Stereophonics: “Maybe Tomorrow” – 4:33 Lifehouse: “Everybody Is Someone” – 4:22 Death Cab for Cutie: “A Movie Script Ending (Acoustic)” – 4:28 Snow Patrol: “How to Be Dead” – 3:23 Broken Social Scene: “Lover’s Spit” – 6:06
The Stills: “Retour a Vega” – 2:56 Mazzy Star: “Flowers in December” – 5:05
The Legends: “When the Day Is Done” – 2:27
The Shins: “When I Goosestep” – 2:25
Jaime Wyatt: “Light Switch” – 3:58 Mates of State: “These Days” – 3:32
+/-: “All I Do” – 2:35
múm: “We Have a Map of the Piano” – 5:20
The Postal Service: “Against All Odds (Take a Look at Me Now)” – 4:21
Aqualung: “Strange and Beautiful” – 3:50
Mogwai: “I Know You Are But What Am I?” – 5:17
Johnette Napolitano & Danny Lohner: “The Scientist” – 5:07
Stereophonics: “I Miss You Now?” – 4:55
One of the most amazing and celebrated TV Soundtracks of the last year is now available on double vinyl!
1. Satan Your Kingdom Must Come Down (Boss Remix) (Robert Plant & The Band of Joy)
2. Lizard Dream (Brian Reitzell & Michael James)
3. Who Done It? (Brian Reitzell & Jim James)
4. One Overlord (Brian Reitzell, Jonathan Meiburg & Lucas Oswald)
5. Express (Brian Reitzell, Nicolas Godin & Jean-Benoit Dunckel)
6. Punishment (interpolating Moonlight Sonata Piano Sonata #14 Mvt. 1) (Brian Reitzell)
7. Arb Section 1 (Mark Hollis)
8. O’ Cordelia (Brian Reitzell & Tim Rutili)
9. The Conversation (Brian Reitzell, Nicolas Godin & Jean-Benoit Dunckel)
10. Falling Pine (Brian Reitzell & Daniel Lopatin)
11. Black Moon (Wilco)
12. Ceiba (Brian Reitzell & Daniel Lopatin)
13. Tell Me What You Saw (Brian Reitzell & Jim James)
14. Swan Lake Michigan (interpolating Swan Lake) (Brian Reitzell and Paul Buchanan)
Talk Talk’s Mark Hollis Resurfaces With New Music for the Kelsey Grammer TV Show “Boss” First new music from the elusive genius in 14 years
Talk Talk broke up after Laughing Stock, but they’d stopped touring, making videos, or even giving interviews long before. Hollis released a self-titled solo album in 1998, made brief guest appearances on a handful of albums in the late 90s/early 00s… and then nothing. For the past 10 years, he’s been pretty much off the radar.
So it was very, very surprising to learn that the first new music we’ll hear from Hollis since his solo album 14 years ago will be a track included in an upcoming episode of the TV show “Boss”. “Boss” airs Friday nights on the Starz channel, and stars Kelsey Grammer as a ruthless mayor of Chicago. (T.I. is also a member of the cast.) The September 21 episode will feature a new instrumental piece by Hollis called “ARB Section 1” that will play during the show’s final scene and closing credits.
How did this happen? We have music supervisor and composer Brian Reitzell to thank. Reitzell, a former member of Redd Kross, has been working in film since the late 90s, doing the music for Sofia Coppola’s movies, as well as Friday Night Lights (the film), Thumbsucker, The Brothers Bloom, and more. “Boss”, now in its second season, is his first TV work. (He’s also currently working on music for Coppola’s upcoming film The Bling Ring, as well as Gus Van Sant‘s upcoming Promised Land.)
Well, talent sure seems to run in the Cronenberg family, what with Brandon “Son of David” Cronenberg making waves with diseased horror Antiviral. Equally disturbing is the film’s score by E.C. Woodley, which paints a nightmarish aural image that I imagine is quite effective in the film. Blurring the lines between score and sound design, Woodley’s soundscape is a dissonant and eerie experience that might just keep you up at night.
READ THE FULL REVIEW AT LOST IN THE MULTIPLEX: http://lostinthemultiplex.com/extras/features/item/3548-soundtrek-review-round-up-#4.html
An aughties soundtrack so popular among music fanatics that multiple record companies thought it was a fine idea to drop it on vinyl? That’s that Gosling magic. Drive’s car film noir was scored into a dreamlike state by ex-Beefheart drummer Cliff Martinez, with a lot of help from Chromatics/Desire/Glass Candy impresario Johnny Jewel, who worked closely with director Nicholas Winding Refn to find the right aural patina. Jewel’s taste for the tactile, lush sounds of the ’70s and ’80s resides in the high end, simple and buzzy with wispy model-girl vocals. Drive and Jewel kickstarted the Italo disco/vintage synth hankerings of the woozy, post-witch house underground — a logical place to visit once everyone tired of dubstep’s irrepressible sub-bass, and one that only grows a bigger fanbase by the month. Watch this space. J.E.S.