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Pure Moods
(1997)
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by
Various Artists
Originally advertised on television and then released to stores, Pure Moods could be subtitled "New Age's Greatest Hits." Certainly, it has everything that the mainstream pop audience could construe as new age -- atmospheric synthesizers, chants and haunting sonic textures. More importantly, it has all of the songs, from Enigma ("Return to ...
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Twin Peaks [Original TVSoundtrack]
(1990)
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by
Angelo Badalamenti
Composer Angelo Badalamenti (Cousins) set the tone for David Lynch's bizarre television soap with a haunting theme created from electric piano, synthetic strings and the twangiest guitar this side of Duane Eddy. The love theme, appropriately enough, sounds like a funeral march. (The series' central character was found dead at the beginning of the ...
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Mulholland Drive
(2001)
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by
Angelo Badalamenti/David Lynch/John Neff
Like every collaboration between David Lynch and Angelo Badalamenti, Mulholland Drive's soundtrack is equally eerie, elegant, and eclectic, spanning the up-tempo swing of "Jitterbug" and the haunting drones of the film's main theme in its first two tracks alone. Badalamenti's work ranges from the jazzy "Dinner Party Pool Music" to the ominous ...
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Twin Peaks: Fire Walk with Me
(1992)
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by
Angelo Badalamenti
Composer Angelo Badalamenti, who wrote the music for the television series for which this movie served as a "prequel," presents another low-key score mixing after-midnight jazz with ambient sounds, never taken at more than a medium tempo. The mood is dark and languid, appropriate to the unusual tone of the TV show and movie. Jimmy Scott and Julee ...
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The Straight Story
(1999)
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by
Angelo Badalamenti
David Lynch's surprisingly direct, heartfelt film The Straight Story features a score by his longtime musical collaborator, Angelo Badalamenti. Elegant guitar pieces and Badalamenti's characteristically moody ambience match the film's unique look at a man who crosses the Midwest on his tractor to visit his ailing brother. ~ Heather Phares, All ...
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Twin Peaks: All New Season Two Music
(2007)
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by
Angelo Badalamenti/David Lynch
For Twin Peaks fans, hearing more of the series' immediately recognizable music is almost as much of a revelation as another chapter from Laura Palmer's diary. While "All New" is something of a misnomer, Twin Peaks: All New Season Two Music is a nice way to commemorate the release of Twin Peaks' second season on DVD after years of languishing in ...
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Red Hot + Rhapsody: The Gershwin Groove [Bonus Track]
(1998)
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by
Various Artists
Another year, another Red Hot project of unlikely musical bedfellows, this time paying tribute in their divergent ways to George Gershwin in the year of his centennial. All kinds of styles are tossed about, from a full symphony orchestra to the latest hip-hop and retro-electronic techniques. The tracks that work the best are those that seem to use ...
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Booth and the Bad Angel
(1996)
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by
Tim Booth/Angelo Badalamenti
The project consists mostly of Tim Booth's vocals and lyrics washing over layers of Angelo Badalamenti keyboard and orchestra treatments, with trippy rhythms and some intriguing guest performances fleshing out the structure. Fans of the first Suede album will be pleased to hear prodigal guitarist Bernard Butler serving as supple ligaments for five ...
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The City of Lost Children
(1996)
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by
Angelo Badalamenti
Fans of Badalamenti's Twin Peaks scores are advised to look elsewhere. This lush string-laden soundtrack is deadly serious, without a hint of irony or guitar twang. A circus-of-the-damned calliope appears from time to time, and Marianne Faithfull intones the doleful "Who Will Take My Dreams Away?" ~ Rick Watrous, All Music Guide
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Escapes
(1996)
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by
Various Artists
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Holy Smoke
(1999)
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by
Angelo Badalamenti
The soundtrack to Jane Campion's 1999 film Holy Smoke features a score by David Lynch's frequent musical collaborator, Angelo Badalamenti, which captures the movie's seductive, mystical qualities. ~ Heather Phares, All Music Guide
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Arlington Road
(1999)
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by
Angelo Badalamenti
Angelo Badalamenti's score for Arlington Road is about as ominous and darkly ambient as film music gets. Add two clanging, moody pieces from electronic artist Tomandandy that take things to a brisk industrial apex, and one has the soundtrack to a shadowy nightmare. It's a nightmare that just happens to contain moments of great beauty. The music, ...
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A Very Long Engagement
(2004)
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by
Angelo Badalamenti
The original score to A Very Long Engagement, the Jean-Pierre Jeunet vehicle for actress Audrey Tatou, was written and conducted by Angelo Badalamenti, infamously inseparable from the nightmarish big-budget cinema of David Lynch. While atmospherics play a role in this score -- mainly on the cues "Heartbeat to a Touch" and "Mathilde's Theme" -- ...
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Wicker Man [2006 Soundtrack]
(2006)
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by
Angelo Badalamenti
Composer Angelo Badalamenti's score for director Neil La Bute's 2006 remake of Robin Hardy's 1973 film The Wicker Man (both based on Anthony Schaffer's novel) is very different from the music for the first film, in part because the setting is different. La Bute has moved the story from Scotland to the Pacific Northwest, eliminating the basis for ...
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David Lynch Box: The Elephant Man/Mulholland Drive
(2001)
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by
Angelo Badalamenti/David Lynch/John Neff
As its title suggests, David Lynch Box: The Elephant Man/Mulholland Drive collects two of the scores from David Lynch's films: 1980s The Elephant Man and 2001's Mulholland Drive. John Morris' Elephant Man score is, like the film itself, atypically conventional. On pieces such as "Elephant Man Theme," Morris crafts thoughtful, string-driven ...
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Secretary
(2002)
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Angelo Badalamenti
Composer Angelo Badalamenti, known for his work with the off-key film director David Lynch, hooks up with another oddball, Stephen Shainberg, for Secretary, and turns out another of his highly original, moody, ambient scores. The music is both gentle and faintly menacing, similar to Badalamenti's work on such Lynch efforts as Blue Velvet and Lost ...
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This Is Cult Fiction
(1995)
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by
Various Artists
Virgin's This is Cult Fiction boasts a play on Quentin Tarantino's seminal film Pulp Fiction in its title and its track listing builds (if not outright steals) from that soundtrack, along with other similar cult films with cool soundtracks -- like Reservoir Dogs, Blue Velvet, Twin Peaks and Trainspotting. Well, that's not true for the entire disc, ...
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Battlestar Galactica: The A to Z of Fantasy TV Themes
(2000)
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by
Various Artists
Battlestar Galactica: The A to Z of Fantasy TV Themes collects new digital recordings of classic themes from sci-fi, horror, fantasy, and mystery TV series like The Addams Family, Doctor Who, Star Trek, The Outer Limits, The X Files, Xena: Warrior Princess, The Avengers, and The Prisoner. The double-disc set contains over 30 tracks, making it an ...
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Essential Soundtracks
(1999)
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by
Various Artists
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The Beach [Original Score]
(2000)
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by
Angelo Badalamenti
Angelo Badalamenti of Twin Peaks fame is behind the film score of the 1999 Danny Boyle directed film, The Beach, which starred Titanic heartthrob Leonardo Di Caprio. ~ MacKenzie Wilson, All Music Guide
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The Edge of Love
(2008)
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by
Angelo Badalamenti
Composer Angelo Badalamenti is best known as David Lynch's right-hand man when it comes to dreamily and driftily scoring the latter's atmospheric, vanguard films (as well as writing music for their mutual discovery, Julee Cruise). This score for John Maybury's 2008 film The Edge of Love isn't a terribly large stretch, despite the fact that some of ...
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Blue Velvet [Original Score]
(1986)
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by
Angelo Badalamenti
Beautiful and strange, the score to David Lynch's Blue Velvet is a staggering surrealist's nightmare told with the heart of a saint. Dense orchestrations float along whispers of dark, unnerving melodies; an astounding sense of menace coils inside even the most reassuring of moments. This marked the first collaboration between Lynch and Angelo ...
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Nightmare on Elm Street 3: The Dream Warriors
(1987)
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by
Angelo Badalamenti
An interesting sidestep for Badalamenti, though he gets to use very few of his signature ideas in the music for this particular shocker. Listenable enough, even out of context, but not too memorable. ~ Steven McDonald, All Music Guide
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