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Dragon’s Domain Records presents FRIDAY THE 13th: THE SERIES, featuring music composed and performed by Fred Mollin (FAST COMPANY, FOREVER KNIGHT, TEKWAR) for the supernatural horror fantasy television series, starring Louise Robey, Chris Wiggins, John D. LeMay and Steve Monarque. Created by Frank Mancuso Jr. and Larry B. Williams, the series ran for three seasons and 72 episodes, concluding on May 26, 1990. Originally conceived as THE 13TH HOUR, the program adopted the FRIDAY THE 13TH name to evoke its recurring themes of bad luck, evil and ancient curses. Despite its title and several behind-the-scenes creative connections, the series had no direct narrative relationship to the Jason Voorhees film franchise. Filmed in Toronto, FRIDAY THE 13th: THE SERIES developed a darker edge than much of contemporary television, combining a brooding Gothic atmosphere with unusually intense horror. Its anthology-like cursed-object stories allowed the series to move freely among psychological terror, monsters, witchcraft, revenge and the occult while maintaining the ongoing story of Curious Goods and its guardians. An essential part of the show’s atmosphere was the music of composer Fred Mollin, whose scores gave the series much of its ominous and haunting identity. Moving effortlessly between suspense, melancholy, supernatural dread and outright terror, Mollin’s music became an integral part of the strange and shadowy world behind the doors of Curious Goods. An early compact disc release from GNP Crescendo Records, Dragon’s Domain Records is excited to bring FRIDAY THE 13th : THE SERIES back to the marketplace in a 2 CD presentation, newly mastered by James Nelson at Digital Outland, reprising the liner notes from the original album release, along with a new afterward from the composer. Disc One contains the original soundtrack album released by GNP Crescendo Records. The program draws upon music from 13 episodes spanning the first two seasons of the series. Rather than presenting any single score in its entirety, the album was conceived as a musical overview of the program, bringing together many of the finest and most memorable moments Mollin selected from his work on the show. Disc Two expands the collection with substantial presentations from two especially significant episodes: “Coven of Darkness”, the second season finale and the two-part third season premiere, “The Prophecies.” Fred Mollin is an award-winning composer, record producer, songwriter, arranger, and multi-instrumentalist whose remarkably diverse career has encompassed popular music, film, television, and children’s recordings. Born in New York and raised musically in Toronto, Mollin first achieved international recognition when he co-produced Dan Hill’s 1977 hit “Sometimes When We Touch.” The recording earned him the Juno Award for Producer of the Year and launched an extensive production career that has included acclaimed projects with Jimmy Webb, America, Johnny Mathis, Kris Kristofferson, Lamont Dozier, Billy Ray Cyrus, Rita Wilson, and many others. A gifted multi-instrumentalist, Mollin frequently performs on his own productions, playing guitar, keyboards, bass, drums, and percussion while also contributing vocals and arrangements. His ability to move naturally among orchestral scoring, electronic textures, rock, country, pop, and intimate acoustic music has given his work a distinctive, highly personal voice. FRIDAY THE 13th: THE SERIES is a limited edition release. FRIDAY THE 13th: THE SERIES is expected to begin shipping the week of October 28th, 2026. CD 1 1. Friday The 13th: The Series Opening Titles (0:52) 2. The Inheritance" / “Tails I Live, Heads You Die” / “Wax Magic” (6:12) 3. Suite (From “The Baron’s Bride”) (8:39) 4. Suite (From “Badge Of Honor”) (11:23) 5. The Death Of Micki (From “Tails I Live, Heads You Die”) (2:19) 6. Suite (From “Symphony In B Sharp”) (5:32) 7. Suite (From “Brain Drain”) (3:53) 8. Suite (From “Eye Of Death”) (4:35) 9. Suite (From “What A Mother Wouldn't Do”) (4:47) 10. In The Basement (From “The Electrocutioner”) (2:16) 11. Suite (From “The Playhouse”) (9:25) 12. Suite (From “Wedding In Black” And “Bottle Of Dreams”) (6:39) 13. The End Of A Year (From “Bottle Of Dreams”) (1:51) 14. Friday The 13th: The Series Closing Credits (0:54) Total Time 72:38 CD 2 1. Friday The 13th: The Series Season 3 Opening Titles (0:47) 2. Suite (From “Coven Of Darkness”) (13:29) 3. Suite (Album Edit) (From “Symphony In B Sharp”) (4:10) THE PROPHECIES PARTS 1 – 2 04. Welcome to France / The First Murder (5:26) 05. Jack Stalks / The Beasts (6:06) 06. Blind Man / Ryan And Christine (1:44) 07. The Asylum Goes Crazy / Jack’s Fall (7:18) 08. Asteroth Takes A Dip / Ryan Possessed (8:58) 09. Ryan Sees the Nun / Ryan And Adele (5:06) 10. After the Murder / Asteroth And Ryan (4:54) 11. The Funeral (2:34) 12. Ryan, Christine And Asteroth (2:22) 13. Ryan’s Metamorphosis (8:15) 14. Good Triumphs Over Evil (4:32) 15. Ryan And Mom (A New Beginning) (1:08) 16. Friday The 13th: The Series Season 3 Closing Credits (0:59) Total Time 78:32 Dragon’s Domain Records presents LES BAXTER: THE HORROR COLLECTION, a compilation of music from several horror films from the composer’s extensive filmography. LES BAXTER: THE HORROR COLLECTION includes music composed by Les Baxter for CRY OF THE BANSHEE, BARON BLOOD and a suite of music from the AIP television special AN EVENING WITH EDGAR ALLAN POE. Airing on television in 1970, AN EVENING WITH EDGAR ALLAN POE featured the legendary Vincent Price reciting four classic stories from Poe, directed by Kenneth Johnson (THE BIONIC WOMAN, THE INCREDIBLE HULK) and music composed by Les Baxter. The suite includes music for The Tell-Tale Heart, The Sphinx, The Cask Of Amontillado and The Pit And The Pendulum. Released in 1970, CRY OF THE BANSHEE was directed by Gordon Hessler, written by Tim Kelly and Christopher Wicking, starring Vincent Price, Elizabeth Bergner, Essy Persson, Hugh Griffith, Sally Geeson, Robert Hutton, Patrick Mower, Hillary Heath, Carl Rigg, Stephan Chase and Marshall Jones. Price portrays Lord Edward Whitman, a ruthless Elizabethan witch hunter whose persecution of a coven unleashes a terrible supernatural vengeance. CRY OF THE BANSHEE received a new score from Baxter for its American theatrical release after AIP rejected the original music by Wilfred Josephs. Strings, percussion, and piano combine in jagged rhythmic patterns, violent accents, and unsettling repetitions, creating a musical atmosphere that is as unpredictable as the supernatural forces stalking Whitman and his family. Released in 1972, BARON BLOOD was directed by Mario Bava, written by Bava, Willibald Eser and Vincent Fotre, starring Joseph Cotten, Elke Sommer, Massimo Girotti , Rada Rassimov, Anotnio Cantafora, Umberto Raho, Luciano Pigozzi, Dieter Tressler, Nicoletta Elmi, Gustavo De Nardo and Valeria Sabel. Also known as GLI ORRORI DEL CASTELLO DI NORIMBERGA, BARON BLOOD follows Joseph Cotten as the sinister Baron Otto von Kleist, a sadistic nobleman whose murderous legacy is awakened when his descendant returns to the family castle and an ancient incantation is read aloud. For the American market, AIP shortened the film, altered some scenes, redubbed the dialogue and substituted Les Baxter’s music for Stelvio Cipriani’s score. Baxter’s score is one of the most distinctive aspects of the AIP version. Rather than simply preserving Cipriani’s music, AIP gave American audiences a more overtly ominous, traditional horror-movie sound. Born in Mexia, Texas, Les Baxter studied piano at the Detroit Conservatory of Music and later at Pepperdine College in Los Angeles. He began his professional career as a musician with the Freddie Slack big band and later sang with Mel Tormé’s Mel-Tones. Baxter established himself as an arranger and conductor at Capitol Records, working with major artists including Nat King Cole. In the late 1940s, he pioneered the emerging “space age” sound with MUSIC OUT OF THE MOON, an innovative recording featuring the theremin. During the 1950s, he became one of the principal architects of exotica, creating lush, highly orchestrated fantasies inspired by Polynesian, African, Asian, and Latin American musical colors. At the same time, Baxter was an extraordinarily prolific composer for the screen. He ultimately wrote music for more than 250 radio, television, and motion-picture projects, with a particularly large body of work in horror and science-fiction films. His association with American International Pictures produced scores for such films as THE PIT AND THE PENDULUM, THE DUNWICH HORROR, THE MAN WITH THE X-RAY EYES and numerous other genre productions. LES BAXTER: THE HORROR COLLECTION includes music that has previously been released but has been remastered by James Nelson at Digital Outland, including liner notes by G.B. Kemner. LES BAXTER: THE HORROR COLLECTION is a limited edition release and is expected to begin shipping the week of October 26th, 2026. AN EVENING WITH EDGAR ALLAN POE (1970) 01. The Pit And The Pendulum (7:07) 02. The Sphinx (5:05) 03. The Cask Of Amontillado (4:48) 04. The Tell-Tale Heart (7:09) CRY OF THE BANSHEE (1970) 05. Lord Edward Whitman (2:12) 06. Witches’ Black Sabbath / Summoning The Demon (8:03) 07. What Is Born In Fire, Dies In Fire (7:16) 08. Carriage Ride To Hell (2:06) BARON BLOOD (1972) 09. The Legend Of Baron Blood (4:41) 10. The Incantation (5:32) 11. Peter And Eva Go To The Castle / The Summoning (4:35) 12. Spirits From The Netherworld / The Amulet (4:19) 13. The Undead Destroy The Baron / Finale (6:27) Total Time: 69:57 Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the premiere release of EXTREMITIES, featuring music from the original score composed by J.A.C. Redford (ST. ELSEWHERE, A TRIP TO BOUNTIFUL, CONAGHER) for the 1986 psychological thriller directed by Robert M. Young, written by William Mastrosimone, starring Farrah Fawcett, James Russo, Alfre Woodard, Diana Scarwid, Sandy Martin, Eddie Velez, Tom Everett and James Avery. Released in 1986, EXTREMITIES was adapted from the acclaimed stage play by William Mastrosimone, who also wrote the screenplay. The original play generated enormous controversy because of its disturbing themes and graphic depiction of violence against women. Yet beneath its shocking surface was a serious examination of fear, empowerment, and the moral consequences of revenge. The motion picture retained much of the claustrophobic intensity of the stage production. Fawcett plays Marjorie, a young woman living in Los Angeles with two roommates (Alfre Woodard and Diana Scarwid). She survives a terrifying attempted sexual assault at the beginning of the story. The attacker, Joe (Russo) abducts and nearly murders her before she manages to escape. Marjorie is left emotionally shattered, consumed by paranoia and fear that the man may return. Her roommates try to support her, but they cannot fully grasp the depth of the psychological damage she has suffered. Joe is able to track Marjorie to her home and assault her again because she had left her purse behind during her escape. This time, however, she manages to gain the upper hand by blinding him with wasp repellent and turns the tables on him. She imprisons him within her fireplace and begins psychologically and physically tormenting him while debating whether to castrate him... Fawcett’s performance has been widely praised for its courage and intensity — earning her a Golden Globe nomination. The score by J. A. C. Redford plays a subtle but highly effective role in shaping the film’s oppressive atmosphere. Rather than overwhelming the drama with aggressive thriller music, Redford composed a restrained and unsettling score that emphasizes psychological tension and emotional fragility. J.A.C. Redford is a composer, arranger, orchestrator and conductor of concert, chamber and choral music, film, television and theater scores, and music for recordings. Redford has written the scores for more than three dozen feature films, TV movies or miniseries, including THE TRIP TO BOUNTIFUL, ONE NIGHT WITH THE KING, WHAT THE DEAF MAN HEARD, MAMA FLORA’S FAMILY and Disney’s OLIVER & COMPANY, NEWSIES and THE MIGHTY DUCKS II and III. He has composed the music for nearly 500 episodes of series television, including multiple seasons of COACH and ST. ELSEWHERE (for which he received two Emmy nominations). Collaborating with other artists, Redford has orchestrated, arranged or conducted for Academy Award-winning composers, James Horner, Alan Menken, Randy Newman and Rachel Portman and John Williams, as well as for Terence Blanchard, Danny Elfman, Simon Franglen, Mark Isham, Thomas Newman, Marc Shaiman, and Cirque du Soleil’s Benoit Jutras, on projects including , and m THE LITTLE MERMAID, THE NIGHTMARE BEFORE CHRISTMAS, THE PERFECT STORM, WALL-E, AVATAR, SKYFALL, BRIDGE OF SPIES, 1917 and most recently AVATAR: THE WAY OF WATER, A MAN CALLED OTTO, and ELEMENTAL. He orchestrated and conducted Adele’s Oscar-winning title song for SKYFALL, wrote arrangements for Joshua Bell’s VOICE OF THE VIOLIN, AT HOME WITH FRIENDS and MUSICAL GIFTS recordings, Anne Akiko Meyers’ SERENADE: THE LOVE ALBUM and has written for and recorded with other Grammy Award-winning artists Steven Curtis Chapman, Bonnie Raitt and Sting. Dragon’s Domain Records presents EXTREMITIES, featuring music composed by J.A.C. Redford for the first time on compact disc. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written by Scott Davis. EXTREMITIES is a limited edition release. EXTREMITIES is expected to begin shipping the week of October 28th, 2026. 01. The Stalking Man (2:07) 02. Descent Into Darkness (2:04) 03. Pluto Denied / Night (1:52) 04. Marjorie’s Morning Song (2:58) 05. Honey / Invite Me In (2:54) 06. The Bed (4:19) 07. The Bathroom / The Refrigerator / Popcorn (3:23) 08. It Doesn’t Have To Be This Way / Turning The Tables (5:46) 09. I Get Out, I Get You / Choose (4:17) 10. Cherry Cheesecake / One Slice / Waiting For Teri (4:19) 11. The Knife (3:37) 12. Thank You (4:28) 13. End Credits (3:06) 14. Show Me The Way (Original Demo) (2:56) Total Time: 48:43 Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION, VOLUME 9: HORROR. The 1950s were Albert Glasser’s busiest as a film composer, scoring many films across multiple genres. With this ninth collection of the composer’s music, we are pleased to explore two films focusing on horror that Glasser scored in the late 1950s: ATTACK OF THE PUPPET PEOPLE and GIANT FROM THE UNKNOWN. Released in 1958, GIANT FROM THE UNKNOWN was directed by Richard E. Cunha, written by Frank Hart Taussig and Ralph Brooke, starring Ed Kemmer, Sally Fraser, Bob Steele, Morris Ankrum, Oliver Blake, Jolene Brand, Billy Dix, Gary Crutcher and Buddy Baer as the Diablo Giant. Set in a rural California community overshadowed by local superstition and fear, GIANT FROM THE UNKNOWN begins with a string of mysterious livestock killings blamed on an ancient Native American curse. Local resident “Indian” Joe (Dix) warns the townspeople that the region is haunted by the spirit of a murderous giant executed generations earlier for crimes against Native Americans during the Spanish colonial era. Skeptical archaeologist Dr. Cleveland (Kemmer) and his daughter Janet (Fraser) investigate the legend while researching the historical presence of conquistadors in the area. Their discoveries eventually uncover the terrifying truth: the so-called “Diablo Giant” is a gigantic armored Spaniard who has somehow survived for centuries and now stalks the countryside killing anyone who crosses his path... Also released in 1958, ATTACK OF THE PUPPET PEOPLE was directed by Bert I. Gordon, written by George Worthing Yates and Gordon, starring John Agar, John Hoyt, June Kenney, Michael Mark, Jack Kosslyn, Marlene Willis, Ken Miller, Laurie Mitchell, Scott Peters, Susan Gordon, Jean Moorhead and Hal Bogart. ATTACK OF THE PUPPET PEOPLE follows Sally Reynolds (Kenney) as she accepts employment as secretary to the soft-spoken but unnervingly possessive Franz (Hoyt), whose office and private quarters are filled with eerily realistic dolls displayed in glass cases. When Sally’s fiancé Bob Westley (Agar) mysteriously disappears, she begins to suspect Franz after noticing that one of the figurines bears an uncanny resemblance to Bob himself. Her fears deepen when she learns that Franz’s former secretary (Moorhead) vanished under similarly suspicious circumstances. The police initially dismiss Sally’s increasingly frantic claims, believing stress and imagination are clouding her judgment. But Franz’s horrifying secret is eventually revealed: using a shrinking device of his own invention, he miniaturizes people and keeps them imprisoned in suspended animation as permanent companions who can never leave him. When Sally threatens to resign, Franz subjects her to the same fate. Believing his tiny captives helpless, Franz revives Bob and several others to keep Sally company. Unfortunately for him, the miniature prisoners soon realize that their combined intelligence and determination may finally allow them to escape and turn the tables on their gigantic captor... Born January 25, 1916, Albert Glasser was a composer, conductor and arranger of film music. One of the most prolific B-movie composers, Albert Glasser started off as a copyist in the music department at Warner Brothers in the late 1930s, learning the art of film scoring from scratch while working under Max Steiner and Erich Wolfgang Korngold. He graduated to orchestrating, and by the mid-1940s was composing his own scores. He scored approximately 200 films during his career, many for American International Pictures and director Bert I. Gordon. For the US War Department, Glasser composed for Frank Capra's Special Services Unit and for Office of War Information radio shows for overseas broadcasts. For television, he composed the score for THE CISCO KID. For radio, he composed scores for HOPALONG CASSIDY, CLYDE BEATTY, and TARZAN. Dragon’s Domain Records presents THE ALBERT GLASSER COLLECTION VOLUME 9: HORROR, featuring the premiere release of original music composed by Albert Glasser for ATTACK OF THE PUPPET PEOPLE and GIANT FROM THE UNKNOWN, mastered by James Nelson at Digital Outland. The booklet contains liner notes written by noted author David Hirsch. THE ALBERT GLASSER COLLECTION VOLUME 9: HORROR is a limited edition release and is expected to begin shipping the week of October 28th, 2026. 01. Main Title (From “Giant From The Unknown”) (1:39) 02. Eavesdropping / Devil’s Crag / Trip To The Burial Grounds (1:45) 03. Early Risers / Joe Takes A Shot / Fruitless Searching (2:53) 04. Very Strong Reading / Finding The Site / Waking The Sleeping Giant (3:04) 05. Romantic Moonlight Stroll, Peeping Vargas (2:56) 06. Intruder / Anne Can’t Take Care Of Herself (2:52) 07. Indian Joe Is Dead / Janet Abducted (3:47) 08. Taking The Sheriff’s Car / Vigilantes (1:56) 09. Wayne Rescues Janet (2:26) 10. Shootout / Boxed In / Back To Camp (4:39) 11. “Tracking The Giant, Is A Man’s Job” (3:23) 12. Giant Fight / Finale (2:59) 13. Main Title Alternate (From “Giant From The Unknown”) (1:36) 14. Lodge Restaurant Source (Unused) (2:42) 15. Giant From The Unknown (1958) Theatrical Trailer (1:41) 16. Overture / Janet (3:01) 17. Mail Bag / The Torn Letter (1:05) 18. Puppet Dance / Shrunken Beau (2:35) 19. Burning A Doll (2:15) 20. Party #1 Source (2:16) 21. You're My Living Doll (Instrumental) (1:02) 22. Party #2 Source (3:27) 23. Celeste Dolly / Goodbye, Emil / Going To A Theatre Party (4:18) 24. Mr. Hyde / Escape / “Don’t Run From Me” (1:58) 25. 2nd And Main / Freight Entrance (2:53) 26. Finale (1:13) 27. You’re My Living Doll (1:02) (Vocal: Marlene Willis) 28. Escape (Alternate) (0:32) 29. Burning A Doll (Theremin) (1:07) 30. Doll Maker Machine F/X (0:31) 31. Party #3 Source (M51 Unused) (3:43) 32. The Tuning Fork (1:03) 33. Attack Of The Puppet People (1958) Theatrical Trailer (2:06) Total Time: 77:52

Da darf man sich nicht täuschen lassen - da ich den Film in- und auswendig kenne und der meine Jugend ziemlich geprägt hat (war mein erster eigener Kinobesuch mit 13 Jahren) kann ich sagen dass da auch ganz andere Musik im Film ist. Da sind mindestens zwei große romantische (und sehr schöne) Orchesterthemen - und das Sample das Intrada benutzt kommt beispielsweise im Film maximal nur 20 Sekunden lang vor. Ich vermute mal dass Fox einiges mehr geschrieben hat was dann zugunsten von Songs ausgewechselt wurde, denn tatsächlich verwendeter Score würde ich auf maximal 15 min. schätzen. Da freu ich mich auch auf das Booklet wo sie bestimmt auch auf das Chaos mit den Songrechten eingehen was eine DVD- und Bluray-Veröffentlichung (die deutsche DVD von Marketing/Laser Paradise ist eine nicht lizensierte Bootleg mit der TV-Fassung von RTL drauf) jahrelang verhindert hat - die waren nämlich nur für eine Kino- und TV-Auswertung lizensiert....

Danke für den Hinweis, aber bei dem Preis passe ich dann doch. Ist schon irgendwie Wahnsinn, wie sich das entwickelt.

Wer noch danach sucht, aktuell 1 CD bei Music Box: https://www.musicbox-records.com/en/cd-soundtracks/17024-star-wars-the-mandalorian-and-grogu.html

Ich bin tatsächlich auch sehr skeptisch. Die X-Akten sind bis heute eine meiner liebsten Serien. @Alexander Grodzinski hat es schon vortrefflich zusammengefasst. Ich brauche tatsächlich keinen Reboot und auch keine weitere Fortsetzung. Bei mir Enden die X-Akten nach der 9ten Staffel und gut 😁

Für mich bräuchte es kein Reboot. Lasst die X-Akten in Frieden ruhen Einer der Gründe, warum es so etwas Besonderes war und wir auch 30 Jahre später noch darüber sprechen, ist, dass es damals in den 90ern eine Revolution im TV war. Die Art der Geschichten, wie es erzählt wurde, die Charaktere, die Musik, all das war wie eine Initialzündung. Das kann man nicht einfach kopieren. Damals waren die X-Akten ein Ereignis. Ein Reboot ist nur eine weitere Serie unter unzählig neuen, die gefühlt jede Woche veröffentlicht werden. Ryan Coogler hätte eine neue Serie mit neuem Titel machen können, die im Geiste der X-Akten funktioniert. J.J. Abrams hat das im Grunde mit FRINGE schon gemacht. Aber klar, für Disney zählt natürlich der Franchise-Charakter, weshalb der Titel sein muss. Aber es ist ja schon klar, dass es neue Hauptcharaktere geben wird. Wobei es scheinbar durchaus Pläne gibt, Mulder und Scully doch irgendwie zu involvieren und sei es nur als Cameo. Ansonsten ist aber wohl niemand von der Ur-Serie hinter der Kamera dabei, auch Chris Carter nicht. Es sind also neue Produzenten und neue Autoren. Ein Neustart ist hier auch das einzig sinnvolle. Ich bin gespannt, ob sie die Titelmelodie behalten und Göransson die nur modernisieren darf oder ob man auch musikalisch ganz andere Wege geht.

Braucht es ein Reboot? Ich werde der Sache eine Chance geben, aber drehbuchtechnisch muss da einiges gegenüber den letzten Aufgüssen passieren. Da ist das Scoring für mich erstmal zweitrangig. Star Trek krankt auch an schlechten Drehbüchern. Die aktuelle Staffel Strange New Worlds, die gerade ausgestrahlt wurde, hat deshalb schlechte Kritiken wie nie zuvor bekommen. Und beim Scoring haben sie sogar das Niveau angezogen.

Das war spontan auch mein erster Gedanke, das klingt total nach Grusin. Nach dem einen Clip würde ich sagen, das reicht bei mir nicht für einen Kauf. Ewig schade, dass Sachen von meiner Wunschliste von Charles Fox von Universal und 20th Century Fox nicht kommen. Scores von Paramount wie hier mal wieder sind für Intrada vermutlich am leichtesten zu lizenzieren und Fox als Studio ist mittlerweile nicht mehr zugänglich.

BSX / DDR bringt zu Allerheiligen, so wie es aussieht, den Soundtrack zur TV-Serie „Friday the 13th: The Series“ von Fred Mollin. CD 1 enthält das Album von GNP Crescendo. CD 2 unveröffentlichtes Material. Und die Booklets sind vom Komponisten signiert.

Wow, noch ein Highlight: Charles Fox ist hier im Dave Grusin Sound unterwegs. Landet ebenfalls wie der Horner im Warenkorb.

Das X-Files-Reboot von Ryan Coogler schleppt sich zwar weiter dahin (es wurde bisher nichts gedreht), aber nun wurde mit Ludwig Göransson zumindest der Komponist für den Piloten bekanntgegeben.

Boah, das wird ein Fest für mich. Mein liebster Horner Zeichentrick-Score:

Ich kann mir auch nicht vorstellen, dass dir sein neuster Score gefallen würde @Sebastian Schwittay Aber den beiden großartigen Depslat Scores aus dem letzten Jahr (FRANKENSTEIN , JURASSIC WORLD) kannst du doch etwas abgewinnen, oder?

Ich auch. Hoffentlich gibt es noch mehr Konzerte nicht ganz so weit entfernt...

Ein paar coole Sichtungen der letzten Tage: PUPPET MASTER (David Schmoeller, 1989) Wirr erzählter Unfug über eine Handvoll parapsychologisch Begabter, die sich in einem Hotel an der kalifornischen Küste zusammenfinden und dort vom Adepten eines Puppenmagiers dezimiert werden. Zwar kaum spannend, aber die Puppen-Sequenzen sind next level Alptraummaterial (u.a. gibt es eine Blutegel erbrechende Frauenpuppe, die von einer der Hauptfiguren zunächst für eine Sexualpartnerin gehalten wird). Diese Szenen, von denen es zum Glück einige gibt, heben PUPPET MASTER dann doch in den Pantheon der besonders verstörenden Hotelhorrorfilme in der Nachfolge von Kubricks THE SHINING. Nach LEPRECHAUN und PUMPKINHEAD das dritte B-Horror-Franchise, das ich dieses Jahr anschneide oder zu komplettieren versuche. Ich muss zugeben: ich habe ein Herz für diese kostengünstig produzierten, aber oft sehr originellen Horrorreihen der VHS-Ära. (3,5/5) FAR AND AWAY (Ron Howard, 1992) FAR AND AWAY ist am interessantesten, wenn er Nicole Kidman lüstern den Körper ihres frisch gebackenen Ehemanns Tom Cruise erkunden lässt. Ein Meta-Film über eine ikonische Hollywood-Ehe, der sich einige Jahre später mit Stanley Kubricks EYES WIDE SHUT zu einer Art Diptychon formen sollte. Als Historienepos funktioniert er nur halb so gut, aber der 'Oklahoma Land Rush' im letzten Akt und das triumphale Schlussbild gehören zu den großen Momenten des 90er-Hollywoodkinos, die man unbedingt gesehen haben sollte – und das am besten auf großer Leinwand. (4/5) (Gesehen am vergangenen Samstag auf dem 19. TODD-AO 70mm-Festival in der Schauburg Karlsruhe.) MOUNTAINS OF THE MOON (Bob Rafelson, 1990) Abenteuerfilm über die Suche nach der Nilquelle im späten 19. Jahrhundert. Ein Film über Versehrung, Verstümmelung und den körperlichen Preis des Entdecker-Ruhms. In einer schönen Szene gegen Ende des Films vergleichen Patrick Bergin und Bernard Hill ihre Narben; in einer weniger schönen Szene zu Beginn bekommt Bergins Figur von afrikanischen Eingeborenen einen Wurfspeer durch den Unterkiefer gestoßen (und wenig später fressen sich Käfer durchs Trommelfell seines Expeditionskollegen Iain Glen). Im Kontrast zum schmerzhaft-körperlichen Realismus von Rafelsons Entdecker-Drama steht ein überragend schöner, romantischer Abenteuerscore von Michael Small, der im Einsatz afrikanisch-ethnischer Elemente Jerry Goldsmiths 90er-Abenteuermusiken wie CONGO oder THE GHOST AND THE DARKNESS vorwegnimmt. (3,5/5)

Danke für die Einschätzung. Werde den aber, aller Voraussicht nach, und wie so oft bei mir und Desplat, nur im Film hören.

Den Film fand ich sehr gelungen und die musikalische Untermalung hat mir auch gut gefallen. Will Bates kannte ich bis dato nich nicht.

Gefällt mir auch sehr gut. Film interessiert mich thematisch allerdings überhaupt nicht. Denke auch nicht, dass ich den jemals gucken werde. Bin da aus beruflichen Gründen leider thematisch zu tief mit verbunden, als dass ich mir sowas auch noch in meiner Freizeit reinziehen würde. 😄

WIDOWS BAY, David Fleming

Ja, klingt fantastisch

Somehow Gordy Haab returned Und das Ergebnis ist noch beeindruckender als das gerade erschienene Zero Company.Fettes Main Theme und reichlich sensationell orchestrierte Racing Action die wohl teil ungenutzt im spiel bleibt.Halb so lang wie ZC aber fast keine Downtime.Der Track Rhodochrosite Run hat bei 1.12min die geilste Passage seit Jedi Fallen Orders Fortress Inquisitorium.

Animals - Harry Gregson-Williams Matchbox The Movie - Alex Belcher I Cosacchi - Giovanni Fusco The Mask Of Zorro (Expanded) - James Horner Spy Kids (Expanded) - Elfman, Debney, Greenaway, Pereira, Rodriguez & LL Fear Street Trilogy - Marco Beltrami, Marcus Trumpp, Brandon Roberts & Anna Drubich

THE SOCIAL RECKONING, Alexandre Desplat

Ich finde die Filmmusik sehr kontemplativ und entspannt durchzuhören (ohne den Film gesehen zu haben). Die meisten Stücke sind relativ minimalistisch, viel Piano, manchmal etwas Synthies. Für mich eine angenehmes Klangbild. Ob es thematisch oder klanglich Bezüge zu der Musik von Trent Reznor und Atticus Ross gibt, kann ich garnicht beurteilen, da mir von dem Score damals nichts im Ohr geblieben ist. 8 von 10 "Likes" https://metalhead.club/@drmusic/117415274277373882

Zu dem Film "The Social Reckoning" von Aaron Sorkin (die Fortsetzung zum Film "The Social Network") ist Alexandre Desplat in die Fußstapfen von Trent Reznor und Atticus Ross getreten. Die Filmmusik ist seit dem 09.10.2026 auf allen gängigen Streamingplattformen zu finden. Tracks 01. The Social Reckoning (3:17) 02. Tomorrow's Headlines (1:39) 03. F*** (4:04) 04. Jeff (1:01) 05. Online (1:03) 06. Unplug (3:55) 07. MSI (2:12) 08. Celiac (1:42) 09. Published (2:19) 10. Frances Goes Home (2:22) 11. Psych Damage (1:59) 12. Likes (2:06) 13. Sleepless (1:55) 14. Chaos (3:56) 15. Waiting Room (4:30) 16. The Lament (3:45) 17. 72 Hours (3:54)