Passion (Remaster)

Virgin Records
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Remastered version of the soundtrack to Martin Scorsese's "The Last Temptation Of Christ". Fantastic sound.

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  • Second album from this California based prog metal band with ties to Redemption. The Tragedy Of Innocence is a far more mature and developed release than their debut. It's a conceptual work dealing with a very heavy subject - Valerie Quirarte (wife of drummer Chris) and her experience with child abuse. The music is a reflection of the story - its darker and more intense. All in all Prymary are a progmetal band. You can expect some serious complex arrangements and stand out playing. Kudos to the band for tackling a difficult subject and also jumping up to the next level musically. Recommended.
  • Not sure if this ever saw the light of day on CD - this may be the first time. This is the soundtrack to G'ole - the official film of the 1982 World Cup. Its all instrumental with Rick handling keys, Jackie McAuley (!?) and Mitch Dalton on acoustic guitars and of course Tony Fernandez on drums.
  • Actually credited to Simonetti, Morante, Pignatelli. This is the complete soundtrack to the 1982 giallo thriller. It features lots of unreleased cues.
  • Seems like reunions are about to become the rage in Italy. First Arti & Mestieri and now Goblin. This is the soundtrack to the latest Dario Argento film Nonhosonno. Featuring the original lineup the band does not stray far from the formula of their early efforts - this is dark atmospheric progressive music. The only concession would perhaps be to a modern sound of the instruments used but this is Goblin music through and through. Fans will not be disappointed. 
  • Remastered version of the soundtrack to Martin Scorsese's "The Last Temptation Of Christ". Fantastic sound.
  • "Dire Straits leader Mark Knopfler's intricate, introspective finger-picked guitar stylings make a perfect musical complement to the wistful tone of Bill Forsyth's comedy film, Local Hero. This album was billed as a Knopfler solo album rather than an original soundtrack album, with the notation "music ... for the film." Knopfler brings along Dire Straits associates Alan Clark (keyboards) and John Illsley (bass), plus session aces like saxophonist Mike Brecker, vibes player Mike Mainieri, and drummers Steve Jordan and Terry Williams. The low-key music picks up traces of Scottish music, but most of it just sounds like Dire Straits doing instrumentals, especially the recurring theme, one of Knopfler's more memorable melodies. Gerry Rafferty (remember him from "Baker Street"?) sings the one vocal selection, "That's the Way It Always Starts."" - Allmusic Guide
  • "When the soundtrack album 'The Score' was released in 2005, Epica proved once and for all that they were more than just another female fronted rock band. Like the original version, 'The Score 2.0' is a stunning soundtrack that stirs the imagination whilst succeeding in being an epic trip, even without any accompanying pictures. It's the nuances that make the difference on 'The Score 2.0'. The already timeless piece of music sounds refreshed, and listening truly feels like revisiting a memorable trip. 40 tracks including 20 unreleased versions for over 2 hours of music! Comes in deluxe 2CD digi-pack gatefold sleeve with rare memorabilia and 20 page booklet."
  • Third album from Sam Vallen and Jim Grey.  Plain and simple another triumph.  The great thing about this band is the way they assimilate different influences and make a cohesive whole.  Vallen's guitarwork touches on djent riffing as well as fluid clean lines and Grey's vocals...well they are spectacular as usual.  You get a little bit of Opeth here and Haken there.  Maybe even a little Dream Theater and Pain Of Salvation.  Naturally if you are a fan of Jim Grey's other band, Arcane, you are going to love this one as well.  Very dynamic and dramatic.  Essential 2015 purchase.  BUY OR DIE!"There are certain albums that require more than just open ears. Sometimes, you need to close your eyes in order to sharpen up your senses, to be able to really consume and obtain the musical message delivered throughout the record. So before pressing the ‘play’ button on Caligula’s Horse newest release, Bloom, pour a glass of your favorite drink, put your headphones on and close your eyes.Consisting of 8 tracks, Bloom delivers something deeper than a compilation of technical riffs; it sets an atmosphere, driven by emotion and by the story line, as the sound and production correlate towards that notion. From the very beginning, with the theme song being the opener of the album, you can see how the band sets the mood for the entire record. Mysterious, dark, heavily Opeth influenced, and yet still having its own characteristics to the story.Right from the beginning of the album, one cannot miss how Opeth deeply affected the band’s music. The vocal ideas and implementation, the guitar sound and the general image that’s created, can immediately drift the listener to many of the Swedish group’s finest works. Nevertheless, I do feel that within these carried elements still lies a large chunk of originality that separates this album from being another Opeth-imitation attempt, which can easily be found on a variety of past-releases of different bands.One impressive thing to notice on this record is vocalist’s Jim Grey. It is easy to fall in love with the color of Grey’s voice, as can be heard on The Tide, The Thief & River’s End (2013), but he did manage to improve a certain and essential vocal ability for this album: I’ve always felt that when hitting the higher notes, he needed to “shout” those notes just a little bit too much, having immediate impact on the tenderness and vibrations of his voice. On this album, it seems that Grey feels much more comfortable on higher scales, and that vocal freedom affects his entire range. Grey has turned it up a notch, becoming not only great a singer, but a great storyteller. His vocal movements are probably the most interesting thing to follow on this album, as it escorts the listener throughout each and every song.Another thing that immediately stands out is the band’s cooperation while putting Grey’s vocals as the leading musical idea of the album. Nothing is over-pressed, and it seems that band took a great care of composing the songs mostly to create an atmosphere, to set the right stage to deliver the story in the best way. It is impressive, since many bands tend to miss this very idea, with every musician trying to overlap the other, which mostly leads to a confusing blend that misses the main idea. This shows great maturity of the band, which helped them carry their music to the next level.Many bands these days try to force their music in to a hidden musical horizon just to be different. What’s so great about Bloom is that the band did not try to reinvent the wheel, but only used the tools they had, mixed just a little bit of everything to create something unique. Every song has that thing that sticks to your head; whether it’s a defying chord, a vocal movement, mesmerizing vocals and at times – some really catchy, groovy guitar riffs. That alone helps the fluency of the record, making it an album, 44-minutes of which you listen to from the top to the bottom, rather than just a collection of different songs.Overall, it’s easy to see how the band feels more comfortable with their work with every passing release. With time, Caligula’s Horse understands what they look for while composing their music, yet something still feels held back. It’s funny, because even I, after countless of times listening to the album, still cannot really put my finger towards what it is that is missing. Perhaps it is something that cannot be described by simple words, but it is that something that turns a 9 into a 10. That something that transforms an album which is great to hear, to a one that really dives into your deeper cells, and stays there. Rest assured: You cannot turn a blind eye in regard of the band’s progress, and you absolutely must give this album a try." - It Djents
  • "A lot of the music pieces used in these films reappeared later in various other Rossif documentaries, like those for the artists Morandi and Georges Braque, and the similar nature-inspired documentary-series “L'Opera Sauvage”. When sometime after “L’Apocalypse Des Animaux” went out an album with the same title was assembled, it was simply a matter of putting some of the tracks recorded for the films onto the record. So the later Vangelis method of first scoring a movie and later recording (not always the same) music again for the soundtrack-album wasn’t yet practiced for “L’Apocalypse Des Animaux”. All this suggests that Vangelis wasn’t involved in the actual editing of his music into the films, but rather that he provided Rossif’s team with a library of pieces for them to use in whatever way they felt convenient, then or later. The documentaries each involve showing the animals in their natural habitats or nature reserves – here Vangelis' music is used, not very extensively, just here and there, along with a voice-over. Some episodes make a detour to showing animals in zoos and parks or the scientific study of animals in laboratory environments – here no music is used and we sometimes see and hear the attendants and scientists explaining their methods and observations. The filmmakers and narrators are never in picture, in contrast to the later documentary style of people like David Attenborough and Jacques Cousteau.Vangelis has stated that it took about one day per episode to score, which is born out by the fact that indeed each episode has fresh bits of music, and only a few cues are repeated across episodes. Except for the opening track on the album “Generique” which plays along with the opening and concluding credits to each episode, a couple more tracks are used throughout the series, with some more appearing in 3 or 4 episodes. To name a few: a joyous playful melody played on keyboards and flute that usually accompanies animals playing around, an experimental piano + percussion theme also used for the Georges Braque film, a mysterious exotic slow theme usually together with underwater pictures, a rather silly disco theme (also used in the Morandi film) which uses one of those cheap drum-presets that came along with those first-generation electric pianos. Strangely enough, none of these repeated themes appear on the album, whose six further tracks are taken in seemingly random fashion from the other music in the series, although one reason might be that they at least include the ones which have other instruments on them, like guitar or trumpet. For every piece that does appear on the album an estimated 4 or 5 are left out, with most of them just as good as the ones that did make it.From the first episode “Le Singe Bleu” is taken, where it accompanies the agile movements of a young monkey as it jumps from tree to tree and does a balancing act on a horizontal stick (it reappears briefly at the end of episode 5). Episodes 2, 3 & 4 yielded no music at all for the album. The fifth uses two album-tracks: “La Mort Du Loup”, accompanying pictures of wolves being shot at in the snow and on the savannah. And “L’Ours Musicien”, which is actually some 4 minutes, as opposed to the 1 minute put on the album. This accompanies a sweet and funny tale of researchers picking up two baby ice-bears abandoned by their mother, who decide to go rummaging through the researchers’ hut. The final and most apocalyptic episode starts with the earth-organic sounds of stand-out track “Creation Du Monde”, accompanying beautiful slow-motion pictures of large birds on their yearly treks across the sea. The revitalising nature of the sea after oil-spills and other attacks on its eco-system form the idea behind “La Mer Recommencee” and pictures of divers with dolphins and octopuses go with the music of “La Petite Fille De La Mer”. At the end of this episode and the series, as part of a sort of philosophical summing up, “Creation Du Monde” is played out to the very end, even across the end-titles, instead of the usual “Generique”.All this enchanting early Vangelis music, created very effectively using relatively simple means, is evidence of a seemingly endless pouring out of ideas, free of any outside pressure. It all has a very fresh sun-lit feel to it and only on “Earth” again would Vangelis once more approach that same kind of Mediterranean sound. Broadly speaking, the pieces he created fall into 4 categories: melodic pieces, sometimes dreamy and nostalgic, percussion-pieces, wacky funny pieces and more exotic experimental stuff (when some 10 years later Vangelis did the music for “Sauvage et Beau” the same categories applied again, with the exception of the purely percussive). The music doesn’t so much describe the realities of nature itself but rather reflects a sort of philosophical reality. On one level, the association one gets is how people in prehistoric times might have viewed nature: sometimes tranquil (as in “La Petite Fille De La Mer”), sometimes dark and mysterious (as in “Creation Du Monde”) but always as part of themselves. On another level the music manifests a sort of nostalgic longing back to those times, which can nowadays only be glimpsed in the ever-decreasing world of animals, hence the title of the series." - Vangelis Movements
  • Remastered soundtrack to the George Romero gorefest w/alternate takes and one unreleased track.
  • "A haunting soundtrack to a short movie by Mat McNerney (Hexvessel/Beastmilk) and Kimmo Helén (Hexvessel), inspired by Newfoundland Folk and the Canadian wilderness."We researched a lot into Newfoundland and traditional folk music of the past and today, spending a few months looking into and listening to libraries of collected works. I was surprised at how much it reminded me of the Celtic music of my Irish upbringing and ancestry and felt immediate connection to it and an instant ability to relate to the stories. Together with the multi-talented craftsman Kimmo Helén we set about creating a soundscape using only traditional instruments that would have been used in Newfoundland folk. We worked to try to open a portal to dream, nostalgia, a deeper yearning for our roots and the joy that comes from finding your place in the universe. We hoped to be able to help tell Justin's story in as humble and honest way we could and to find a musical voice to his character's inner emotions and journey.""
  • One of the great overlooked prog metal albums of the 90s made available again. This album with the odd name was only released in Japan by Toshiba-EMI in 1998. It was the debut album from this Swiss trio and featured the great Thomas Vikstrom on vocals. The music was keyboard driven, a bit off kilter and totally amazing. The band didn't release anything again until this year's Retrospective but the similarities are superficial. Retrospective is a great album but a bit more conventional. Cosmic Handball has a lot more personality. Its been remixed and remastered which can only help as the original production was a bit murky sounding. Highest recommendation.
  • Last year I saw John Carpenter perform a selection of his movie themes with his Lost Themes band.  It was a very engaging performance and a hell of a lot of fun.This new anthology is a collection of movie themes from 1974-1998 performed by Carpenter and his band."John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies."
  • "Peter Gabriel's first foray into soundtracks was for Alan Parker's contemplative film Birdy and is a successful companion piece, providing a backdrop that is moody and evocative. Nearly half of the album's dozen tracks incorporate threads from material found on Gabriel's 1982 Security set, including "Close Up," which makes use of keyboard passages from "Family Snapshot," and "The Heat," which is a reworking of "The Rhythm of the Heat" and builds to a frenzied percussive crescendo. Material specially written for this project includes the murky opening track, "At Night," the tribal "Floating Dogs," and "Slow Marimbas," a track which would become part of future live performances. The fact that Birdy is comprised of all instrumentals means that listeners whose familiarity with Gabriel is limited to "Sledgehammer" and "In Your Eyes" will be largely disappointed. However, its meditative nature makes it fine, reflective listening for the more adventurous." - All Music Guide