While Yorke’s score doesn’t sound anything like Goblin’s, you can hear the influence of their spooky central theme-a minor-key melody for celeste and bells that Argento deploys as a means of anticipating moments of awful violence-in a handful of skeletal melodies that lend cohesion to the soundtrack, primarily in the form of piano figures pacing haltingly against an orchestral morass, tritones hanging in the air like echoes of a scream.ĭespite the tension between songs that could pass for Radiohead’s repertoire and more soundtrack-like material, the whole album flows remarkably well, particularly given its 80-minute running time.
It’s only some 15 seconds long, but it has a powerful impact, transforming sullen trip-hop into something transcendent. “Unmade,” a stately showcase for Yorke’s voice at its most moving, is cut from similar cloth, and “Has Ended,” a droning dirge set to a hurdy-gurdy grind and a slow, almost funky drum shuffle, is even more compelling, if only for a Mellotron-like solo about halfway through. “ Suspirium,” a lilting ballad largely for piano and voice, wouldn’t sound out of place on a Radiohead album, and though the lyrics gesture at some of the film’s themes, they’re oblique enough to stand on their own, and spooky enough to sound haunting even outside the context of the movie. There are appropriately cinematic, minor-key passages for piano and strings great sheets of electronic buzz gorgeous choral miniatures with a whiff of Arvo Pärt’s arctic grace brooding, gothic Americana and striking forays into pure electronic abstraction, the kind of thing you might have found on the German experimental label Mille Plateaux in the late 1990s. However it may work in the film, on its own, Yorke’s score tackles a broader range of styles and ideas than any of his previous solo work, and all of them shine.
(For what it’s worth “suspiria” is Latin for “sighs” the film’s title comes from Thomas de Quincey’s essay “Suspiria de Profundis,” or “Sighs from the Depths.”) Just listen to something like “There Is No Ice (For My Drink),” off his last solo album, Tomorrow’s Modern Boxes: In Yorke’s hands, even muscular club tracks come off sounding like vaporous sighs. “It builds the blood,” enthuses the unctuous doctor, and one suspects he’d probably want to get Yorke on a regular Sangiovese regimen as well.īut unlike Argento’s film, with its almost cartoonishly supersaturated, blood-red hues, Guadagnino’s remake favors a drab, wintry, washed-out palette, which is precisely what the Radiohead frontman does best. To call him “anemic” might sound unkind, but a scene from Argento’s film comes to mind: Protagonist Suzy, following a faint and a nosebleed, is prescribed bed rest, bland food, and a nightly glass of red wine. The soundtrack is available for purchase or via streaming music services at online retailers like Apple Music and iTunes, Spotify, Amazon, Pandora, YouTube, and Deezer.Yorke, on the other hand, is, well, Thom Yorke-the brainy, sensitive possessor of a falsetto and a perpetual melancholy that lingers like a head cold he can’t quite shake. Romer added, “It was an absolute joy getting to make such a melodically driven score and I’m excited for everyone to see the film.” “They called for the most lush instrumentation, and usually the most wild rhythms,” he says. The composer especially liked working on the film’s dream sequences where Luca soars to great heights-feeling the freedom he craves. He told me what he really wanted was a more Italian-sounding version of the style of music I already make, which was very exciting and freeing!” However, said Romer, “Enrico wanted something that felt like more of a nod, or a memory, than something that felt historically accurate. The film is set on the Italian Riviera during the late 1950s, early 1960s. “I love his style-his accordion skills-and his ability to blend his style with the nuances of Italian music for this score,” said Casarosa. Luca director Enrico Casarosa turned to Romer to help set the stage and convey the youthful point of view of the main character, Luca. Romer performed on accordion and acoustic guitar. The score was recorded with an 82-piece orchestra at the Newman Recording Stage, and was orchestrated and conducted by Mark Graham. Walt Disney Records released Disney and Pixar’s Luca Original Motion Picture Soundtrack, composed and produced by Dan Romer, this past weekend.
0 kommentar(er)
