Podcasts about Graeme Revell

"El Santo" (1997), música de Graeme Revell.

Wir runden unseren muskelbepackten, männlichen MachoMärz mit Vin Diesel und dessen Durchbruch "PITCH BLACK - Planet der Finsternis" ab. Ein klassicher Philip-Film, aber lässt sich auch Chris davon begeistern? Außerdem: Welche Verbindungen hat der Film zum Alien-Franchise? Könnte man so einen Film heute noch drehen? Und reicht Vin Diesels Star-Power aus damit die Kinokassen klingeln?Pitch Black OST by Graeme Revell; Switchback by Celldweller#PitchBlack #VinDiesel #MachoMärzBesucht uns auf unseren Socials:⁠⁠⁠⁠⁠⁠linktr.ee/dinosdaemonendoktoren⁠⁠⁠⁠⁠⁠Vergesst nicht unsere Community-Frage zu beantworten:"Wer ist euer liebster glatzköpfiger Schauspieler?"

Borrowed Time. A crash is coming to America and it may be sooner than later. The American people were lied to about inflation being transitory when, in fact, it's become embedded that America's open borders have permitted millions of illegal immigrants to enter this country, that journalists on every major network have become propagandists to protect a feeble President run by people in the White House; that the age of information had been manipulated so prices on Wall Street weren't true; that the U.S. Congress, the State Department, and the White House had endorsed two wars; that in 2024 bankruptcies had risen 16 %; That politics in every major city had led to corruption; that the U.S. debt had risen to 36 trillion dollars. But there's more. The crash is coming. MUSIC Brian Easdale, Graeme Revell, Henry Mancini, John Williams

This is part of a series about overlooked movies from 2005. ***Referenced media:“Promising Young Woman” (Emerald Fennell, 2020)“Spartacus” (Stanley Kubrick, 1960)“Marvel's The Avengers” (Joss Whedon, 2012)“Fargo” (Joel Coen, 1996)“Three Billboards Outside Ebbing, Missouri” (Martin McDonagh, 2017)“The Lord of the Rings: The Fellowship of the Ring” (Peter Jackson, 2001)“The Lord of the Rings: The Two Towers” (Peter Jackson, 2002)“The Lord of the Rings: The Return of the King” (Peter Jackson, 2003)“Whale Rider” (Niki Caro, 2002)“Grizzly Man” (Werner Herzog, 2005)“Lord of War” (Andrew Niccol, 2005)“Capote” (Bennett Miller, 2005)“Good Night, and Good Luck.” (George Clooney, 2005)“Jarhead” (Sam Mendes, 2005)“Munich” (Steven Spielberg, 2005)“Æon Flux” (Peter Chung, 1991-1995)“Liquid Television” (Japhet Asher, 1991-1995)“Æon Flux” (Karyn Kusama, 2005)Audio quotation:“North Country” (Niki Caro, 2005), including music composed by Gustavo Santaolalla, https://www.youtube.com/playlist?list=PLQcLaWj9GCJZZKMU9wgWbGNBwsrG78olw“JUDGE HITTING GAVEL - Sound Effect & Video - Sound FX / Video FX” https://www.youtube.com/watch?v=RM1LAsuYj48“Æon Flux” (Karyn Kusama, 2005), including music composed by Graeme Revell, https://www.youtube.com/playlist?list=PLohYzz4btpaQrMM9AqRdvbNoxgz3xZrhf

Send us a textGet ready for the touching story of a podcast and his right hand because this episode, Filmshake is talking 1999's horror comedy, Idle Hands. We're split on this episode like two stoners over the last hit, resulting in one of the funniest arguments we've ever had: is Idle Hands dumb on purpose, or is it just dumb? All that arguing gave us the munchies, so for a few minutes we also (mildly, and at a few times forgetting our point) argued about that same year's Teaching Mrs. Tingle. Then we fell asleep.Music Heard This Episode:"Idle Hands Theme" -- Graeme Revell"Dragula" -- Rob Zombie (Hot Rod Herman Remix)"I Wanna Be Sedated -- The Offspring (Ramones Cover)"Push It" -- Static-XIntro music - "If" by Broke For FreeConnect with us!PatreonTwitterFacebookEmailLinktr.eeLetterboxd - Nic & JordanThe Nicsperiment

This is part of a series about movies based on comic books. ***Referenced media:“Point Break” (Kathryn Bigelow, 1991)“Orange Is the New Black” (Jenji Kohan, 2013-2019)“Tank Girl” (1988-now) by Alan Martin and Jamie Hewlett“A League of Their Own” (Penny Marshall, 1992)“Station Eleven” (Patrick Somerville, 2021-2022)“Crumb” (Terry Zwigoff, 1994)“Casper” (Brad Silberling, 1995)“Batman Forever” (Joel Schumacher, 1995)“Judge Dredd” (Danny Cannon, 1995)“Judge Dredd” (1977-now) by John Wagner, Carlos Ezquerra, and Pat Mills“Star Wars” (George Lucas, 1977)“Twilight” (Catherine Hardwicke, 2008)“Thirteen” (Catherine Hardwicke, 2003)“Full Metal Jacket” (Stanley Kubrick, 1987)“A Clockwork Orange” (Stanley Kubrick, 1971)“The Terminator” (James Cameron, 1984)“House of Cards” (Beau Willimon, 2013-2018)“Star Wars: Special Edition” (George Lucas, 1997)“The Wizard of Oz” (Victor Fleming, 1939)“Dune” (1984) by David Lynch“Dune” (1965) by Frank Herbert“Everything Everywhere All at Once” (Daniel Kwan and Daniel Scheinert, 2022)Audio quotation:“Tank Girl” (Rachel Talalay, 1995), including music composed by Graeme Revell, https://www.youtube.com/watch?v=BiHMp8qY6Yo“Pool pump noise” https://www.youtube.com/shorts/I-_GEM1wRIY“Drown Soda” (1991) by Hole from the “Tank Girl” soundtrack, https://www.youtube.com/playlist?list=PLQvL6GLJiX927JfXHNRtuj87-vcehTEV-“Clint Eastwood” (2001) by Gorillaz, https://www.youtube.com/watch?v=1V_xRb0x9aw“Big Gun” (1995) by Ice-T from the “Tank Girl” soundtrack, https://www.youtube.com/playlist?list=PLQvL6GLJiX927JfXHNRtuj87-vcehTEV-

Music Heard This Episode:"Panic in the Streets" -- Graeme Revell"Rigors (of Courting a Saviour)" -- Digginlilies "End Credits Theme" -- Antonio CoraIntro music - "If" by Broke For FreeConnect with us!PatreonTwitterFacebookEmailLinktr.eeLetterboxd - Nic & JordanThe Nicsperiment

In July 1994, my moviewatching trajectory was changed forever when I finally watched Alex Proyas's "The Crow". The film had already become a cult hit, and had been on my radar, but it wasn't until I saw it for myself that I just came out of the theatre different. As it turns 30, it is time to finally have a discussion of the film, and its legacy, on the Sonic Cinema Podcast. Joining me on the podcast is Chris Salazar, someone whom I've known on Film Twitter for a few years, and who loves the film as well. I hope you enjoy our discussion, and listen to the other episodes I've contributed to about the film over the years.The music at the end of this episode is my 1999 composition, "In a Lonely Place," inspired by Graeme Revell's music for "The Crow." "In a Lonely Place" is on my 2000 album, "Dark Experiments".More of Brian's thoughts on "The Crow" can be found:On Sonic Cinema:25 Years of "The Crow"Episode 31 - "The Crow," and the Evolution of "In a Lonely Place"On Other Podcasts:Close Watch: Episode 4- "The Crow"Untitled Cinema Gals Project - All the Bops

A chat with the composer of this live action version of a popular animated series back in 2005. Plus looking at his score for the Crow and The Crow City Of Angels. We also chat about his work with Robert Rodriguez.  Subscribe to Sci-Fi Talk

Episode 106 Electronic Music of Dune Playlist Toto, “Main Title,” “Robot Fight,” and “Dune (Desert Theme)” from Main Title / Robot Fight / Dune (Desert Theme) (1984 Polydor). A single produced from the soundtrack of the David Lynch film version of Dune (1984). Toto, with its big synthesizers, created most of the soundtrack, although Brian Eno, Roger Eno and Daniel Lanois had one track (included later in this podcast). Bass, David Hungate; Drums, Percussion, Jeff Porcaro; Guitar, Steve Lukather; Keyboards, David Paich, Steve Porcaro. 6:36 David Matthews, “Part I: Arrakis,” “Part II: Sandworms,” “Part III: Song Of The Bene Gesserit,” “Part IV: Muad'Dib” from Dune (1977 CTI Records). Arranged by David Matthews and produced by Creed Taylor for his CTI jazz label, this was an extended work inspired by the novel by Frank Herbert. Cliff Carter plays the solo synth (mini-Moog?) on the first track and other places. The work is jazz with bits of electronic music blended into the instrumentation. It remains an interesting artifact partly because of the legal problems CTI faced once they released the album. Because CTI had not secured writer Frank Herbert's authorization to use his novel Dune as the thematic center piece for the album, Herbert filed a law suit against CTI and won, forcing the label to delete it from catalog. For this reason, that interesting album was never reissued in the USA. Enjoy. Alto Saxophone, David Sanborn; Bass, Mark Egan; Bass Trombone, Dave Taylor; Concertmaster, Sanford Allen; Drums, Andy Newmark, Steve Gadd; Flute, Piccolo Flute, Dave Tofani; Guitar, Eric Gale, Hiram Bullock; Keyboards, Cliff Carter; Oboe, Clarinet, Lew Del Gatto; Percussion, Gordon Gottlieb, Sue Evans; Tenor Saxophone, Soprano Saxophone, Grover Washington, Jr.; Trombone, Jerry Chamberlain*, Sam Burtis, Tom Malone, Wayne Andre; Trumpet, Flugelhorn, Burt Collins, Jim Bossy, Joe Shepley, John Gatchell, Jon Faddis, Lew Soloff, Randy Brecker; Vocals, Googie Coppola. Recorded at Electric Lady Studios, June 1977. The first side is the Dune suite, the second side features interpretations of other sci fi film themes (Silent Running, Star Wars, etc.). 20:29 Frank Herbert reading Dune from Dune, The Banquet Scene (1977 Caedmon Records) combined with a track by Alan R. Splet, “Space Travel W/ Changing Choral Textures” (2003 Sub Rosa) from An Anthology Of Noise & Electronic Music / Second A-Chronology 1936-2003. The recording of Herbert was made at the height of the Dune craze, the late 1970s. When David Lynch made his film for release in 1984, he was working with Splet who is not credited by whom may have contributed some electronic and ambient sounds. This track appears to confirm that and I've combined it with the Herbert reading. 5:07 Brian Eno, Roger Eno and Daniel Lanois, “Prophecy Theme” from Dune (Original Soundtrack Recording) (1984 Polydor). This little track was the only one that remained of Eno's contributions to the Dune soundtrack, although he reportedly composed an entire movie's worth of music for the film. Some was used as incidental music. 4:21 Zheani, “The Litany Against Fear” from Eight (2018 Sleepcvlt). Cassette release from this Australian rapper, electronic musician, model and actress.This is a famous quote from Herbert's Dune and seemed fitting to have it represented by a musician for the podcast. 0:36 Klaus Schulze, “Dune” from Dune (1979 Brain). Yes, Schulze, too, was infected with the Dune craze and created this ambitious 30-minute work to acknowledge it. This is a truly lovely electronic work from those days when Schulze was largely still working analog synthesis, and synthesize voices and orchestral sounds, much like his earlier album X. The cello is played by Wolfgang Tiepold, produced by and all keyboards by Klaus Schulze. The first side comprises the piece called Dune and the second side features an unrelated work with vocals by Arthur Brown. An intriguing album all around! 30:05 Graeme Revell & The City Of Prague Philharmonic, “Seduction” from Frank Herbert's Dune (Original Soundtrack From The Sci-Fi Channel Mini Series) (2001 GNP Cresendo). Composed by Graeme Revell; executive producer, Neil Norman; orchestra, chorus, The City Of Prague Philharmonic. This is the soundtrack for a Sci Fi channel mini-series back in 2001. The music is primarily orchestral, being performed in the Czech Republic and arranged by Neil Norman, Hollywood veteran of science fiction films. But Revell did compose it and there are a few tracks, such as the one featured here, that have clearly electronic elements that stand out. 1:51 Grimes, “Caladan” from Geidi Primes (2011 No Pain in Pop). Grimes' first album was a concept album based on Frank Herbert's novel Dune and David Lynch's 1984 film adaptation of the book. This track is about the fictional home planet of the Atreides, the protagonist clan in the novel. Produced by, written by, played by Grimes. She used relatively simple sounds, overdubs, and interesting vocal mixes to tell these tales. 2:23 Kurt Stenzel, “Parallel World” (1:42), “Parallel World (Outro)” (1:04), “Leap Of Faith” (0:43), “Time And Space” (2:04), “Optical World” (2:56), “Nebula” (2:26), and “Invitation” (excerpt) from Jodorowsky's Dune (Original Motion Picture Soundtrack) (2014 Cinewax). This is a bit of a side-hustle because Alejandro Jodorowsky's much hyped film version of Dune, which he sought to make in the 1970s, does not exist. It is one of the most famous movies that never existed. Still, the Chilean-French film director, producer, composer, actor stuck with the idea for quite some time until the David Lynch movie was produced in the 1980s and sucked all of the available Dune oxygen out of the room. But Jodorowsky's passion for the project inspired others, including guitarist and synthesist Stenzel who produced this soundtrack to a 2014 documentary about Jodorowsky and the ill-fated project. Stenzel composed music inspired by the book. This double LP has 33 tracks and I focused on a selection of connected synth tracks from the first album. Moog Source, CZ-101s, Roland Juno 6, toy Concertmate organ, Ninendo DS, voice, Kurt Stenzel. 11:56 Klause Schulze, “Side E—"Der Hauch Des Lebens (The Breath of Life) Pt #1” from Deus Arrakis (2022 SPV Recordings). Dune remained a lifelong source of fascination for Schulze. This, his final album, was also inspired by the novel he loved so well. This is a three-LP set, but the first LP is single-sided. Because of his ill health, Schulze knew that this might be his final project. In the liner notes he wrote directly to his fans, saying, “Thank you for your great support over all these years. This is for you! May the spice be with you. Always.” Recorded and written by Klaus Schulze; Cello, Wolfgang Tiepold; Voice, Eva-Maria Kagermann. 16:24 Han Zimmer, “Arrakis” from The Art And Soul Of Dune (Companion Book Music) (2021 WaterTower Music). Zimmer composed the soundtrack for the Denis Villeneuve released in 2021. Villeneuve has praised Zimmer's work on the film and that he had spent,"months and months creating new instruments, defining, creating, and seeking new sounds, pushing the envelope." In addition to a soundtrack for the film itself, Zimmer released two companion releases that provide an extended listen to the sounds and experiments that were created for the project. Three albums were released for the film by WaterTower Music, including The Dune Sketchbook (Music from the Soundtrack), Dune (Original Motion Picture Soundtrack), and The Art and Soul of Dune on September 3, September 17, and October 22, 2021, respectively. This work is from the reading companion to the film. 13:28 Opening background music: Hans Zimmer, “The Shortening Of The Way” from The Dune Sketchbook (Music from the Soundtrack) (2021 WaterTower Music). This track is from a companion 2-CD set that accompanied the actual soundtrack. Zimmer called these sketches and they represent his sound experiments as he formulated the music for the film. This grand combination of acoustic instruments and synth sounds from Zimmer's private studio is stunning in its scope and virtuosity and highly recommended. Synth programming by Hans Zimmer. 11:14 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

The Craft  is a 1996 American teen supernatural horror film directed by Andrew Fleming from a screenplay by Peter Filardi and Fleming. The film stars Robin Tunney, Fairuza Balk, Neve Campbell, and Rachel True. It follows four outcast teenage girls at a Los Angeles parochial high school who pursue witchcraft for their own gain and subsequently experience negative repercussions. The music for the film was composed by Graeme Revell, and features a fairly killer soundtrack. If you have anything to add to the discussion, please don't hesitate to do so by reaching out to us on social media @TheFilmFlamers, or call our hotline and leave us a message at 972-666-7733!           Watch The Craft: https://amzn.to/3Klzuz8         Out this Month: Week 1: Shooting the Flames Week 2: Heathers Week 3: The Craft Patreon: High School Horror Poll: Jennifer's Body     Coming in March 2023: 28 Days Later 28 Weeks Later      Get in Touch:  Support us on Patreon: https://www.patreon.com/TheFilmFlamers  Visit our Store: https://teespring.com/stores/thefilmflamers  Twitter: https://twitter.com/TheFilmFlamers  TikTok: https://www.tiktok.com/@thefilmflamers  Facebook: https://www.facebook.com/TheFilmFlamers/ Letterboxd: https://letterboxd.com/thefilmflamers/ Our Website: https://www.filmflamers.com  Call our Hotline: 972-666-7733     Our Patrons: #ExiledTexan Ashlie Thornbury BarbieDolly BattleBurrito Benjamin Gonzalez Bennett Hunter Brandon Anderson BreakfastChainsawMassacre CenobiteBetty Christopher N Dan Alvarez daveisruff Erica Huff Gia-Ranita Pitt Gillian Murtagh GlazedDonut GWilliamNYC Iain Turner Incognicat James Aumann Jessica E Kimberly McGuirk-Klinetobe Kyle Kavanagh Lisa Libby Loch Hightower Matthew McHenry McKenna Hirschmann Mimi Hunter Nicole McDaniel Nikki (phillyenginerd) Orion Yannotti Penelope Nelson Quel Parish random dude Richard Pringle Robert B. Robert E Sean Homrig Senor Sombra Walstrich   Sweet dreams...      "Welcome to Horrorland" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Includes music by Karl Casey @ White Bat Audio

"Street Fighter" (1994), música de Graeme Revell.

Join BP, Coop and Justin as we discuss Child's Play 2, the 1990 sequel to the original and first instalment in the chucky franchise. Two years after the first film, the Play Pals Corporation, which produces the Good Guy dolls, recovers from the negative publicity and reassembles Chucky to reassure its stockholders that there was nothing actually wrong with the doll. During the process, a power surge electrocutes one of the assembly line workers. Mr. Sullivan, the executive of the company, orders his assistant Mattson to cover up the accident and dispose of Chucky, unaware that he has been revived. Meanwhile, Andy Barclay, now eight years old, has been in foster care ever since the murders, his mother having been institutionalized for backing up Andy's story about the killer doll. Andy goes to live with foster parents Phil and Joanne Simpson, who are also fostering Kyle, a cynical, street smart teenage girl. Chucky discovers Andy's whereabouts by using Mattson's car phone to call Grace Poole, the manager of Andy's foster center, before suffocating Mattson with a plastic bag. Follow the Complete Guide to Horror Movies podcast on our social channels below. ↪ Facebook ↪ TikTok ↪ Twitter ↪ Instagram ↪ Subscribe to our YouTube channel ↪ Tip us $5 Originally the film was intended to open with a courtroom scene of a jury sentencing Karen Barclay to a mental institution for insisting that Chucky was alive, and both Catherine Hicks and Chris Sarandon were intended to reprise their roles as Karen and Detective Mike Norris from the first film. However, their scenes were cut from the scripts because of budgetary constraints, and as a result of their omission the film is much shorter than the other installments in the series. The courtroom scene would be recycled as the ending of Curse of Chucky in 2013. It also would have contained a scene where Chucky's remains were held in a police evidence locker alongside Jason Voorhees and Michael Myers's masks, an idea which came to be reused in Bride of Chucky in 1998. Principal photography began on November 6, 1989 with a $12 million budget. Unlike the first film which was mostly shot on-location in Chicago, most of the second film was shot in Universal Studios Lot in Universal City, California. Brad Dourif recorded all of his dialogue as Chucky in advance, which allowed his words to match up with his facial movements better than in the first film. Kevin Yagher returned to do the special effects and puppetry, directing several scenes of the film himself.[9] The International Alliance of Theatrical Stage Employees picketed the shoot to demand that the production company stop using non-union employees, with the crew voting to sign a union contract in January 1990 shortly before filming wrapped. Graeme Revell, whose only scoring experience was the 1989 Australian psychological horror film Dead Calm, was hired to compose the music after lying to the studio that he had composed an orchestral composition before. Kevin Carlson, Van Snowden, and N. Brock Winkless IV were credited as part of the puppeteers of Chucky. #horror #movie #death #horrorfilm #splatter #deathscene #blood #gore #scarymovie #horror #completeguidetohorror #horrormovie

Join BP, Coop and Justin as we discuss Child's Play 2, the 1990 sequel to the first instalment in the chucky franchise.Two years after the first film, the Play Pals Corporation, which produces the Good Guy dolls, recovers from the negative publicity and reassembles Chucky to reassure its stockholders that there was nothing actually wrong with the doll. During the process, a power surge electrocutes one of the assembly line workers. Mr. Sullivan, the executive of the company, orders his assistant Mattson to cover up the accident and dispose of Chucky, unaware that he has been revived.Meanwhile, Andy Barclay, now eight years old, has been in foster care ever since the murders, his mother having been institutionalized for backing up Andy's story about the killer doll. Andy goes to live with foster parents Phil and Joanne Simpson, who are also fostering Kyle, a cynical, street smart teenage girl. Chucky discovers Andy's whereabouts by using Mattson's car phone to call Grace Poole, the manager of Andy's foster center, before suffocating Mattson with a plastic bag.Chucky invades the home by destroying and burying another Good Guy doll called "Tommy" and replacing it with himself. Andy begins to bond with Kyle after the two are punished for an heirloom Chucky destroyed. That night, Chucky ties Andy to his bed and reveals himself, but Kyle enters the room before he can complete the voodoo chant to possess him. Kyle doesn't believe Andy's assertions about Chucky while Phil and Joanne blame Kyle and throw Chucky in the basement. Chucky realizes that he is becoming human after suffering a nosebleed. The next day, Chucky secretly follows Andy to school and defaces his homework. Chucky kills Andy's teacher Miss Kettlewell by stabbing her with a pump and then beating her to death with a yardstick, but Andy manages to escape. Later, Andy tries to warn his foster parents about Chucky, but Phil refuses to believe him and considers returning him to the foster center.Follow the Complete Guide to Horror Movies podcast on our social channels below.↪ Facebook↪ TikTok↪ Twitter↪ Instagram↪ Subscribe to our YouTube channel↪ Tip us $5↪ LinktreeOriginally the film was intended to open with a courtroom scene of a jury sentencing Karen Barclay to a mental institution for insisting that Chucky was alive, and both Catherine Hicks and Chris Sarandon were intended to reprise their roles as Karen and Detective Mike Norris from the first film. However, their scenes were cut from the scripts because of budgetary constraints, and as a result of their omission the film is much shorter than the other installments in the series. The courtroom scene would be recycled as the ending of Curse of Chucky in 2013. It also would have contained a scene where Chucky's remains were held in a police evidence locker alongside Jason Voorhees and Michael Myers's masks, an idea which came to be reused in Bride of Chucky in 1998.Principal photography began on November 6, 1989 with a $12 million budget. Unlike the first film which was mostly shot on-location in Chicago, most of the second film was shot in Universal Studios Lot in Universal City, California.Brad Dourif recorded all of his dialogue as Chucky in advance, which allowed his words to match up with his facial movements better than in the first film. Kevin Yagher returned to do the special effects and puppetry, directing several scenes of the film himself.[9] The International Alliance of Theatrical Stage Employees picketed the shoot to demand that the production company stop using non-union employees, with the crew voting to sign a union contract in January 1990 shortly before filming wrapped. Graeme Revell, whose only scoring experience was the 1989 Australian psychological horror film Dead Calm, was hired to compose the music after lying to the studio that he had composed an orchestral composition before. Kevin Carlson, Van Snowden, and N. Brock Winkless IV were credited as part of the puppeteers of Chucky.#horror #movie #death #horrorfilm #splatter #deathscene #blood #gore #scarymovie #horror #completeguidetohorror #horrormovie #scary #creepy #graphic #chucky #charlesleeray #andybarclay #donmancini #braddourif #catherinehicks #allthat #TLC #fkatwigs #imyourdoll #trixiemattel #katya #giagunn #buffy #thebaldandthebeautiful

Down on the bayou, we have a saying, "Laissez les Van Damme rouler!" Ma chérie and mon chéri , in this newest episode of Filmshake, does he! We're covering 1993's Hard Target, John Woo's ode to bullets, gumbo, and busted-up Mardi Gras floats. You got to grab the gator by the tail and listen, sha! We got cousin Jason Kleeberg from Force Five podcast around to talk about it too, so you be a possum's uncle if you miss it!More on Force Five here: https://www.forcefivepodcast.com/aboutMusic Heard this Episode: "Chance and Carmen" -- Graeme Revell"Won't You Let Me Go" -- Buckwheat Zydeco"Born on the Bayou" -- Creedence Clearwater RevivalSupport the show

New Zealand-made screen sound and music received a BAFTA, one Emmy, two APRA Silver Scrolls, two NZ TV Awards and three Golden Reels for work on film and gaming last year alone. But members of the Screen Music and Sound Guild are issuing a stark warning about the future of the industry, one they say is under appreciated and under resourced. Lynn Freeman speaks with Neil Aldridge who's a Lecturer at Te Rewa O Puanga - the Massey's School of Music and Creative Media Production and prolific screen composer Graeme Revell who has worked on American TV shows Gotham and CSI: Miami, and movies including Sin City and Lara Croft: Tomb Raider. Also part of the conversation is John Mckay, chief executive of POW Studios and a committee member of the NZ Screen Music and Sound Guild..

Can you believe we have done ten episodes already?! This episode is also our first attempt at recording remotely from the comfort of our own homes! Listen as we dive into the savagely brutal world of The Crow. 

Playlist Chamberlin Rhythmate Two Times The Trauma, “Freak Show” from I Fell In Love With An Ocean (2006 Starfly). There is an original Chamberlin Rhythmate at Roth Händle Studios in Stockholm, plus some other precious vintage equipment used in the making of the first album by Two Times The Trauma. Double Bass, Vocals, Magnus Eugensson; Drums, Percussion, Optigan, Mellotron, Tin Whistle, Turntables, Chamberlin Rhythmate, Mattias Olsson; Electric Guitar, Eric Fallope; Mellotron, Orchestron, Tobias Ljungkvist; Tuba, Fredrik Wennström; Vocals, Cecilia Åhlfeldt; Vocals, Acoustic Guitar, Mattias Eriksson; Xylophone, Daniel Kåse. Recorded at Roth Händle Studios 3 & 4, Stockholm. Mellotron bee tape set used with kind permission from Gaby Stenberg. Yamaha GX-1 used with kind permission from Benny Andersson. Orchestron French Horn disc on 'In Your Eyes' used thanks to Zac Rae. All Optigan, Mellotron and Chamberlin Rhythmate service and maintenance was performed way beyond the call of duty by Markus Resch. Wurlitizer Side Man and Swingin' Rhythm LCD Sound System, “Somebody's Calling Me” from This Is Happening (2010 Parlophone). Somebody's Calling Me; Finger Snaps Snaps, Matt Thornley; Finger Snaps Snaps, Synthesizer Casio MT-68, Wurlitzer Sideman, EMS VCS3 Putney, Korg Poly Ensemble, Bass, Piano Acoustic, Keyboards Roland System 100, Vocals, James Murphy; Mixed By, DS; Trombone, Jason Disu; Written-By, J. Murphy. Glenn Derringer, “The Girl From Ipanema” from Wurlitzer Swingin' Rhythm (1968 Wurlitzer). Glenn Derringer at the Wurlitzer electronic organ, demonstrating the Wurlitzer Electronic Swingin' Rhythm attachment with an unspecified Wurlitzer electronic organ. Each track on this demonstration disc explains the Swingin' Rhythm settings that were used. For “The Girl From Ipanema,” the settings were: “Moderate Bossa Nova. The Swingin' Rhythm was set at Latin, tempo control set to 1 o'clock.” What more can I say? Dick Hyman, “Strobo” from the single Strobo/Lay, Lady, Lay (1969 Command). Dick told me about this track, which was one of his Moog experiments that didn't make it onto his two albums around this time. Normally, he produced his Moog tracks with the help of synthesizer programmer Walter Sear. But in the case of this single, he did all the programming. For “Strobo,” he used a drum machine. It sounds like a Swingin' Rhythm. Jean-Pierre Sabar, “Fool on the Hill” from Super-Danse/Les Orgues Électroniques De Jean Pierre Sabar (1969 Sava). French LP of instrumental cover versions of popular music, all played on the Wurlitzer 4300 electronic organ with integrated Multi-Matic Percussion unit and Swingin' Rhythm, which was also sold as a standalone drum machine. In this case, I'm having a little trouble telling the difference between the drum machine and what sometimes sounds like a drum set with bass and toms. The settings on the organ indicate that the pedals can be used to play “drum” and “cymbal” sounds, and the Swingin' Rhythm unit had buttons for drum, brush, snare, block, and cymbal. Still, I can't account for the tambourine sound but so much of this rhythm section sounds like a drum machine repeating sounds robotically that I must assume that this is a combination of live drummer and drum machine. Jerry Styner And Larry Brown, “Dock of the Bay” from Orbit III (1971 Beverly Hills). Album produced to showcase the sounds of the Wurlitzer Orbit III organ, the “orbit” portion being a a third, two-octave keyboard that was a monophonic synthesizer. The instrument was equipped with the latest Wurlitzer rhythm machine built in. On this track, you not only hear sounds of a drum machine that sounds similar to the Wurlitzer Swingin' Rhythm machine introduced in 1969. Although the liner notes suggest that all of the sounds were created using the organ, there appears to be a regular human drummer playing along (probably percussionist and co-producer Larry Brown). I say this because there is a hit hat heard throughout and although Swingin' Rhythm had setting for a Snare, Brush and Cymbal sounds, as fills for the rhythm settings, they really did not reproduce the hit hat sound that is heard here. That and the miscellaneous drum fills added throughout sound more “played” than mechanized. Anyway, that's my take after examining this recording as compared to the actual sounds of the Swingin' Rhythm unit. Thomas Organ Byron Melcher, “Spanish Flea” from The Entertainers (1966 Thomas Organ Co.). Thomas Organ was one of the leading makers of electronic organs for the home. On this track, you can hear the Playmate rhythm component, a drum machine with 15 preset rhythms. The Thomas organ drum machine, circa mid-1960s. Thomas Organ was another maker of electronic organs for the home market. By 1966 they had created the Playmate rhythm component, a drum machine with 15 preset rhythms and a standalone device called the Band Box that had 10 preset rhythms. These were often sold as part of their Color-Glo line of transistorized organs. Color-Glo helped amateur musicians by lighting up the keys for preprogrammed melodies and chords to guide them along. Lowrey Organ Johnny Kemm “Taboo” from Latin Days (1970 Concert Recording). This album was created using the Lowrey Theater Console Deluxe organ model H25R-2 equipped with the built-in Automatic Rhythm drum machine feature. Not Sure Which Drum Machine Robin Gibb, “Mother and Jack” from the single Saved by the Bell/Mother and Jack (1969 Polydor). There was brief period in 1969 when the Brothers Gibb, otherwise known as the Bee Gees, had a sibling riff and Robin went off on his own to record some solo projects while Barry and Maurice completed a two-man Bee Gee album called Cucumber Castle. Perhaps because he was working along, Robin used a drum machine to mark time while recording various tracks and in the case of a few songs, he kept the mechanical rhythm as part of the finished recording. This might be the earliest purposeful use of a drum machine on a pop hit. I include it hear because it is probably a Swingin' Rhythm, although it might also be a Seeburg Select-A-Rhythm, also available at the time. Bruce Haack “Saint Basil” from The Electronic Record For Children (1969 Dimension 5). Tape composition, drum machine, and synthesis by Bruce Haack; Directed by P. Pandel; Performer, The Children Of Holy Trinity Cathedral School. Bruce used an unidentified drum machine on this album of children's music. Roland (Various) Michael Iceberg, “Mexican Hat Dance” from Does It Live: 100th Week At Walt Disney World (1977 Hihomusic). This album was only sold to tourists as a souvenir at Walt Disney World during the Michael Iceberg residency as a performer at Tomorrowland Terrace during the late 70's through the late 80's. Unknown drum machine, but likely a Roland Rhythm TR-55. Miha Kralj, “Apokalipsa” from Andromeda (1980 PGP). Yugoslavian record from synthesist Miha Kralj features a Roland CompuRhythm CR-78. Composer, producer, Synthesizer, Vocoder, Sequencer, Drum Machine, Effects, Miha Kralj. Gary Numan, “Slowcar To China” from Dance (1981 Atco). Bass , Mick Karn; Percussion, Gary Numan, Tim Steggles; Polymoog, Prophet 5, Roland JP 4, CP30, Claptrap, Electronic Drums Roland CR78, Gary Numan; Viola, Chris Payne. The Noyes Brothers, “Byte to Beat” from Sheep From Goats (1980 Object Music). Synthesizer and electronic drums, Solamar. The Noyes Brothers had two members, Steve Miro and Steve Solamar. They were from the UK and Solamar seems to be the only artist on this track and uses an non-specific Roland drum machine. This track is taken from a double LP, the only record I know of for the Noyes Brothers. Comateens, “Ghosts” from Comateens (1981 Cachalot Records). Here is a group who's unofficial fourth member was a Roland Compu-Rhythm CR-78. The inner notes for the album featured profiles of all of the artists, including Lyn Byrd on synthesizers and vocals, Oliver North on guitar and vocals, Nic North on bass, and vocals and the Roland machine, which was described as having a square black head, no body, with red, blue, and yellow buttons. In addition, the notes state that the Roland drum machine was born in Japan and existed as 3,468 separate pieces before assembled and called upon to serve with the Comateens. Joël Fajerman, “Espace – Oiseaux” from Azimuts (1981 PSA). French record by Fajerman featuring a Roland TR 808 Rhythm composer, and instruments such as the Multimoog, Prophet 5, Korg polyphonic 3100, Clavinet D6, ARP sequencer, Oberheim module. SPK (System Planning Korporation), “Emanation Machine R. Gie 1916” from Information Overload Unit (1981 Side Effects). Australian industrial sounds released in the UK. Guitar, Bass, Tape, Vocals, Mike Wilkins; Synthesizer, Roland Drum Programming, Effects, Vocals, Graeme Revell; Synthesizer, Effects, Dominic Guerin. Rüdiger Lorenz, “Out of the Past” from Invisible Voices (1983 Syncord). This late pharmacist/synthesist from Germany played all the instruments on this album, including Korg Polysix, Formant Synthesizer, Roland Vocoder VC 10, Roland TR-808 Rhythm Composer, Moog Sample & Hold, MXR Stereo Chorus, Electro-Harmonix Flanger, PPG Sequencer, Elektor Ringmodulator, and Pearl Vorg Echo-Orbit. Other analog drum machines Bob Hacker, “Careless Hands” from One Man Opry: Bob Hacker Plays The Yamaha Electone D (1980 Yamaha). This album, produced by Yamaha, features some of the wacky analog synth effects it could produce as well as its built-in drum machine. This was a spinet style organ, a small upright keyboard with pedals for the home market. Arthur Brown and Kingdom Come, “Time Captives” from Journey (1973 Polydor). Brown used Bentley drum machine to provide drums on this track. The Bentley was actually a UK version of the Roland TR-77 which was the very first product Roland released under they own name. In the US this same unit was sold by Hammond as the Auto-Vari 64. The unit has 5 faders for Volume, Tempo, Cymbal/HH/Maracas, Guiro, Snare, Bass Drum. The TR-77 has 6 faders for Tempo, Fade Time, Volume, Bass D, Snare D, Guiro & Hi-Hat/Cymbal/Maracas. Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals – Andy Dalby; Mellotron, Synthesizer [Arp 2600, Vcs3], Piano, Theremin, Percussion, Vocals, Victor Peraino. Kraftwerk, “Radioactivity” from Kraftwerk – Radio-Activity (1975 Capitol).Electronics, Florian Schneider, Ralf Hütter; Lyrics by Emil Schult, Florian Schneider, Ralf Hütter; music by Florian Schneider, Ralf Hütter; Electronic Percussion Karl Bartos, Wolfgang Flür; Vocals, Florian Schneider, Ralf Hütter. Schoolly D, “P.S.K.-What Does It Mean? (instrumental version)” from‎ P.S.K.-What Does It Mean? / Gucci Time (1986 Schooly D Records). A remix of this track that features only the drum sounds of the The Roland TR-909 Rhythm Composer. This drum machine was one of the first Roland instruments to be equipped with MIDI, and was the first analog/digital hybrid machine, combining analog circuits for its drums with digital samples for its cymbal and hi-hat sounds. You can hear how Schooly D isolated the cymbals and drums on this track. Pixie Ninja, “Leng Plateau” from Colours Out Of Space (2020 Apollon Records). Another recording using the Chamberlin Rhythmate in the Roth Händle Studio in Stockholm. Roth Händle studios is run by producer and musician Mattias Olsson who collects, restores, and offers vintage musical gear for use by visiting bands. There is so much to listen to here with Pixie Ninja's hard-driving and somewhat deranged mix of vintage, cranky electronic instruments and modern guitars and synthesizers. You can hear the Chamberlin Rhythmmate in this track, a Bandmaster Powerhouse Drum Machine (the one that used 8-track tapes), and an Electro-Harmonix DRM-16 Drum Machine. Godin Shifter 4 Bass, Korg Krome 61, Korg Volca Keys, Korg Monotribe, Nord Lead A1, Glockenspiel, Polar Circle Bells, Kalimba, Marius Leirånes; Drums, Percussion, Mother Modular System, Mellotron M400, Philicorda Organ, Chamberlin Rhythmate, Fender Rhodes, Hohner Clavinet, Blind Typemachine, EMS VCS3, Casio PT-88, Roland JV-8080, Roland SH-101, Electro-Harmonix DRM-16 Drum Machine, Moog Taurus, Korg MS-10, Optigan, Roland VP-330+, Bandmaster Powerhouse Drum Machine, E-Bow (Bass Gizmotron), Jenco Celeste, Grand Piano, Mattias Olsson; Fender Stratocaster, Gretsch G5320T, TC Electronic AEON Infinite Sustainer, Korg Krome 61, Korg microKORG, Nord Lead A1, Arturia Microbrute, Stylophone 350s, Glockenspiel, Jostein Haugen; Rickenbacker 12 String Electric Guitar, Fender Rhodes, Philicorda Organ, Mellotron M400, Hampus Nordgren-Hemlin. Background Sounds Opening: Negativland, “Side 1, Track 3” from Negativland (1980 Seeland). An unidentified drum box is heard throughout this track. It sounds a lot like the Wurlitzer Swingin' Rhythm. Recorded Dec. 1979-April 1980. This privately release album had a hand-made sleeve made of cut-and-paste artwork assembled with xerox, wallpaper, black construction paper, and magazine photos. Beneath these pasted portions, the cover itself is spray painted and stenciled with parts of the band name, as well as hand-numbered. Synthesizer, edited by, voice, tape, David Wills; Tape, Electronics, drum machine rhythms, Booper (an electronic oscillator), Clarinet, Organ, Viola, Loops, Guitar, Mark Hosler, Richard Lyons. Description of previous way of producing drum sounds: George Wright, “Happy Talk” from Goes South Pacific (1958 HiFi Records). George Wright on the Mighty Wurlitzer theater organ, an electronic organ popular in the 1950s. Introductory dialog: Johnny Kemm “I Say a Little Prayer” from Latin Days (1970 Concert Recording). This album was created using the Lowrey Theater Console Deluxe organ model H25R-2 equipped with the built-in Automatic Rhythm drum machine feature. Description of Chamberlin Rhythmate: Audio track demo of the  Chamberlin Rhythmate  from the YouTube video posted by instrument collector Dan Hicks (aka Peahix), a collector in California. Description of Wurlitzer Side Man: Audio track demo of the Wurlitzer Side Man from the YouTube video posted by instrument collector Dan Hicks (aka Peahix), a collector in California. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.  

This week our gregarious gumshoes enter a world where being sweet on a dame means you're probably going to die! Join us as we delve into the seedy underbelly of Sin City and explore a rare collaborative score featuring John Debney, Graeme Revell and Robert Rodriguez. 

There's nothing quite like choosing a new composer (hooray) and then choosing the worst possible film to highlight their talents (boo). Join us as the boys never venture into the ocean again after watching Open Water — totally in honour of Shark Week, starting today! — while enjoying Graeme Revell's nine-minute score just enough to give him another shot.

Die Zonic Radio Show ist die hör-mediale Erweiterung der Kulturerscheinung Zonic. ## Inklusionspop, exklusiv. 1. Stevie Wonder - Earth's Creation – Journey Through The Secret Life Of Plants – Motown Records 2. Blind Lemon Jefferson - Black Snake Moan – Black Snake Moan / Matchbox Blues – Okeh 3. Nick Cave & The Bad Seeds - Blind Lemon Jefferson – The Firstborn Is Dead – Mute 4. Moondog - Stamping ground – s/t – Columbia 5. The Roland Kirk Quartet Featuring Elvin Jones - Rip, Rig and Panic – Rip, Rig and Panic – Limelight 6. Israel Vibration - Same Song – V.A.: Sounds & Pressure Vol.1 – Pressure Sounds 7. Israel Vibration - Same Song Dub – The Same Song Dub – Top Ranking 8. Ian Dury & The Blockheads - Hit Me With Your Rhythm Stick (Disco Version) – Hit Me With Your Rhythm Stick 12" – Stiff 9. Ian Dury – Spasticus Autisticus – 12" – Polydor 10. The Seven Seas Players – Spasticus Autisticus (Version) – 12" – Polydor 11. Grace Jones - She´s Lost Control (Long Version) – Private Life/She´s Lost Control 12" – Island Records 12. The Residents – Everyone Comes to the Freak Show – Freak Show – Cherry Red Records 13. The Residents – Lottie The Human Log – Have A Bad Day – Euro Ralph 14. Die Tödliche Doris - Der Tod ist ein Skandal – " " – ZickZack 15. Trabant – Itt Van Pedig Senki Se Hívta – Eszkimó Asszony Fázik – Favorit 16. Graeme Revell - Chimpnags-Apes Of The Union Canada: America 17. Adolf Wölfli - Graeme Revell, Nurse With Wound And Déficit Des Années Antérieures* – Necropolis, Amphibians & Reptiles (The Music Of Adolf Wölfli) – Musique Brut 18. Rudimentary Peni - Pogo Pope – Pope Adrian 37th Psychristiatric – Outer Himalayan Records 19. Satan Panonski – Pioniri Maleni – Nuklearne Olimpijske Igre – Slušaj Najglasnije! 20. Station 17 + – Lila Pause / Wer Tanzt Humpelt Nicht (Antonelli Electr.-Remix) – Hitparade – Mute * Sendung vom 5. Mai 2021 # Zonic Radio Show Süd Die Zonic Radio Show ist die hör-mediale Erweiterung der Kulturerscheinung Zonic. Thematisch frei zwischen Musik, Literatur und Kunst changierend, gibt es von tieftauchenden popkulturellen Features über experimentelle Klangstücke oder Sound & Poetry- Mixe bis zum Hangeln durch den News-Jungle eines extrem offenen musikalischen Spektrums alles zu hören, was potentielle Relevanz im stetig sich ausbreitenden Zonic-Kosmos hat. Und über dessen Rand hinaus! Die Wort- & Musikauswahl liegt bei Zonic-Herausgeber Alexander Pehlemann. *

It's finally time to cover the seminal 1994 soundtrack to The Crow, as well as the Graeme Revell's score! Questions? Comments? Cryptic messages? Follow the show on Twitter @BWatchingPod!

Bienvenue dans ce nouvel épisode de La Vérif.On est à la bourre sur la programmation et les annonces, c'est pourquoi on s'empresse de vous dire tout le bien que l'on pense de cette ressortie en Blu-Ray chez ESC du Hard Target de John Woo.Encore une fois on prend les mêmes et on recommence, et c'est encore Jean-Claude Van Damme qui fait les honneurs de la Vérif.Cette fois-ci, il est à La Nouvelle-Orléans, il a le cheveu gras, l'œil vif et quand il ne dégaine pas son pied, il bouffe littéralement du crotale !!!Un joyeux bordel qui suscita l'incompréhension à l'époque au sein des fans du cinéaste hongkongais.En 2021, ce film revient investir votre salon grâce au travail d'orfèvrerie éditoriale d'ESC Distribution.------------------------------------- Pour illustrer cet épisode, le thème officiel du film signé Graeme Revell. Un thème que n'aurait pas renié le grand John Carpenter.------------------------------------- Pour ceux qui apprécient notre diarrhée verbale quotidienne, n'hésitez pas à liker, partager sur vos plateformes d'écoutes habituelles. Vous pouvez venir aussi nous faire un petit coucou sur notre Facebook, notre Instagram et notre twitter, vous verrez on y est bien ! https://www.facebook.com/7emedimension/ https://www.instagram.com/sep7iemedimension/ https://twitter.com/7emedimensionHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

En unik intervju med skygge Graeme Revell, grundare av den legendariska gruppen SPK, får Jonas Nordling att minnas en tid då bandet och dess mytiska bokstäver spelade en viktig roll. Och hur deras profetia från 1983 nu tycks ha blivit verklighet.

It's been said the set of 1994's The Crow  was cursed, and after the last month of working on our troubled episode centered around it, count us as believers. Still, despite the hardships, and the fact that Jordan's audio makes him sound like the vocalist for a Riot Grrrl band, Filmshake is proud to present its Crow episode, focusing on Alex Proyas' first film in the series, then dovetailing...erm, crowing off into an exploration of the other three films in the series because for some reason Nic watched all of them.Also, there's an announcement about and details for our brand new Patreon, as well as our episode-ending trivia battle. As usual, there's a winner...and a loser...Is that gasoline I smell?Follow us on Twitter and Facebook!Visit our website too!Music used this episode:"Burn" -- The Cure"Rain Forever" -- Graeme Revell"Teething" -- Deftones"The Best Things" -- Filter"Big Empty" -- Stone Temple PilotsSupport the show (https://www.patreon.com/filmshake)

“Antiguamente la gente creía que cuando alguien muere, un cuervo se lleva su alma a la tierra de los muertos. Pero a veces sucede algo tan horrible que junto con el alma, el cuervo se lleva su propia tristeza y el alma no puede descansar. Y a veces, solo a veces, el cuervo puede traer de vuelta el alma para enmendar el mal”. El pajaro negro escolta al regresado del mundo de los muertos. El córvido guía los pasos del vengador, grazna y revolotea sobre los tejados de Detroit, es la noche de Demonio, justamente se cumple un año del crimen. Eric Draven irá conociendo su misión paso a paso, a golpes de rojizos destellos , al tocar el anillo de compromiso en la tienda de empeños, el espejo, los muebles del apartamento donde fueron asesinados la noche antes de su boda. A través de flashbacks irá recordando como una pandilla de degenerados asesinaron y violaron a su prometida y terminaron también con su vida. Alex Proyas (Dark City, Yo, robot) consigue captar la esencia, el alma de cómic original creado por James O´Barr. Como en una película de Jacques Tourneur, se inicia con una voz en off, la narradora es Sarah, una niña amiga de la pareja, es lista, conoce al vigilante nocturno y sabe que nunca llueve eternamente. La fotografía tenebrista de Darius Wolski, la estética gótica y expresionista, y la brillante banda sonora, la envolvente música de Graeme Revell, más las canciones de The Cure, Nine Inch Nails o Stone Temple Pilots engrandecen el producto final. La leyenda de Brandon Lee se cierne emotiva y trasciende el filme en sí mismo. Su brillante interpretación de fantasma atormentado en busca de justicia llega a estremecer tras su muerte con solo 28 años en un fatal accidente en los últimos días del rodaje. Una cadena de negligencias y la fatalidad de un destino que no se le habría ocurrido ni al mismo Edgar Allan Poe. Lee fue alcanzado por una bala olvidada en el cañón de una Magnum 44. Fue el actor Michael Massee, uno de los villanos, el descerebrado Funboy, el que disparó el arma. Traumatizado hasta el fin de sus días, nunca fue capaz de ver la película. Esta noche escuchamos un leve golpeteo en la puerta... Raúl Gallego, Mamen Torres, Zacarías Cotán y Salvador Limón

If you've missed this weeks Heresy - you can now catch up on the podcastTwo hours filled with industrial / goth / EBM / postpunk and moreThis weeks Quantum Leap was The Mission and Soundtrack Soundbites was bought to you by Front Line Assembly.PlaylistKilling Joke - AmericaThe Wake - SideshowTwo Witches - RequiemBlack Needle Noise Feat. Anjela Piccard - She Talks To AngelsI Ya Toyah - It's No GoodFront Line Assembly - StürmTragic Black - NostalgiaBerlin - The Dope ShowTotenwald - Black DropsDecent News - Krokodil (Cyanotic Mix)45 Grave - RiboflavinBeauty In Chaos feat Ashton Nyte - The OutsideLondon After Midnight - Psycho MagnetNeedle - On Your KneesRed Lorry Yellow Lorry - Strange DreamSpankthenun - Carbon Responder (Imperfextion's Escape The Machina Mix)Dead Souls Rising - Hoping ThatThe Mission - Serpents KissThe Mission - Within The Deepest Darkness (Fearful)Betty X with Steven Seibold and Martin Atkins - Shoot 'Em UPHorrorpops - Freaks In UniformLene Lovich Band - Savages IIDeath Loves Veronica - Gothic CandyEmergency Sequence - Sharpening The AxePlay Dead - This Side Of HeavenJoy Division - AtmosphereBedding music was from the 2000 movie Pitch Black by Graeme Revell of SPK

The original soundtrack for Tuscaloosa was created by the composers, Joshua Mosley and Matt Hutchinson. The soundtrack was released by Lakeshore Records. Joshua Mosley is an award-winning composer and producer for film, television, video games, and recording artists. His work can be heard on projects for studios such as 20th Century Fox, Sony Pictures, Lionsgate, Skydance, Marvel, Paramount Pictures, Tencent, Amazon, DreamWorks, Universal, Overbrook Entertainment, Electronic Arts, Mattel, Activision, FUNimation, National Geographic, and Microsoft. Recently, Mosley scored the sequel Bernie the Dolphin 2 for Lionsgate. Matt Hutchinson is an award-winning film and television composer based in Los Angeles. His TV and film credits include the documentary The Sagebrush Sea, NBC’s The Mysteries of Laura, and the Emmy-nominated main title sequence for The Grid. His music can be heard in the horror feature Ma starring Octavia Spencer, ABC’s The Fix, Best Worst Weekend, Shameless, and in trailers and promos for Ray Donovan. Matt writes and records music with his studio band, DORMARION, collaborating with vocalist Kevin Martin of Candlebox and Rock and Roll Hall of Fame drummer Dave Krusen of Pearl Jam. He also co-wrote and produced the single You’ll Be King with American Idol favorite Pia Toscano, featured in the Netflix docu-series, Westside. Lakeshore Records is a four-time Grammy-nominated independent record label, a division of the Cutting Edge Music Group. Lakeshore Records has released popular and classic soundtracks to such films and tv shows as Drive, Stranger Things, Moonlight, Lady Bird, The Walking Dead, Star Trek: Discovery, Little Miss Sunshine, The Hurt Locker, Napoleon Dynamite and many, many more. Lakeshore Records has released score albums from composers such as Jonny Greenwood, Trent Reznor and Atticus Ross, Nick Cave and Warren Ellis, Danny Elfman, Clint Mansell, Cliff Martinez, James Horner, Thomas Newman, John Powell, Mark Isham, Graeme Revell, Rolfe Kent, Gustavo Santaolalla, Philip Glass, Dario Marianelli, Mark Mothersbaugh, Christophe Beck, Christopher Young, Rachel Portman, and Marco Beltrami. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/americanfilmmaker/support

I feel like everyone talks about this film's influence on the pro wrestler, Sting, but what about The Hardy Boyz? If you vacuum sealed their cargo pants to their legs, their outfits would be the exact same. Then add the high risk activities on perilously high objects and it's the same damn thing. Well, we didn't really get into that on the episode, but I have nothing better to do than to type nonsense words hoping to get some kind of metadata to supplement our dwindling numbers. What we do talk about is this film's similarities with such classics as Robocop, Spawn, and The Wraith. We also discuss the Lee Family Curse, which took the lives of Bruce and his son Brandon prematurely. The film was directed by Alex Proyas, who wrote and directed Dark City. He also directed over 100 music videos. The original comic of the same name was written by James O'Barr, as a means of coping with the loss of his fiancee. Did you know the film originally had the Skull Cowboy, just like the comic? Unfortunately, despite having a tremendous actor with Mike Berryman in the suit, and a very competent makeup and costume, Brandon Lee's tragic death on set meant they could not finalize the scenes and the character was cut. Music was performed by Graeme Revell, who you may recall from our episode on The Thirteenth Warrior. He was the lovely chap who wrote and entire musical score, just to be replaced by Jerry Goldsmith at the last minute. Ernie Hudson of Ghostbusters fame, plays Sgt. Albrecht, a well-meaning police officer trying to figure out what is going on as the denizens of his city are being executed in mysterious fashion. Michael Wincott, y'know that guy from Robin Hood: Prince of Thieves, whose voice sounds like gravel covered in cigarette ashes? He plays the main villain, Top Dollar. Tony Todd, aka The Candyman, acts as Top Dollar's right hand man, Grange. David Patrick Kelly plays T-Bird, but you will likely remember him from The Warriors... *clink clink clink* "Waaaaaaarriors, come out to playeeeeeeee!" We do not linger on the tragedy of Brandon Lee's passing for too long. We also discuss the fact that there are no crows in the film! They are ravens. This whole movie is a sham. This week's "Hidden Track" is by our musical dopplegangars, Slashers. They've provided us with their song, "Stranger Things." They can be found at https://slashers.bandcamp.com ; https://www.facebook.com/slashersbk/ ; https://www.instagram.com/slasherskickyourass/ If you ever have feedback or recommendations on future episodes, please let us know at slasherspod@gmail.com. You can always find us on our social media: Instagram, Twitter, Slasher App: @slasherspod Facebook: /slasherspod Reddit: u/slasherspod https://www.youtube.com/c/slasherspodcast Theme song is I wanna Die by Mini Meltdowns. https://open.spotify.com/artist/5ZAk6lUDsaJj8EAhrhzZnh ; https://minimeltdowns.bandcamp.com/ --- Support this podcast: https://anchor.fm/slasherspod/support

Tonight’s Playlist Opening Titles, by Graeme Revell: from Until the End of the World (film by Wim Wenders) I’ll Love You (until the end of the world), by Nick Cave: from Until the End of the World My Blue Wave, by Lambchop: from Is A Woman Mysterons, by Portishead: from Dummy Malpaisomys insularis, from Mikronesia, […]

Pour ce dernier épisode de la saison 1 où le trio Gravlax – Papa(Gubi)da – Casa s'est présenté dans les différents grands genres cinématographiques, ce dernier vous présente un autre très beau trio avec les actrices coup de cœur à savoir Scarlett Johansson, Nicole Kidman et Kirsten Dunst. On se retrouve très vite ( certainement vers la mi-avril ) pour la saison 2 où il y aura des nouveautés qui vous attendront. Bonne écoute, d'ici là !Les films de Scarlett Johansson évoqués par Casa :http://www.allocine.fr/film/fichefilm_gen_cfilm=47395.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=57866.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=193113.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=206799.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=261015.htmlLes métrages de Nicole Kidman traités par Gravlax :http://www.allocine.fr/film/fichefilm_gen_cfilm=44504.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=9685.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=52502.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=258079.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=13547.htmlLes pellicules de Kirsten Dunst explorées par Gubi :http://www.allocine.fr/film/fichefilm_gen_cfilm=221391.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=13970.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=29007.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=46112.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=56136.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=40191.htmlhttp://www.allocine.fr/film/fichefilm_gen_cfilm=173873.htmlRecommandations :– Casa a notamment un coup de coeur pour la Scarlett Johansson chanteuse :https://open.spotify.com/artist/2KAaJOwfu8n93byx6YPRPa– Gravlax : Nicole Kidman dans "Malice" d'Harold Becker (1993) :http://www.allocine.fr/film/fichefilm_gen_cfilm=33377.html- Gubi nous parle du prochain film de Kirsten Dunst réalisé par Jane Campion "Le Pouvoir du Chien" :http://www.allocine.fr/film/fichefilm_gen_cfilm=274038.htmlMorceaux diffusés durant l'épisode :– Générique "Loud Pop" ( Gravlax )– Jacques Douieb "Coconut Romance"– Death In Vegas "Girls"– Sébatien Tellier "Fantino"– Graeme Revell "Dead Calm main title"– David Wingo "Midnight Special Theme" & "New World"– Alida Ferrarini "Rigoletto, Act I: Gualtier Malde"– Hans Zimmer "Chase"– James Horner "Jumanji"– Henry Jackman "Captain America"– James Newton Howard "Matobo"– Extraits de "Spiderman Trilogy Ultimate Cut" de Danny Elfman et Christopher Young– Musique de "Her" par Arcade Fire– Theodore Shapiro "Bank Job Gone Wrong"– Jon Brion "Main Title of Eternal Sunshine Of The Spotless Mind"– Randy Newman "What I Love About Nicole" & "What I Love About Charlie"– Musique de "Prête à tout" par Danny Elfman– Richard Wagner "Prélude Tristan et Iseult"– Pete Yorn & Scarlett Johansson "Relator"– Musique de "Malice" par Jerry Goldsmith– Kirsten Dunst "Turning Japanese"– Shudder to Think "Appalachian Lullaby" (Feat. Nina Persson)Lien Twitter du podcast : https://twitter.com/TLVPodcastPage Facebook du podcast : https://www.facebook.com/M.Gravlax/Page du podcast : https://podcast.ausha.co/tu-l-as-vu

Dans ce deuxième épisode, le trio Gravlax - PapaGubida - Casa se présente en ayant choisi chacun un film coup de cœur dans le domaine des films fantastiques et de science-fiction. Chacun a bien sûr vu ( ou revu ) les films proposés par les autres pour pouvoir en discuter. Voici les films traités dans l'épisode, et le timecode : - 2:10 Le film de Casa : « Blade Runner 2049 » de Denis Villeneuve ( 2017 )( à partir de 11:20, les scènes préférées sont évoquées, donc forte probabilité de SPOILERS ) http://www.allocine.fr/film/fichefilm_gen_cfilm=197686.html - 23:00 Le film de PapaGubida : « Hook ou la revanche du Capitaine Crochet » de Steven Spielberg (1991) ( à partir de 38:45, fort risque de SPOILERS )http://www.allocine.fr/film/fichefilm_gen_cfilm=7280.html - 42:45 Le film de Gravlax : « L’Invasion des Profanateurs » de Philip Kaufman (1978)( à partir de 55:30, fort risque de SPOILERS )http://www.allocine.fr/film/fichefilm_gen_cfilm=1139.html Recommandations ( à partir de 1 h 03 ) : - Casa : "The Crow" ( 1994 ) d'Alex Proyas http://www.allocine.fr/film/fichefilm_gen_cfilm=10474.html - PapaGubida : "Terminator 2" ( 1991 ) de James Cameron http://www.allocine.fr/film/fichefilm_gen_cfilm=7124.html - Gravlax : L'édition UHD 4K de "2001, Odyssée de l'Espace" de Stanley Kubrick (1968) https://www.fnac.com/a11612523/2001-L-Odyssee-de-l-espace-Blu-ray-4K-Ultra-HD-Keir-Dullea-Blu-ray-4K#omnsearchpos=1 Bonus : Pour la blague, la version "olé olé" de Terminator 2 avait été évoquée à la toute fin du podcast. Depuis l'enregistrement, une vidéo très intéressante sur la comparaison entre les 2 films est sortie sur YouTube, voici le lien : https://www.youtube.com/watch?v=cxmZnO4dQR8 Lien vers le film rapidement évoqué "Résurrection" avec Christophe Lambert, disponible en intégralité sur YouTube : https://www.youtube.com/watch?v=sFG1tVcSbcw NDLR : En cours d'épisode, le trio évoque "Docteur Sleep" de Mike Flanagan et ses possibilités narratives. Cet épisode a été enregistré fin août 2019 quand "Docteur Sleep" n'était pas encore sorti sur les écrans français et que le film n'avait donc pas encore été visionné. Morceaux diffusés durant l'épisode :- Générique "Loud Pop" ( Gravlax ) - Hans Zimmer et Benjamin Wallfisch "2049"- John Williams " The Arrival of Tink and the Flight to Neverland"- Denny Zeitlin "The Reckoning"- Graeme Revell "Inertia"- Brad Fiedel "Main Title of Terminator 2"- Richard Strauss "Ainsi parlait Zarathoustra" Lien Twitter du podcast : https://twitter.com/TLVPodcast Page Facebook du podcast : https://www.facebook.com/M.Gravlax/ Page du podcast : https://podcast.ausha.co/tu-l-as-vu

Fresh off discussing one of the grandest superhero movies ever made, we make a trip to the dimly lit streets of 2003 Hell's Kitchen to discuss the infamous Marvel superhero movie, "Daredevil". Is the movie as bad as it's reputation suggest? Does the director's cut improve the viewing experience?  Music and audio from "Marvel's Daredevil" is the property of John Paesano, Drew Goddard, Kati Johnston, Marvel Television, ABC Studios, DeKnight Productions, and Goddard Textiles. Music and audio from "Daredevil" is the property of Graeme Revell, Avi Arad, Gary Foster, Arnon Milchan, Regency Enterprises, Marvel Enterprises, and Horseshoe Bay Productions. The intro and outro music was created by Cackles and Jeremy Eckert. We thank them for their generous support of this podcast. Check out our Facebook page at www.facebook.com/batjarpodcast. Invite your friends to like our page! You can contact us at @thebatcookiejar on Twitter or you can send an e-mail to batjarpodcast@gmail.com. 

Before she died in the Bergen Belsen concentration camp, Anne Frank said: “Despite everything, I believe that people are, at heart, really good.” In honor of Holocaust Memorial Day, host Marcela Sulak takes a fresh look at the young diarist whose words inspired the world. Texts: The Diary of a Young Girl: The Definitive Edition. By Anne Frank. Edited by Otto H. Frank and Mirjam Pressler. Translated by Susan Massotty. Bantam Books. Music: The Whole Story Soundtrack: Epilogue. Composed by Graeme Revell and Orchestrated by Tim Simonec.

Jesse Greene is a pretty fascinating character.  He's an artist, an Entomologist, he's a collector and most importantly, he's a music lover.  Jesse is a dedicated fan, and a generous friend.  Today he brought some bugs over and we shared music, we shared some beer and we discussed how he helped make an impact on the Sacramento scene during his youth. Bumper music by Daughters, Graeme Revell, and Randy Newman. "I Hate Music" theme by Marius Sjoli.

Magie numérique aidant, les grosses bestioles viennent ravager les multiplexes, de "Rampage – hors de contrôle" au futur "En eaux troubles" où Jason Statham aura la lourde tâche de kicker du mégalodon. Mais le cinéma n’a pas attendu l’avènement des blockbusters mondialisés pour balancer du monstre maousse, comme en témoigne notre petite sélection de péloches à gloumoutes où se croisent sanglier sans pitié, imposant serpent, croco pas beau, vers du désert et euh… truc aquatique pas très sympathique. Beware the monsters ! Avec Véronique Davidson, Xavier Colon, Laurent Duroche, Talal Selhami et Cyril Despontin.
 Réalisation : Xavier Colon 
Musique du générique : Donuts' slap par Laurent Duroche ► Flux RSS pour Android : bit.ly/2FrUwHo ► En écoute aussi sur Itunes : apple.co/2Enma9n ► Sur Deezer : www.deezer.com/fr/show/56007 ► Mais aussi sur YouTube : youtu.be/K0H2Ok8uthg Références des films cités : • Carnival de Daniel Knauf  (série HBO 2003)
 • Eega de S. S. Rajamouli, J.V.V. Sathyanarayana (2012) 
• Johnny got is gun de Dalton Trumbo (1972)
 • France Société Anonyme d’Alain Corneau (1973) 
• Rick et Morty de Justin Roiland, Dan Harmon (série d’Adult Swin - 2013)
 • Razorback de Russel Mulcahy (1985) 
• Un cri dans l’océan de Stephen Sommers (1998) 
• Anaconda de Luis Llosas (1997)
 • Tremors de Ron Underwood (1990) 
• Solitaire de Greg McLean (2008) Bande Originale : • Chucky 2 de Graeme Revell (1990)

On this episode, Brad, Kurt, and Alex talk about the mysterious, and intriguing world of film scores that were ultimately rejected. Composers are constantly performing a balancing act for directors and the studios backing the films. Many times, the last person studios, producers, or directors can turn to are composers to fix a film they think is failing. This creates a very difficult problem for composers, as they need time to craft such a specific art. They guys talk about film scores like The Most Dangerous Game by Max Steiner, one of the first scores to replace a rejected score in 1932. They also talk about rejected scores like 13th Warrior by Graeme Revell, Mission Impossible by Alan Silvestri, and Torn Curtain by Bernard Herrmann. They also talk about why film scores are rejected, what studios think or dont think about them, and how much pressure there is for a film to be perfect. Sometimes rejected scores are better than the originals, and sometimes there are good reasons for replacing them. Do you have a favorite rejected score? Write in and let us know, because this will not be the last episode about rejected film scores. There are many that deserves the light of day. Thanks for listening!

On this week’s episode of CINEMATIC SOUND RADIO we’ll be playing music from superhero and comic book film and television scores. We’ll open the show with Henry Jackman’s new score to the brand new Marvel Cinematic Universe film CAPTAIN AMERICA: CIVIL WAR.Our John Williams album of the week is SUPERMAN IV: THE QUEST FOR PEACE. Williams supplied the film with three new themes while Alexander Courage wrote the rest of the score.Our re-recording of the week is a recording by the Cincinnati Pops Orchestra called SUPERHEROES conducted by John Morris Russell. We’ll feature three selections; A TV Show Medley, a new concert work called “The Launch (Conduktor’s Theme)” by Pete Anthony and Alan Silvestri’s CAPTAIN AMERICA: THE FIRST AVENGER end credits.Our video game score of the week will feature Michael Giacchino and Chris Tilton’s unreleased score to THE INCREDIBLES: RISE OF THE UNDERMINER.You’ll also hear selections from Danny Elfman’s DARKMAN, Christopher Young’s GHOST RIDER, David Newman’s THE SPIRIT, Graeme Revell’s MIGHTY MORPHIN POWER RANGERS: THE MOVIE, Brain Tyler’s MARVEL STUDIOS FANFARE: SUITE, Cliff Eidelman’s THE METEOR MAN and James L. Venable’s unreleased score to POWERPUFF GIRLS: THE MOVIE.Cinematic Sound Radiohttp://www.cinematicsound.netWROCK Radiohttp://www.wrockradio.comCinematic Sound Radio Fanfare and Theme by David Coscinahttps://soundcloud.com/user-970634922Bumper voice artist: Tim Burdenhttp://www.timburden.comAlso available through Podtyranthttp://www.podtyrant.com

IT'S MORPHIN' TIME!On June 30, 1995, Power Rangers fans got the chance to see their favorite heroes battle the forces of evil on the big screen for the first time. Two decades later, Team TokuNet looks back at Mighty Morphin' Power Rangers: The Movie to talk about how they first discovered the movie, their favorite moments, and their impressions on the movie after watching it 20 years later.SHOW NOTES:- Photo of MMPR: The Movie suits with visors and mouth pieces removed from the helmets.- Mighty Morphin' Power Rangers The Movie: Original Motion Picture Score produced by Graeme Revell. Available on iTunes, Amazon and on Google Play.Subscribe, rate and review the TokuNet Podcast on iTunes!CAST:Michael Nixon - @michaelnixonPaula Gaetos - @PaulaGaetosK.D. Komiyama - @killadelfoBrian Dagley - @ShukuenShinobiCarol D.Yasin Bulhan - @InuiTakumi23Podcast Editor: Jacob Kile - @indigojonesQTIntro Music: Son of a Rocket by Kevin Macleod at incompetechOutro Music: "Trouble" by Shampoo. Available on iTunes, Amazon and Google Play.

Passing by Anne Frank St in Tel Aviv has inspired us to take a fresh look at the young diarist whose words inspired the world. Before she died in Bergen Belsen, Anne Frank said, "Despite everything, I believe that people are, at heart, really good." The English edition of her diary was introduced by Eleanor Roosevelt, and it was read by Nelson Mandela in prison for inspiration. Book: The Diary of a Young Girl. The Definitive Edition. By Anne Frank. Edited by Otto H. Frank and Mirjam Pressler. Translated by Susan Massotty. Bantam Books. Music: The Whole Story Soundtrack. Epilogue Composed by Graeme Revell and Orchestrated by Tim Simonec

Contenidos/Resumen: Segunda entrega de Conversaciones en el Espectro, con Adamanter, Raven (FrostRaven), Nushka, y ReaverT. En este programa repasaremos la actualidad de Star Citizen, iniciamos la serie Salon de la Fama del Espectro con Wing Commander 1, presentaremos la RSI Aurora a los oyentes y comentaremos algunos de los entresijos de la mecánica del viaje en Star Citzen. Línea de tiempo: 00:00:00 Presentaciones e introducción 00:02:40 Teletipos del Espectro (Noticias de la semana) 00:07:25 El Salon de la Fama: Wing Commander 00:14:40 La nave de la semana: RSI Aurora 00:19:48 Tema de la semana: El viaje en el universo persistente de SC Créditos musicales: - Bear McCreary; Human Target main theme, Chances Theme, sketch 1 versión. - Jack Wall; "New Worlds" (Mass Effect 2 Original Soundtrack) - Keiki Kobayashi; Refrain (Ace Combat Assault Horizon OST) - Mojinos Escocios; "Que güeno que estoy" - Graeme Revell; Desert Trek y Travel with fremen (Dune Miniseries Original Soundtrack) - George "Fatman" Sanger (Wing Commander videogame, varias pistas)

This third clip is released in honor of our dear friend Zack West's birthday, the guy who was NOT Eli in the Second Level, but the OTHER and considerably more doomed guy. However, his birthday was last week... and we meant to get this clip out sooner, but things being what they are, its just taken this long, so... Happy Belated Birthday, Zack Attack!!!!By the way, our second clip is one of our best and not many people got a chance to see it, so if you haven't seen it yet, visit our blog at http://bunnyinferno.blogspot.com to check it out. Unless you are already here. In which case, scroll down or use our Clip Archive on the left.This clip features Elijah Dies again and stars Robby Whoseville and Caleb McLaughlin as the bunny's new and unfortunate victims, who just so happen to be in the wrong place, at the wrong time...Third Level in Quicktime!Third Level available to watch on YouTube! (http://www.youtube.com/watch?v=YY2WPSgTU7U)Once again, as with all of these TEMPORARY clips, we have used a TEMPORARY soundtrack that is NOT in the final project, and is composed of copyrighted music. As in all cases where we use music without permission, we have provided you links from which you can purchase the music we used (iTunes users, we must yet again insist that you visit our blogpage to check out the proper links). So here they are, check them out, buy buy buy, show your love for the great music here:"Once Upon A Time In The West: Man With The Harmonica" by Ennio Morricone - Once Upon A Time: The Essential Ennio Morricone"Trouble" by Elvis - Elvis By the Presleys"Jason's Surprise Attack" by Graeme Revell - Freddy vs. Jason Original Motion Picture Score..

Here comes the second clip in our series. This one stars Elijah Dies as Eli and Zack West as Zack (great names, no?) as the hapless bunny prey!We are releasing it now in celebration of its star, Elijah Dies, and his birthday, which was yesterday, the 23rd of may. HAPPY BIRTHDAY ELI!!!Second Level in Quicktime!Also available in YouTube format! (http://www.youtube.com/watch?v=Iwj7IGuJkoE)Still not quite ready to make that big announcement I was discussing before. In the meantime, visit www.myspace.com/bunnyinferno for further updates along with this blog.See you in a couple of weeks!The music used in this is copyrighted someone OTHER than us, and is available to purchase here:"Jason's Surprise Attack" by Graeme Revell - Freddy vs. Jason Original Motion Picture Score (Vidcasters using iTunes: visit http://bunnyinferno.blogspot.com for the purchsing link)