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CD includes Digital Download - 24 Bit Wav, MP3 and Digital PDF Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE ALAN HOWARTH COLLECTION, VOLUME 2, featuring music composed and performed by Alan Howarth for several projects from his filmography presented here CD for the first time. This collection of rare and previously unreleased tracks composed by Alan Howarth kicks off with the score for ARCADE, directed by Albert Pyun and written by David S. Goyer. Released in 1993, ARCADE tells the story of a psychologically compromised suburban teen named Alex (Megan Ward) who discovers her mother has committed suicide. One day after a particularly troubling day at school, Alex and her friends dart off to Dante’s Inferno, a local video game hangout, where a new virtual reality game called “Arcade” is being test-marketed by Difford (John de Lancie) a tech company snake-oil salesman who rewards the curious teens with home console versions of the game. Unknown to the kids, those who dare play the game and lose are imprisoned inside the console by a digital human-hybrid villain named Arcade (Johnathan Fuller). Over time the game infiltrates and manipulates their minds. Ultimately, it’s left up to Alex and Nick (Peter Billingsley) to convince the game’s lead programmer to help them free their friends and end Arcade’s deadly reign of technological terror. In addition to Howarth’s score for ARCADE, THE ALAN HOWARTH COLLECTION, VOLUME 2 includes a block of odds and ends from other projects in his filmogragraphy. For THE BEASTMASTER, Howarth composed a piece of music that was meant for the trailer but ultimately went unused. For BATTLE BEYOND THE STARS, at the request of composer James Horner, Howarth composed a piece of source music for the scene that introduces Gelt, played by Robert Vaughn. MONSTERS was a weekly horror anthology series that typically featured a different monster antagonist each week, ranging from animatronic puppets from a fictional children’s TV show to weapon-wielding mutated lab rats. Some of the episodes blended comic elements into the horror and were adapted from stories written by noted horror authors including Stephen King. One episode entitled “Far Below” from Season Three was produced by Debra Hill who had previously produced HALLOWEEN, THE FOG, HALLOWEEN II, and ESCAPE FROM NEW YORK for John Carpenter. Debra contracted Alan to compose this kind of music for the half-hour episode. Finally, THE OSTERMAN WEEKEND was released in 1983 and was the last film directed by Sam Peckinpah, the film was largely scored by Lalo Schifrin. Howarth was brought in at the last minute to write some additional suspense music for the film. Alan Howarth, in addition to being a composer, is an accomplished sound designer and editor, having worked on films such as STAR TREK: THE MOTION PICTURE, POLTERGEIST, TOTAL RECALL, ARMY OF DARKNESS, BRAM STOKER’S DRACULA, STARGATE and many others. He has been a frequent music collaborator with John Carpenter on his films beginning with ESCAPE FROM NEW YORK in 1980 and including HALLOWEEN II & III, CHRISTINE, BIG TROUBLE IN LITTLE CHINA, THEY LIVE and PRINCE OF DARKNESS and Alan has scored many films on his own, including RETRIBUTION, HALLOWEEN 4 & 5, THE DENTIST, HEADLESS, BOO!, EVILUTION, BASEMENT JACK and most recently, HOUSE AT THE END OF THE DRIVE, BRUTAL and PROMISE. Dragon’s Domain Records presents THE ALAN HOWARTH COLLECTION, VOLUME 2, featuring music composed and performed by Alan Howarth. The booklet contains liner notes written by author and composer Brian Satterwhite, including insights by composer Alan Howarth on the creation of the music. THE ALAN HOWARTH COLLECTION, VOLUME 2 is a limited edition release of 500 units and is expected to begin shipping the week of May 10th and can be ordered at www.buysoundtrax.com. The first 50 copies sold through our website will include an autograph by the composer. ARCADE 1. Arcade – Main Titles (3:34) 2. Arcade Opening (3:14) 3. Into the Machine (1:16) 4. Virtual Worlds (4:35) 5. Explorations (3:59) 6. Find the Light (2:18) 7. Digital Topics (4:21) 8. The Virtual Mind (5:13) 9. Arcade’s Challenge (3:18) 10. Game Over (2:49) 11. Arcade - Main Titles (Ghost in the Machine Mix) (2:59) THE BEASTMASTER 12. Heroic Theme (2:06) BATTLE BEYOND THE STARS 13. Gelt’s Chamber (1:31) MONSTERS 14. Far Below (5:46) THE OSTERMAN WEEKEND 15. Doggie in the Window (2:10) 16. Stingers (1:54) 17. End Credits (Unused) (4:17) Total Time: 56:09 Link https://tinyurl.com/wp447k74
CD includes Digital Download - 24 Bit Wav, MP3, Digital PDF Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the original motion picture soundtrack for INSEMINOID, featuring music composed, arranged and performed by John Scott for the 1981 science fiction horror film directed by Norman J. Warren, written by Nick and Gloria Maley and starring Robin Clarke, Jennifer Ashley, Stephanie Beacham, Steven Grives, Barrie Houghton, Rosalind Lloyd, Victoria Tennant, Trevor Thomas, Heather Wright, David Baxt and Judy Geeson. INSEMINOID tells the story of a crew of interplanetary archaeologists who are threatened when an alien creature impregnates one of their members (Geeson), causing her to develop a psychosis and mutilate her colleagues one by one. INSEMINOID was directed by British filmmaker Norman J. Warren, known primarily for a series of late ‘70s-’80s horror films, including SATAN’S SLAVE, PREY, BLOODY NEW YEAR and the like and produced by Richard Gordon known for a variety of films but specializing in horror movies such as THE HAUNTED STRANGLER, FIEND WITHOUT A FACE, CORRIDORS OF BLOOD, and DEVIL DOLL. Warren shot the film during May and June 1980, with a £1 million budget, half of which was financed by Hong Kong’s Shaw Brothers (their first investment in a British film). To compose the film’s score, Warren brought in distinguished orchestral composer John Scott, who by 1981 had composed wide-ranging scores for some 86 films and television series, beginning with James Hill’s 1965 Sherlock Holmes mystery, A STUDY IN TERROR. Scott’s efforts in the genre have included films such as Freddie Francis’ TROG, the West German thriller MARK OF THE DEVIL PART II, Kevin Connor’s THE PEOPLE THAT TIME FORGOT, and the magnificent score for 1980’s time-travel film, THE FINAL COUNTDOWN (along with GREYSTOKE, KING KONG LIVES, THE WICKER TREE amongst the 70 scores subsequent to INSEMINOID). Warren and Scott had worked together previously on his film, SATAN’S SLAVE. When it came to their next collaboration, INSEMINOID, using even a small orchestra was beyond the budget; leaving electronics as the only viable means. In the process, Scott made use of synthesized rock-and-roll elements (low basso structures, electronic drums, and in particular a recurring, 8-note motif shared between electric guitar and synths, most notably in the main titles and end credits, mixed over a variegated abundance of synthetic substances. As the mixing of the electronic score took shape, enhanced by many hours of multi-tracking and overdubbing, Scott was aided in recording the score by the Pinewood Studios music mixer Otto Snel. For nearly sixty years, John Scott has established himself as one of the finest composers working in films today, having collaborated with the foremost producers and directors worldwide, including Richard Donner, Mark Damon, Hugh Hudson, Norman Jewison, Irvin Kershner, Daniel Petrie, Roger Spottiswoode and Charlton Heston, among others. He has been an essential voice in international scoring that thoroughly belies his occasional over-looked stature in the midst of 'brand name' composers. Frequently associated with Hollywood's finest composers, including Jerry Goldsmith, Elmer Bernstein and John Williams, John Scott has created a body of work that stands up as some of the finest music ever written for film. Dragon’s Domain Records, to be distributed by BuySoundtrax, presents the world premiere compact disc release of INSEMINOID, featuring music composed, arranged and performed by John Scott, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author Randall Larson INSEMINOID is a limited edition of 500 units and is expected to start shipping the week of May 10th. 1. Main Title (2:38) 2. The Chrysalis (3:36) 3. Virus (2:25) 4. Death in Space (4:03) 5. The Creature Strikes (3:22) 6. The Insemination (2:13) 7. Sandy’s Metamorphosis (4:03) 8. Sandy’s Warning (1:21) 9. Sandy Kills (2:29) 10. Birth of the Twins (2:44) 11. Death of Sandy (2:28) 12. Inseminoid (3:55) Total Time: 35:45 Link https://tinyurl.com/4u7utee6
THE CONRAD POPE COLLECTION Click Here to Order: https://tinyurl.com/suyvxyj . THE CONRAD POPE COLLECTION is presented as a limited edition of 500 units. LISTEN TO A SOUNDCLIPS FROM "THE CONRAD POPE COLLECTION” GHOST SHIP https://tinyurl.com/vxu2akh TEMPTATION https://tinyurl.com/th8m5hc PROJECT: MOONBEAST https://tinyurl.com/skbuapz UNDER THE MOON https://tinyurl.com/vsjecbr Composer Conrad Pope will sign the first 50 copies of THE CONRAD POPE COLLECTION, VOLUME 1 sold through the website. Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents THE CONRAD POPE COLLECTION, VOLUME 1 featuring music composed and conducted by Conrad Pope (PAVILION OF WOMEN, MY WEEK WITH MARILYN, TIM’S VERMEER) for four feature films from his filmography. Conrad Pope is one of Hollywood’s most in-demand orchestrators, known for his numerous collaborations with composers John Williams, James Horner, Howard Shore, Alexandre Desplat, James Newton Howard, Alan Silvestri, John Powell, Mark Isham, Danny Elfman, and many others. Pope also has a resume of some 18 original film scores to his credit. His talent in many aspects of movie music and his dexterity on scoring paper and concert stage alike has given him a sought-after reputation in Hollywood that has remained durable and dependable for thirty-five years. GHOST SHIP was based on the true story about a Spanish galleon in 1863 that was swept up the flooding Colorado River from San Diego, and was stranded and wrecked far inland in the Salton Sea. The fictional part of the story has to do with seven kids, who learn of the lost galleon and turn a boring school rock-collecting trip into a quest for a shipload of lost pirate treasure. Somehow the filmmakers were able to fund $100,000 to record the score with a 75-piece orchestra, an unheard of amount for an independent movie. Pope’s score is grandly adventurous with large orchestral gestures, a Coplandesque motif setting the tone for a late 19th Century adventure involving eager kids. Released in 1994, TEMPTATION is a potboiler about insurance fraud and murder. The director was looking for music along the lines of Jerry Goldsmith’s BASIC INSTINCT. His score for the film emphasizes fluid string lines and is built around a main theme for the primary character, along with a surging action motif for brass and a suspended electronic choral element. Pope composed both the electronic and the orchestral music for the film; the latter was recorded with a 52-piece orchestra. 1995’s science fiction thriller PROJECT: METALBEAST is about a group of scientists who create a super soldier by injecting the subject with the blood of a werewolf. Naturally, the experiment goes massively awry and the manufactured lycanthrope is cryogenically frozen for 20 years—after which it’s revived by the surviving member of the original project, who enhances the were-soldier with a synthetic metallic skin that makes it virtually indestructible. Thanks, Doc. Pope’s music for the film is grandly powerful, with an especially glorious finale. UNDER THE MOON was made in late 1993, but you won’t find it listed on IMDB or anywhere else, because it had a single showing and then disappeared from the face of the Earth. The film was a passion project from a group of young would-be filmmakers from El Paso and tells the (at the time) unthinkable story of a man whose girlfriend, a school teacher, breaks up with him and he becomes so enraged that he comes down to the school and shoots her in her classroom, taking some of the children hostage and ultimately making an escape in a school bus. The four film scores included on this collection all stem from 1992-95 and are the first movie scores Conrad Pope wrote. The music reflects the influence of the composers Pope orchestrated for, but they also exhibit what he could do with that inspiration when left to his own creativity. All four of the scores on this album were performed by a contracted orchestra in Salt Lake City, Utah. Dragon’s Domain Records is excited to bring the contents of THE CONRAD POPE COLLECTION, VOLUME 1 to compact disc for the first time. The music has been mastered by James Nelson at Digital Outland, with liner notes written by author Randall Larson, including the participation of composer Conrad Pope. THE CONRAD POPE COLLECTION, VOLUME 1 is a limited edition release of 500 units. GHOST SHIP (1992) (Original Score) 01. Overture - Call to Adventure (1:50) 02. Action on the High Seas (1:46) 03. The Pirate’s Sword (2:52) 04. March of the Galleons (4:05) 05. Hidden Treasure (2:08) 06. Magic Caverns (4:12) 07. Finale-All’s Well (5:17) TEMPTATION (1994) (Original Score) 08. Prelude, Theme and Escape (5:21) 09. Confrontation (2:33) 10. Variations on a Theme (1:33) 11. Bloody Murder (0:45) 12. Light the Fuse (1:31) 13. Aftermath (1:21) PROJECT METALBEAST (1995) (Original Score) 14. Inner Sanctum (3:10) 15. The Deadly Chase (1:24) 16. Revelation (0:49) 17. The Resurrection (2:15) 18. Crossing the Icy Styx (1:55) 19. The Hunted (1:03) 20. Transformation (0:58) 21. Dawn (1:29) 22. No Turning Back (1:01) 23. Survivors (1:42) UNDER THE MOON (1993) (Original Score) 24. Day of Judgment (3:08) 25. The Rod and Reproof (2:41) 26. Bitter Memories (0:49) 27. The Careening Bus (0:53) 28. A Mother’s Tear (1:07) 29. Mad Matt’s Inner Demons (3:30) 30. Requiem (3:03) 31. The Family Reunited (3:08) Total Time: 72:49