Quentin Tarantino announced during last month’s San Diego ComicCon that Ennio Morricone will be scoring all of the director’s The Hateful Eight. This isn’t the first time Tarantino has used Morricone’s music in his films. Most recently, Inglourious Basterds used music the composer had written for films such as The Big Gundown, Revolver, and Allonsanfàn, and Django Unchained used music from Two Mules for Sister Sara, along with the original composition, Ancora Qui. This does mark the first time that Tarantino will have an original score for one of his films, as all of his prior movies have featured previously-released music or pop songs recorded specifically for them, such as Urge Overkill’s cover of Neil Diamond’s Girl, You’ll Be a Woman Soon in Pulp Fiction.
The Philip Glass and Marco Beltrami score for the Fantastic Four reboot is out, and is not as exciting as one was hoping. This is for the most part another standard superhero score, although there are aspects to it that raise it up a little more than the usual martial pomp. The strong emphasis on strings lends an aspect to certain parts of the score, such as Ruin, that really emphasises the sci-fi aspect of the Fantastic Four’s story. The utilisation of Glass adds flourishes and small details that play up the body horror aspect of the characters, as well. The digital bonus cut from producer and rapper El-P is the best thing here, though.
La-La Land releases Joe Kraemer’s score for Mission Impossible: Rogue Nation this month. In a delightful rarity, the score was conducted by the composer. It’s a rousing, brass-heavy score, as one would expect for such a spy film. It’s available as both a compact disc and via digital download, although the CD contains two tracks - It’s Impossible and This is the End, Mr Hunt - not available on the digital version. Additionally, the label has put out a six-CD set of music from the original television series to coincide with the new film. In addition to a trove of previously unreleased music, the music has been restored and remastered.
In further Morricone news, there are a couple of reissues worth noting. While not a genre film specifically, the 1990’s Cinema Paradiso is such a love letter to the joys of film that we feel AMS Records’ new re-release bears mentioning. The Italian label is making Morricone’s score available on vinyl for the first time in 15 years, in a gatefold sleeve with fantastic new cover artwork. It’s on solid purple and clear transparent mixed vinyl, and given that this is one of the highlights of latter-era Morricone music, you’d do well to add it to your library.
At the same time, AMS has another Morricone score, this time to the 1973 spaghetti western, My Name is Nobody. Also in a gatefold sleeve with new artwork, this might not be as wellknown as the maestro’s work for A Fistful of Dollars or as cultishly revered as A Fistful of Dynamite, but is just as necessary as both.
Rusted Wave announced earlier last month that they would be adding to their line of Wet Hot American Summer merchandise the first official music release from the 2001 film. A 7-inch single featuring Craig Wedren and Theodore Shapiro’s Higher and Higher, as well as Wedren’s Wet Hot American Summer, was put out just in time for the Netflix debut of Wet Hot American Summer: First Day of Camp. Since there is no official soundtrack for the movie, this is a mini soundtrack of sorts. Rusted Wave worked with Wedren to remaster the tracks for the limited-edition release.
We thought we’d seen the last of the new wave of soundtrack labels, but it appears there’s another one. Japanesebased label Brave Wave has created a new imprint, called Generation, ‘that stands for definitive editions of legendary video game soundtracks.’ Their concept is to create the ultimate versions of these
game scores, with the first release being a double vinyl LP of Street Fighter II’s arcade music. The Generation release will feature both the CPS-1 and CPS-2 versions of composer Yoko Shimomura’s music. A release date hasn’t been announced, other than ‘later this year.’
Screamworks Records digitally released Wojciech Golczewski’s score for Ted Geoghegan’s latest film, We Are Still Here. Much in the way that Fabio Frizzi’s music bolstered Lucio Fulci’s work on the likes of Zombie Flesh Eaters with metronomic precision and build, so does Wojciech Golczewski’s score. Tones and drones for days highlight this ‘80s Fulci throwback. For those who found Disasterpeace’s score to It Follows not minimalist or creepy enough, this is the score to get, and it’s available from all major digital music retailers, as well as Spotify.
Finders Keepers’ founder Andy Votel teased via his Twitter account that the label would be putting out a CD and LP from Magnetic System, a mid-to-late ‘70s supergroup featuring Franco Bixio, Fabio Frizzi, and Vincenzo Tempera. Given the group’s astonishingly varied releases, it’s hard to figure out what may be on it. However, given that oeuvre includes an unreleased score for an Umberto Lenzi Godzilla film whose sole single shares cover art with this upcoming LP, one can hope for some seriously deep electronic funk cuts.
Giallo Disco Records’ latest release is an imaginary soundtrack for a fake film. Bearing no relation to the 2014 Matthew Berkowitz thriller of the same name, Wild in Blue is a faux ‘80s teen drama described as ‘controversial.’ Listening to the cuts by the likes of Umberto, Antoni Maiovvi, and more, I like to think that the film might have been the sort of thing that took the blunt honesty of The Breakfast Club and combined it with the cocaine-fuelled antics of Less Than Zero. The electronic synth-laden music is available digitally and on LP.
Brad Fiedel’s score to Terminator 2: Judgment Day has seen two double vinyl LP re-releases announced this past month. Online retailer Zavvi had an exclusive transparent version in a limited edition of 500 that has already sold out, despite not being due out until early September. Silva Screen’s version on liquid metal silver in transparent 180gram vinyl should fare slightly better, with a doubly-large pressing, limited to 1000. Either way, try to get your hands on this. It’s one of the finer ‘90s scores out there, and having it in some way, shape, or form is a necessity for any genre fan.
Speaking of James Cameron film scores re-released as double vinyl LPs, Mondo put out James Horner’s Aliens score at Comic-Con on limited-edition vinyl. It obviously sold out rather quickly, but one of the hallmarks of recent Mondo releases is that while there are limited variants only available at certain times or places, they’re making a concerted effort to release these as readily-available retail versions, too. Keep an eye out for this at your local shop or online soon.
Mondo also did a wide release of Gustavo Santaolalla’s score to the 2013 post-apocalyptic survival game, The Last of Us. It’s a massive four-LP set featuring all of the music from the game, as well as music from the Left Behind expansion pack.
In further Comic-Con release news, Rare Studios put out the music to the 1991 Nintendo game, Battletoads, by David Wise, in conjunction with iam8bit. It was a limited-edition of 300 copies on a slime-coloured vinyl LP, but we keep hearing rumours of a wider release, although nothing definite. In terms of fun releases, this might rank right up there with that Enjoy the Ride Records Best of Nicktoons double LP – which just sold out of its second pressing.
If you enjoyed Dustbug Records’ last release – the Christopher Lee-narrated story-on-record version of the Hammer Dracula film – you’ll absolutely flip for their edition of The Legend of the 7 Golden Vampires, which is narrated by Peter Cushing. The 1974 Kung Fu vampire film was billed as ‘black belt vs. black magic,’ and features a James Bernard score. The record has been restored from the original tapes and pressed on blood red and black belt marbled 180-gram vinyl, limited to 500 copies.
Finally – because they’re not due out until October 16th – Relapse Records announced both a new LP from Zombi, entitled Shape Shift, as well as a solo release from the duo’s Steve Moore. That solo release is the score to the 2014 Belgian horror film, Cub. It’s a doubledose of electronic music, and the tracks that have thus far premiered seem to indicate positive things.