata nera (01:35) *****

21. Giornata nera per l'ariete (01:45) *****

22. Paura e aggressione (Versione breve) (01:52) *****

23. La voce bella (02:02) *****

24. Trafelato (Versione breve) (01:12) *****

Giallo fever: part 5

Title: Un bianco vestito per Marialè (A white dress for Marialé)

Year: 1972

Composer: Fiorenzo Carpi

This 70s giallo score was written by pianist Fiorenzo Carpi who also had a few film projects. Many of his scores had however different arrangers to help in the finalization of the score possibly because he wasn’t that familiar with orchestrating. This score credits Bruno Nicolai as the arranger and conductor and to be honest it carries a lot of his trademarks and instrumental choices so much so you could almost imagine to be listening to a Nicolai score. The album was even released as a part of Digitmovies label’s Bruno Nicolai series.

One thing the score does right straight from the start is establishing a strong main theme. Marialè is probably one of my all-time favourite giallo themes. It moves smoothly from the classical, sophisticated beginning to the extremely moving B section which is often accompanied by faster Nicolai influenced keyboard progressions. However the first time we hear the theme is actually during an eerie, thriller version with the voice of Edda dell’Orso on top of a steady heartbeat and droning electric guitar. During the second track it is however developed to its full glory. Most of the reprises of the theme follow this arrangement’s romantic nature which is always pleasant to hear amid the more difficult music. There is an exception though, namely track 11 where it is performed by the solo voice and electric guitar in unison creating an uneasy atmosphere. But by far the greatest version is track number 24 where dell’Orsos’s voice finally joins the romantic arrangement in a glorious end title track.

The suspense soon begins with L’appuntamento which is filled with twinkling harp effects and a dark bassline. Most of its reprises follow the similar slow-moving style which builds the intensity when each track progresses. The other instrument featured heavily is the organ which has often a rather distant sound even when it is performed during the warmer moments. Track 19 has a very similar sound to some of Morricone’s suspenseful giallo writing which isn’t a bad thing by any means. Corteo magico has a very abstract feel with sparse free-floating notes. La vittima is the only real ‘action’ track which has the elements introduced in L’appuntamento but with faster pace, distorted guitar effects and even a melody that could be a variation of Dies irae. It introduces a bouncy bassline ‘theme’ possibly for the killer which is later reprised in track 22, probably the creepiest one of all. It continues though to Ultimi passi which perfects the opening track’s heartbeat effect with creepy organ playing and strange twanging guitar notes.

Garden party is the other recurring theme with a breezy waltz feel. The harmonies are very jazzy and surprising. The main melody is often performed by very innocent sounding instruments including the harpsichord, harp and celesta. The melody gets to shine more though during the slower versions such as tracks number 8 and 16. The other source music inspired track is Pelle di luna which is clearly a trippy midnight erotic party track with the emphasis on the organ and electric guitar interrupted by some sick percussion fills that include also some unease before returning back to the main melodic core.

The final 7 tracks present the original LP tracks, most of which weren’t included in the film and hence are left in as a bookend to the album. The album version of Pelle di luna goes even crazier with the trippy sound effects and is just so much fun to listen to. The ending has a few unique melodies heard nowhere on the album (perhaps some demo material for the director to consider or just material written for the LP to make the listening experience better). Beni perduti is clearly more of Carpi’s regular ‘popular’ music moods, with a waltz featuring an accordion and rural chord structures. Leggenda has a sound that somehow reminds me of spaghetti western melodies and it’s stretched away from the other material’s style a bit too much. The reprise of Corte magico develops from its film version into a moving little piece dominated by the organ. Equinozio is another waltz which shares some similarities with Garden party but the chords are slightly more impressionistic. The ending cue Pensiero romantico is a lovely theme for piano and strings, not as great as the main theme but the B section once again provides glorious moments that take a bit darker turn to some unusual harmonies.

No matter who exactly wrote what, the score is highly enjoyable from the beginning till the end despite being an extremely long album. The only criticism I have is the abundance of Garden party tracks that don’t differ that much from each other. However it’s another rare gem of a giallo score balancing great melodies with chilling suspense.

Rating: ****1/2

Tracklist:

1. Marialè (01:58) *****

2. Marialè (02:11) *****

3. L'appuntamento (01:05) ****

4. Marialè (01:37) *****

5. Garden Party (02:07) ****

6. Marialè (00:48) *****

7. L'appuntamento (01:57) ****

8. Garden Party (00:43) *****

9. L'appuntamento (01:24) *****

10. Corteo magico (00:47) ****

11. Marialè (01:30) ****

12. Garden Party (02:07) ****

13. Marialè (01:33) *****

14. Garden Party (01:26) ****

15. Pelle di luna (04:54) *****

16. Garden Party (01:12) ****

17. La vittima (02:24) *****

18. Garden Party (00:42) ****

19. L'appuntamento (02:44) *****

20. Garden Party (02:16) *****

21. La vittima (01:04) *****

22. L'appuntamento (03:50) *****

23. Ultimi passi (02:35) ****

24. Marialè (02:02) *****

25. Pelle di luna (06:24) *****

26. Ultimi passi (02:21) ****

27. Beni perduti (03:04) ****

28. Leggenda (04:15) ****

29. Corteo magico (03:17) ****

30. Equinozio (02:55) *****

31. Pensiero romantico (02:43) *****

Giallo fever: part 4

Title: Les cauchemars naissent la nuit (Nightmares come at night)

Year: 1970

Composer: Bruno Nicolai

Bruno Nicolai was a long-time collaborator with Ennio Morricone conducting the orchestra and performing the organ on many of his scores. However he was a film composer as well and a frequent composer choice of the master of B films, Jesús Franco, whose biography also includes the erotic thriller Les cauchemars naissent la nuit. With the score Nicolai leads the listener into the world of nightmares, romance, sleaze and fear.

The beginning track Tra sogno e vita is assembled like an overture which introduces snippets of the material the score consists of. There’s the atonal string theme later developed in other similarly titled tracks, exotic percussion and excerpts of the dance music before the weird prepared piano playing and finally some romantic material amid a suspenseful string cluster. What a great summarization and opening!

Le streghe sounds rather pleasant at first but the harmonies and the saxophone solo seem a bit off all the time which may have something to do with the slight atonality of the music. The reprise gets even dreamier and rather romantic despite its strange harmonies. The actual main theme Tra sogno e vita is similarly structured. It doesn’t go into the craziest expressionistic atonality but finds a fine line where it is combined with tonality with some really unsettling results: it keeps the listener on the edge when he simultaneously tries to decipher if you heard the chord correctly or not. The piece itself revolves around slow moving string lines over a steadily beating bass rhythm. It’s easily recognizable on the album but not hummable by any means. The third reprise is more subtle and it’s one of the few times I’ve heard atonal music this moving in its melancholic nature. The finale has also an expressive viola solo developed on top of the previous versions. Nevertheless the most moving and romantic material is presented in Amori which is the only time the score allows the heart-wrenchingly beautiful Nicolai harmonies to shine through in an incredible composition dominated by the piano and warm organ layering.

Climax on the other hand is the first really challenging piece for possibly prepared or out-of-tune piano which rambles around for 6 whole minutes having barely any recognizable structure. It’s a rather fun piece to be honest because the sound is so unique but perhaps a bit too long. The same goes with Giostra which is a tedious merry-go-round tune that also seems to a bit out of tune but that just adds to the charm of it. Lo specchio is a suspenseful, subtle track with quiet twinkling effects and dark guitars.

The score has several long source music cues that are also filled with weird harmonies and that’s why they rise above the usual treatment these kind of scenes might get. Infrarosso is the first one and it just oozes with sleaze provided by the swaying jazz waltz groove and saxophone solo. Cocktail is by far the most entertaining source cue. It begins with a cheesy introduction for a strumming Spanish guitar that soon starts to accompany the funky electric guitar solo as the pace speeds up. This score overall is very different from Nicolai’s regular style but the keyboard moments in this track are clearly his style. The following track Verde selvaggio isn’t far behind though, as it also features the Spanish guitar this time with bongos and congas providing the rhythm and also the sleazy saxophone and the crazy piano of Climax making an appearance.

For me Nicolai was almost always known for his strong melodies even in his suspenseful writing (sometimes even outshining Maestro Morricone’s melodic abilities). However this sounds quite distant from his previous works. Here the blurred line between atonality and tonality is eminent in every aspect of the score, even the party music, which elevates the score above some of its peers. The instrumentation and orchestration are both exquisite and they provide a spectrum of different colours. Highly recommended but an occasionally difficult listen.

Rating: ****

Tracklist:

1. Tra sogno e vita (01:52) *****

2. Le streghe (02:40) ****

3. Tra sogno e vita (04:25) ****

4. Climax (06:44) ***

5. Tempio (01:23) ****

6. Climax (01:14) ****

7. Giostra (06:21) ***

8. Tra sogno e vita (04:26) *****

9. Infrarosso (07:57) ****

10. Lo specchio (03:53) ***

11. Cocktail (05:11) *****

12. Verde selvaggio (04:55) *****

13. Le streghe (03:39) *****

14. Amori (03:39) *****

15. Tra sogno e vita (01:08) ****

16. Lo specchio (03:14) ***

17. Le streghe #2 (02:37) ****

18. Tra sogno e vita (04:05) *****

Oh, the horror: part 2

Title: …e tu vivrai nel terrore! L’Aldilà (The beyond)

Year: 1981

Composer: Fabio Frizzi

Lucio Fulci’s The beyond has developed a cult status over the years and probably as zombie themed films and series have become more mainstream it might continue to attract more and more viewers. The score for the film was written by Fabio Frizzi who had already had several experiences of scoring zombie films in the past and had developed a recognizable style for those films. This time he composed a varied score suitable for the cityscape but also for the roaming herd of zombies in a form of massive choral writing.

Verso l’ignoto is a rather unsettling piece dominated by repeated a piano figure that unfortunately gets tiresome after a while. It slowly starts to lead the listener towards the dark atmosphere the rest of the score is made out of. Voci Dal Nulla introduces the most famous theme from the movie which is the one performed by a large choir with lyrics derived from the latin doomsday hymn Dies irae. It’s a simple melody where the basis is formed by slow moving chords with livelier soprano parts performed on top. The second reprise of the theme (track 6) skips the introductory synth choir and goes straight to the brutal vocal and orchestral battle with martial snare drum rhythm. The last reprise (track 8) is more similar to the first version though the string performance is extremely vivid and the choir is at its most powerful and diabolical mood (I’ve always thought that the choir sounds like a bunch of zombies singing, though I don’t know if that was the intention or if the singers are just having a bad day). It also includes a gorgeous interlude for just the piano and flute solo that is the album’s highlight moment for me. The theme gets an acapella version at the beginning of Sequenza coro e orchestra. The second part of the track shows some fully orchestral thriller like scoring with almost jazzy harmonies.

Suono aperto and Oltre soglia are both very urban sounding ques where the orchestra is joined by funky basslines and pop music inspired percussion section. The problem I have with both of the tracks is the same as with the opening track: that they only seem to have a short melodic motif that is repeated endlessly with only a little of instrumental variety. The reprise of Suono aperto is more orchestral and filled with lovely flute solos. Giro di blues is a source piece of sleazy lounge jazz. The last track is probably the most dated sounding track on the album but nevertheless it is really cheeky, fun piece with groovy rhythms and some really creative synth sounds that fit in perfectly to the urban atmosphere. And though this track loops the same melody heard in Oltre soglia again and again, this time it is varied enough to keep the listener’s interest.

I would have loved to give the score a higher rating but even though it’s flawlessly performed and the melodies are strong, it doesn’t manage to raise any emotions in me besides during the introduction and interlude of Voci dal nulla. The 1995 Beat records album has enough material and I actually think having more would actually hurt the listening experience. Overall it’s a nice combination of 1980s synth sounds with more traditional orchestral and choral writing even though it doesn’t work quite that well without the accompanying picture.

Rating: ***1/2

Title: Quella villa in fondo al parco (Ratman)

Year: 1988

Composer: Stefano Mainetti

Clearly the first score on this ‘twofer’ was the reason for my purchase but because the album has a second score, let’s review that one as well. This time we’re travelling further into the 80s with the score for a strangely translated film titled Quella villa in fondo al parco aka Ratman. The composer Stefano Mainetti has only a few released scores mostly from the 1980s though he has had projects well into the 2010s.

The bleak opening track Synodia begins with horrendous 1980s synth effects before developing into a decent menacing keyboard melody which is the score’s only returning thematic idea. It’s followed by Persequor which begins with nighttime scenery before turning back to unlistenable synths. Coniectrix follows in the same vain though this time the synth effects in the middle depict some creature moving around in the gutters which suits the English language title of the film. Egomet is the best track this far reprising the keyboard melody from the opening track with synth choir excerpts.

The following tracks unfortunately develop more towards the unlistenable territory. Vesaevus has some obnoxious ‘action’ writing that makes you want to turn off the CD player. Necator has the main theme but it too is ruined with sound effects. Esus reprises the main theme, the terrible synthetic action and the choral effects of Xuthus. Phitia is the most listenable track on the album, because it’s just a plain piano solo without any synth rendering. The melody hasn’t been heard anywhere else on the album but sounds surprisingly fresh after all the horror heard in the previous tracks.

This score is mostly very unpleasant to listen to because of the horrendous synth effects which represent some of the worst the 80s had to offer. It also lacks melodies and development I’m craving from a film score. I’m not familiar with Mainetti’s other film compositions but unfortunately after listening to this score I’m also not eager to find out more.

Rating: **

Tracklist:

“…e tu vivrai nel terrore! L’Aldilà”

1. Verso l'ignoto (03:58) ***

2. Voci dal nulla (02:57) *****

3. Suono aperto (01:24) ***

4. Sequenza coro e orchestra (04:32) ****

5. Oltre la soglia (04:01) ***

6. Voci dal nulla (04:26) ****

7. Suono aperto (03:58) ****

8. Voci dal nulla (04:18) *****

9. Giro di blues (02:21) ***

10. Verso l'ignoto (03:22) ***

11. Sequenza ritmica e tema (04:23) ****

“Quella villa in fondo al parco”

12. Synodia (01:09) **

13. Persequor (02:00) **

14. Coniectrix (01:42) **

15. Egomet (01:26) ***

16. Temulenter (00:31) *

17. Vesaevus (02:49) *

18. Xuthus (00:41) **

19. Necator (01:44) **

20. Esus (03:19) **

21. Daemonicola (01:07) *

22. Phitia (02:16) ***

Oh, the horror: part 1

Title: Un tranquillo posto di campagna (A quiet place in the country)

Year: 1968

Composer: Ennio Morricone

This time we’re moving towards horror territory with Elio Petri’s supernatural film featuring a challenging score by Ennio Morricone. The film tells a story about an artist who retreats to the countryside in search of inspiration. However he is driven insane by an apparition that haunts the place. Morricone provided a score that combines two different styles inspired by modern classical music.

As I mentioned, the score feels greatly inspired by 20^th century contemporary classical music and Musica per undici violini actually IS exactly that. The piece was written originally in 1958 as a classical work but was recorded for the film in 1968. It is a very demanding listen if you’re not used to modern classical works and might just sounds like a bunch of screeching violins. However I think it’s a brilliant opener to the album with a lot of structure and thought behind it, and it just painfully introduces the brutal tone the rest of the album will have.

The first original tracks reflect perfectly what the opening piece set up to do. They all rely heavily on strings that are played in extremely menacing ways. Many of the chord structures seem to derive from the classical work. Il fantasma di Wanda and I sogni dell’artista feature the ghostly voice of Edda dell’Orso providing atonal melodies on top of the bed of strings. L’automobile della contessa provides the only pleasantish atonal harmonies that are the closest thing the score might come to sounding somewhat ‘normal’.  Fantasma is an upgraded version of the original string work with added percussion and the eerie voice that is first heard in the distance slowly becoming more pronounced as the piece progresses. This version manages to outshine the original work providing more colours with the expressive vocal performance.

For the pieces following Fantasma, the instruments start to get sparser. Do naturale has just one long note played in unison. Delirio primo is just a piece for short percussion phrases with a lonely voice in the empty space. Frenesia drops the vocals and just has the plain percussion. Delirio secondo however adds a devilish string chord to the piece which sends shivers down my spine. The last two tracks before the long suite are just short slow moving string chord structures.

After the string-heavy preparation of the album’s first half, we’re introduced to the other side of the score which is the 34-minute suite written and performed by Gruppo di improvvisazione Nuova Consonanza which Morricone was a part of. It was an avant-garde group of 6 members which made music both by playing traditional instruments in unconventional ways or using unconventional things as instruments. The result is partly bonkers, partly extremely unnerving. I actually think the other presentation of the film score by GDM records where the suite is divided into smaller parts that are presented among the other material might improve the listening experience. However the suite by itself is a strange journey into the mind of a madman and I think it’s the most enjoyable part of the album.

The cue’s first part is a strange cabaret piece for out-of-tune instruments with a childlike vocal performance and whistling solos that are interrupted by a moment of suspense (and also an excerpt of a classical piece that I just can’t recognize at the moment). The next part goes further into madness and has a weird toy whistle and barking trumpet played against a dark honky-tonk piano. That part is followed by some truly horrific material that consists of several screeching noises among gong-like percussion effects that might be produced out of landfill trash. After a short crescendo the sound calms down for a while to some ‘natural’ sounding piano playing amid the chaos followed by the introduction of different kinds of plucked instruments. However the calm doesn’t last for long when the loudest moment comes in form of rattling percussion, all kinds of screaming brass instruments joined by pounding piano playing and the shouting of the group members. The rest of the track is rather subdued experimentations with all kinds of rambles and hisses including for instance what sounds like marbles being dropped onto piano strings. The last part of the track starts with a series of bell- and glass-like sounds that are slowly developed into something more sinister and mad before fading away.

Horror isn’t just monsters and jumpscares. It can also be subtle and psychological and hence much scarier. Morricone’s score proves that brilliantly. It’s very ballsy music. The middle tracks are the most unstartling pieces but luckily they are gone in a short while to make way to more interesting material. No modern director would dare to have music this challenging in his film. The score pays homage to Morricone’s origins in classical music but also looks forward into the future with the avant-garde material. An unprepared listener should approach this score with caution because it takes many listens to fully appreciate. However if I think of Morricone’s purely atonal soundtracks, this one is strangely captivating and enjoyable almost for its whole duration.

Rating: *****

Tracklist:

1. Musica per undici violini (06:51) *****

2. Vuoi essere felice? (00:38) *****

3. Il fantasma di Wanda (01:59) *****

4. L'automobile della contessina (01:15) *****

5. I sogni dell'artista (01:59) *****

6. Fantasma (06:51) *****

7. Do naturale (00:39) **

8. Delirio primo (02:36) ****

9. I sogni dell'artista II (01:58) *****

10. Frenesia (00:58) **

11. Delirio secondo (02:37) *****

12. Lo spirito di Wanda (00:55) ***

13. Un amore violento (01:02) ***

14. Un tranquillo posto di campagna (suite) (34:39) *****

Giallo fever: part 3

Title: Uccidete il vitello grasso e arrostitelo (Kill the fatted calf and roast it)

Year: 1970

Composer: Ennio Morricone

With a title like Kill the fatted calf and roast it, my first instinct is that the film has to be a giallo. However after reading the synopsis, I’m not really that sure. It’s about a man who starts to develop an obsession towards his own sister. The score by Ennio Morricone is released as a part of Digitmovies record label’s original giallo series so that’s why I’m reviewing it as a giallo score.

The film’s title will probably cause associations of different kinds of what the music will sound like. Surprisingly the easiest way I could describe the music for this film is ‘Baroque pop’. The instrumental choices including flutes, recorders and an organ, and how they’re used bring to mind certain Bach compositions. The pop side on the other hand is enforced by the constant appearance of a drum kit and bouncy basslines. The combination sounds weird on paper but once more Morricone’s sense of style and attention to detail make it shine.

A case in point is the opening track Lungo la stradina which surprisingly isn’t the track used during the opening titles. Nevertheless it introduces all the previously mentioned elements and adds even a very classical sounding trumpet solo to the mix. Some listeners might found the track’s cheerful nature irritating but I think it’s a perfect start to the weird and varied album. The flute melody receives another version in Echi del ‘700 where a solo flute is joined by a ticking metronome which gives the cue a rehearsal-like feel.

Where the opening created a thick pattern of different instrumental colours, they are stripped off almost to bare minimum in the following piece Ai confini della follia. It’s a very simple, melancholic composition for solo piano that repeats slightly variating phrases that are interrupted by a single recorder phrase and strumming harpsichord chords. That recorder phrase is transformed into a Baroque pop piece in Ricordi tanti fiori where it is joined by a second flute that continues the melody creating a short moment of fugal development. Though both of these pieces are very simple and repeat their melodic core over and over, there is still something fascinating about the small added details that appear on each repeat.

The main title track Uccidete il vitello grasso consists of short, seemingly random rhythmic stabs over a religious organ line that is interrupted by an unexpected harpsichord before repeating the loop. La fredda lama del coltello is built much in the same vain though it’s much more aggressive and the harmonies get more unconventional. This time the interruptions are made with the organ and piano which feel much more threatening. Also the recorder melody receives an aggressive variation in Scivolando nel buio with a childlike solo vocal performance by Edda dell’Orso. The track is just one chord repeated endlessly on top of which the organ is improvising rather menacingly and occasionally twanging electric guitar makes an appearance. Unfortunately in this track the repetition gets a bit too tiresome and the track is the album’s most challenging part to enjoy.

But what saves the album besides the opening track for me is absolutely Ai confini della follia (versione 2) which is nothing like the first version. It’s another one of Morricone’s long suspense tracks that some might pass because it’s maybe too difficult a listen. However this time Morricone has outdone himself with style. The instruments featured heavily are solo clarinet and flute that are played in a fashion that reminds me of nocturnal animal noises. After 5-minute mark piano, harpsichord, harp and vibraphone come in with the eerie solo organ that sometimes doesn’t even sound like an organ but an electronic effect of some sort. The whole track is extremely creepy and I’m anxiously waiting for some kind of resolution to happen at any moment but it never comes until… BRAAAWWW!!! This has to be the precursor to The Horn of Doom which composer Hans Zimmer launched with his score to Inception. However Maestro Morricone beat him with 40 years. And after that genuine moment of shock we just return back to the uneasiness of the previous 7 minutes. Brilliant stuff!

What may be the problem for many listeners of this score is that every track is assembled as a loop. I personally don’t mind the repetition except for track number 8. This score is once again highly unique and I really can’t name any other score in my collection that sounds like it. However you might want to get familiar with some other Morricone scores before giving this one a spin.

Rating: ****

Tracklist:

1. Lungo la stradina (03:03) *****

2. Ai confini della follia (04:41) ****

3. Uccidete il vitello grasso (Titoli) (02:21) ***

4. Ricordi tanti fiori (03:30) ****

5. Ai confini della follia (versione 2) (10:26) *****

6. La fredda lama del coltello (02:12) *****

7. Echi del '700 (01:33) ****

8. Scivolando nel buio (05:20) ***

9. Lungo la stradina (versione 2) (02:46) *****

10. Ricordi tanti fiori (versione 2) (03:25) ****

Giallo fever: part 2

Title: La morte cammina con i tacchi alti (Death walks in high heels)

Year: 1971

Composer: Stelvio Cipriani

The problem I tend to have with many Stelvio Cipriani scores is that the melodies aren’t that distinguishable between different films. It doesn’t diminish the quality of the music but causes the scores to have certain anonymity about them. This is unfortunately eminent again with the score to the giallo film La morte cammina con i tacchi alti in which a masked killer murders people in pursuit of stolen diamonds. It’s an easy album to spin occasionally but mostly just to have some background music.

Fantasia tragica introduces the main theme with vocals performed by Cipriani’s frequent collaborator, a fellow film composer Nora Orlandi. The theme is clearly similar to Cipriani’s other giallo melodies but the delivery sells it again as it is such a charming piece of 70s fluff. Night Club Girl presents another theme which is basically a short, simple melody that is repeated endlessly with lowering key changes. Again, not bad but nothing spectacular either. The fluffiness however prevents the listener to remember afterwards how a certain cue actually went if he isn’t paying a lot of attention. That’s why most of the album’s romantic material passes by without provoking powerful emotions. The romantic highlights include Shopping which is a waltz probably composed for a shopping montage and is as cheesy as you might suspect but oh so lovely, and Sensualmente which has an interesting electric guitar base on top of which the vocals bring sensual listening sensations.

However what distinguishes this effort from Cipriani’s other giallo scores is the suspense material which is among the composer’s best in the genre. Inseguita & un ospite inatteso starts the development of highly melodic, threatening music for twinkling musicbox and menacing strings. The other pair of cues Hallory mano di legno and Spiata keeps the suspense up with constant presence of guitars providing dark undertones that are pierced by jazzy flute flourishes that sometimes bring James Bond to mind and icy cold piano notes. Rivelazioni di un assassino is an action track dominated by strong string presence and pounding percussion line that is joined by strumming guitars. Though it is rather simple music, it’s highly effective in creating the feeling of despair and also providing much needed change of pace after all the fluff that preceded it. The short reprise of the title track, this time with a whistling solo, brings the album back to the comfort of the home base.

This score is more a romantic one with occasional moments of suspense rather than vice versa. Those suspenseful 15 minutes provide a fine collection of Cipriani’s more aggressive side. The rest is slightly forgettable, latin flavoured dance music that is a tad too scentless to leave a lasting impression.

Rating: ****

Tracklist:

1. Fantasia tragica (Titoli) (02:03) *****

2. Night Club Girl (03:19) ***

3. Attimi di tenerezza (01:10) ****

4. Night Club Girl (versione 2) (04:04) ****

5. Inseguita & un ospite inatteso (03:47) *****

6. Shopping (01:19) *****

7. Felicità (Cena per due) (03:37) ***

8. Dopo cena (Piano) (01:30) ****

9. Hallory mano di legno (01:49) *****

10. Sensualmente (02:05) *****

11. Spiata (04:18) *****

12. Felicità (Bossa) (02:05) ****

13. Il comandante (02:18) ***

14. Al pub (02:49) ***

15. Sola in casa (02:12) ****

16. Fantasia tragica (Organo) (03:13) ***

17. Rivelazioni di un assassino (05:38) *****

18. Fantasia tragica (Finale) (01:09) *****