Review: Martin Jenkins dons the Pye Corner Audio alias once more, transferring to Death Waltz in order to deliver the soundtrack to an imaginary horror film. It's naturally an all-analogue affair, with Jenkins making the most of his impressive collection of vintage synths, analogue drum machines and effects units. There's much to enjoy from start to finish. Check, for example, the ghostly chords, foreboding bassline and spacey electronics of "Do You Hear Then", the creepy, Carpenter-ish horror-ambience of "It May Not Be Real", the evocative late night paranoia of "Descent" - which is similar in tone to some of Jonny Jewel's soundtrack work - and the clattering dancefloor throb of "The Spiral", whose bassline, beats and darting melodies are just begging to be played over a booming club soundsystem.
Review: Before Twin Peaks and all that followed, director David Lynch and composer Angelo Badalamenti had worked together just once: on the former's 1986 mystery noir movie Blue Velvet. Lynch asked Badalamenti to create an original score inspired by both the works of Shostakovich and the smoky, clandestine atmosphere found at blues and jazz clubs. These two musical threads are explored on side A and B respectively. So, while the first side contains numerous sweeping, dark and moody orchestral compositions, turn the record over and you'll find classics from Roy Orbison and Bill Doggett, as well as Badalamenti's spine-tingling interpretation of pop standard "Blue Velvet". Featuring a mixture of simmering strings, breathy female vocals and atmospheric field recordings, it's as creepy a version of the much-covered song as you'll hear.
Montage From Twin Peaks: Girl Talk/Birds In Hell/Laura Palmer's Theme/Falling (5:25)
The Voice Of Love (3:52)
Review: Angelo Badalamenti is to noir thrillers what Ennio Morricone is to the spaghetti Western scene. The Italo-American composer has been a pivotal part of the Hollywood soundtrack scene since the 70s and, among many cult-like figures, he's collaborated extensively with the great David Lynch on projects such as Blue Velvet and, of course, the present Twin Peaks, a film which has reached a God-like status over the last two decades. The music from the motion picture is as vivid and dream-like as the film itself; Badalalementi immerses you in a world of Neo-gothic trance and bizarre, fairy-like dances that instantly recall the movie's infamous dance scene concerning two horses. What is most notable about it is his use of subtle jazz nuances and the man's pioneering downtempo style. NB: this particular release, Fire Walk With Me, features additional music and acts as a companion to the official soundtrack as heard in the movie. What a soundtrack. Totally essential.
Review: As an ode to the upcoming remake of David Lynch's infamous Twin Peaks, there is a flurry of Angelo Badalamenti reissues at the moment. In fact, both this original soundtrack, which is the official music as heard in the 1992 film, and the Fire Walk With Me spin-off have both resurfaced as reissues this week. Unsurprisingly, we recommend for you to snap up both because they have been something of a rarity over the last 10 years. Timeless and iconic from start to finish, this soundtrack is not for the faint of heart, and will likely stir some feelings upon initial listen. This will be all the more palpable if you were shocked and eternally intrigued by the movie. We were, of course, and we absolutely cannot wait for the new series either!
Review: English actor, writer, and musician Matt Berry - of Darkplace and IT Crowd fame - covers, yes, covers an assortment of classic British TV themes. The result is an album to be appreciated as much as it is to be taken seriously, as it is to be enjoyed. Of course there's a pinch of humour with Berry placing himself alongside a muppet and Doctor Who on the album's cover art, but it's the theatrical, jazz and upbeat, yet easy listening approach of the album which really paints the picture. The LP's opener "Are You Being Served" is undeniable sweetest spot of nostalgia here, with the minutia of Thames Television indents, at 8 seconds long, also checked and covered. Recorded solo by Berry himself, it's a burgundy-beige trip through the technicolour memory of one's formative years enjoying the early-evenings and afternoons watching a select choice of the UKs most iconic TV.
Review: Chris Brokaw's resume over the past 25 years reads like a "who's who" of indie rock alumni. Starting as the founding member of Codeine and followed up by fronting rock mainstay Come, Brokaw has established himself as a renaissance man of songwriting. Collaborating with Liz Phair, John McEntire (Tortoise), Rhys Chatham, Evan Dando, Glenn Jones, Thurston Moore and even a brief stint with GG Allin, it is sometimes easier to list who Chris Brokaw hasn't played with rather than everyone who has crossed his path. After his time with Come, Brokaw lent his talents to bands such as Pullman, Consonant and The New Year, constantly evolving and changing his pace and rhythm.
Nowadays, Brokaw stays booked by a constant tour schedule and his duties with Dirtmusic alongside Hugo Race (of Nick Cave & The Bad Seeds fame). When the dust settles in the off-season, Brokaw finds himself a more mature career path as a composer of film scores and soundtracks. Previous works for lauded independent art-house films such as I Was Born, But... and Road made Brokaw's instrumentals a familiar tone amongst the independent film community. After a slew of solo releases from labels such as 12XU, Atavistic, Brokaw's own Capitan Records and his highly praised acoustic outing on Vin Du Select Qualitite, Brokaw sat down with the award winning film "Now, Forager" to score it's lucid narrative outlining the story of two lovers joined in the unusual scenario of mushroom foraging which pushes their unstable relationship to its limits.
Limited edition of 500 vinyl copies featuring previously unreleased songs and bonus tracks not found in the film.