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  1. Caldera Records is proud to present Gerald Fried’s Oscar-nominated score for the motion picture “Birds Do It, Bees Do It” from 1974, directed by Nicolas Noxon and Irwin Rosten. Narrated by Lee Bergere, a beloved actor who had guest roles in every major television series in the 60s (including “Star Trek”), “Birds Do It, Bees Do It” examines the reproductive habits of bacteria, frogs, lions, kangaroos, elephants, monkeys, birds, rhinos, and others by showing in graphic detail how animals behave before, during and after sexual intercourse. The documentary did not shy away from its sensitive topic. Instead, it discussed sex as a natural part of life and aimed to educate its viewers. In fact, several college campuses decided to show the film to its students in the mid-70s, using the moving images of copulating animals as an educational tool. Fried had already worked on a number of Wolper productions when he was offered to score the documentary. It would be one of the most satisfying experiences of his career. Not only was he not subjected to a hair-rising deadline, he also had sufficient funds to execute his creative vision. When he saw the rough cut for the first time, the germ of an idea evolved – human beings portrayed in the film would musically be treated with tonal themes (Man Intrudes), while animals would get less organized, less thematic, but nonetheless tonal music (Kangaroos). Insects would be portrayed with electronic music and/or percussion instruments (Talking Insects), amoebas only with noises produced by synthesizers (Primal Ooze). In 1976, “Birds Do It, Bees Do It” received an Oscar nomination for Best Dramatic Score. It failed to win, but Gerald Fried’s glorious music for Birds Do It, Bees Do It stands the test of time and is not only one of Fried’s very best scores but also one of the best scores ever written for a documentary. The 32nd CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Gerald Fried Album Produced by Stephan Eicke, Jim Lochner Executive Producers for Caldera Records: John Elborg, Stephan Eicke Birds Do It, Bees Do It 1. Flowers Opening (0:58) 2. Flowers Growing (1:27) 3. Lizards (3:04) 4. Rattlesnake (1:02) 5. Buffalo Birth (3:09) 6. Maggots Eating Mouse (2:10) 7. Elephants and Lions (3:49) 8. Fight Aftermath/Growth of Pepsis/Wasp Embryo (1:53) 9. Frog Mating (1:13) 10. Talking Insects (3:08) 11. Chimp Lullaby (1:19) 12. Aphids (1:02) 13. Kangaroos (4:47) 14. Man Intrudes (1:43) 15. Trout (0:52) 16. Flirting Trout (1:37) 17. Trout Eggs (1:05) 18. Snails (2:34) 19. Cheetah Chase (0:54) 20. Artificial Insemination (1:03) 21. Primal Ooze (2:16) 22. Tarantula/Pepsis Wasp Fight (1:23) 23. Wasps (0:56) 24. Assorted Pickups (3:17) 25. Waltz of the Grebes (2:43) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/birds-do-it-bees-do-it-gerald-fried
  2. Caldera

    The Struggle Behind the Soundtrack

    Doch, ein eBook wird mit der Print-Ausgabe angeboten: eISBN: 978-1-4766-3700-6 Das eBook ist nicht auf der Verlagsseite direkt erhältlich, aber zeitgleich zur Buchversion auf den gängigen eBook-Seiten.
  3. Caldera

    The Struggle Behind the Soundtrack

    Verzeihung - es geht natürlich auch über Amazon.de :) https://www.amazon.de/Struggle-Behind-Soundtrack-Discordant-Scoring/dp/1476676313/ Ich entschuldige mich wegen des hohen Preises. Der stand leider nicht in meiner Macht.
  4. Caldera

    The Struggle Behind the Soundtrack

    Admittedly, it's not a Caldera release, but it's glorious regardless; and it's about film music - yay! In August, my book 'The Struggle Behind the Soundtrack' will be published in the US. Its aim is to examine the current working conditions for composers in film and television - in Hollywood and beyond. How have temp tracks and digital editing influenced their work? Is it still possible to deploy long, sustained melodies in modern blockbusters? How has orchestration and ghost writing changed over the decades? (And who employs ghost writers? Is it just everybody?) Part of the book includes an in-depth analysis of Hans Zimmer's Remote Control Productions and the influence he has had not only on film music. For the first time ever, the set-up of Zimmer's company is examined via in-depth interviews with assistants, interns, programmers and co-composers. In essence, the book should (hopefully) answer the question of how we got where we are now in film music by covering the effects of temp tracks, digital editing, companies such as Cutting Edge, elaborate sound design, and much more. Although it is not a collection of interviews, I did interview over three dozen of composers, editors and sound designers such as Angelo Badalamenti, Klaus Badelt, Lorne Balfe, Marco Beltrami, Bruce Broughton, Carter Burwell, Mychael Danna, George Fenton, Murray Gold, Henry Jackman, Abel Korzeniowski, David Lynch, Walter Murch, John Ottman, Rachel Portman, Alan Silvestri, Randy Thom and Christopher Young. They are quoted in the book. Here is a link to my publisher's homepage: https://mcfarlandbooks.com/product/the-struggle-behind-the-soundtrack/ And amazon: https://www.amazon.com/Struggle-Behind-Soundtrack-Discordant-Scoring/dp/1476676313/ And unfortunately I had to set up a Twitter profile, so follow me for some nuggets: https://twitter.com/EickeStephan (If you find some grammatical errors and spelling mistakes in this post, don't you worry - my book was proofread by several native speakers.) I hope my book can clear up some misunderstandings about the current film music landscape, answer some questions and provide brilliant entertainment of the highest order. It's not an academic book with fancy language, rest assured. I don't like those myself.
  5. Caldera Records is proud to present the score for the motion picture “Ambition” from 1991, directed by Scott Goldstein, featuring music by Leonard Rosenman. Actor and writer Lou Diamond Phillips developed a story about an aspiring writer who has trouble finding a job, and has to support himself – as most aspiring writers do – by working odd jobs. His character Mitchell Osgood runs a bookstore when one day he stumbles across a potentially interesting story. If he can investigate and write it down, so Mitchell thinks, it could be his big break as a journalist. The subject of his investigation is a man named Albert Merrick, a serial killer who is up for parole. Who is this man, Mitchell wonders, and what motivated him to commit the awful crimes he was sentenced for? One of the stars of the film is, undoubtedly, a man behind the scenes: Leonard Rosenman. It was clear to Rosenman and Scott Goldstein that the score should have a progressive, rather than conventional harmonic structure. They agreed that this would help to underscore Merrick’s (the antagonist) horrific, troubling visions and this approach would help capture his state of mind musically. Goldstein suggested Rosenman play him some of his concert music as a blueprint for “Ambition”. Encouraged to be able to draw upon his “progressive” work for the concert stage, Rosenman presented Goldstein with “Foci”, a work for chamber orchestra that the composer had written in 1981 and revised in 1983. Goldstein loved what he heard and commenced to use “Foci” as temp music for “Ambition”. “Foci” is an atonal piece, complex and full of anxiety – exactly what Goldstein needed for his motion picture. The 31st CD-release of Caldera Records – a world premiere – features a detailed booklet-text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Leonard Rosenman Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke Ambition 1. Main Titles (3:23) 2. A New Project (1:31) 3. A Sleepless Night (1:40) 4. Albert Merrick (0:27) 5. The Worst Nightmare of the Day (1:48) 6. Confrontation (1:24) 7. What Makes Him Tick? (1:01) 8. Visions (0:41) 9. Room 301 (1:51) 10. Brave and Brutal (1:02) 11. A Good Friend of Mine (0:37) 12. Cancer, Psychosis, Anything (0:49) 13. Does It Hurt? (1:22) 14. A Matter of Timing (1:40) 15. Where is Mitchell? (0:45) 16. Cat and Mouse (2:02) 17. On Knife’s Edge (1:20) 18. Help Me Out (3:35) 19. On a Sinister Mission (1:26) 20. Jordan (1:04) 21. A Tasty Drug (0:54) 22. Against the Clock (4:12) 23. The Final Duel (0:55) 24. End Credits (3:51) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/ambition-leonard-rosenman For more information please visit: http://caldera-records.com/portfolio/ambition/
  6. C6030 Caldera Records is proud to present the score for the motion picture “The History of Eternity” from 2014, directed by Camilo Cavalcante, featuring music by Zbigniew Preisner. The History of Eternity tells of not one, but three love stories. The focus is on three women: one of them is a teenager (Débora Ingrid), the second one is in her 40s (Marcélia Cartaxo) while the last one is in her 60s (Zezita Matos). The male cast consists of Bahian musician Léo França playing a blind accordion player. Irandhir Santos portraying a Sertanejo artist suffering from epilepsy. Claudius Jaborandy offers a counterpoint to these artists as a rather pragmatic man more concerned with material goods. The three stories happen simultaneously and intertwine, but are given separate titles: Chicken Foot, Goat Foot and Urubu Foot. Since two of the three main characters play musicians (and one of them is a musician in real life), it’s only natural that music becomes an integral part of the story. Preisner provided music that Cavalcante described as something that lent some Eastern European melancholy to the film. One of the key ideas of the score is using the guitar, which actually ties in together with the story and the usage of songs in the narrative. There is a very strong culture of so-called “Sertanejo” music which could be best described in terms of how country music is regarded in the United States. The score was awarded the Cinema Brazil Grand Prize, the Brazilian Oscar. The 30th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke The History of Eternity 1. Main Theme (4:07) 2. Goodbye (1:52) 3. Funeral (2:00) 4. The Call (1:42) 5. Absence (1:19) 6. Quarantine (1:18) 7. Sunrise (1:44) 8. Moonrise (3:47) 9. Water (1:34) 10. The Hunt (2:39) 11. Re-Discover (2:43) 12. Rain I (2:03) 13. Sad Heart (2:52) 14. Another Day (0:39) 15. Rain II (0:46) 16. Arrival Song (0:42) 17. The Sea (1:30) 18. Desire (3:05) 19. The Journey (2:49) 20. Memories (1:10) 21. Main Theme – Version II (1:12) 22. Passion (3:42) 23. Timeless (2:50) 24. End Credits (4:10) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/the-history-of-eternity-zbigniew-preisner For more information please visit: http://caldera-records.com/portfolio/the-history-of-eternity/gallery/soundtracks/
  7. C6029 Caldera Records is proud to present the score for the motion picture “The Baby” from 1973, directed by Ted Post, featuring music by Gerald Fried. The motion picture, marketed as a horror film, tells the story of a dedicated social worker takes on a case involving a grown-up man still in diapers. It doesn’t take long for the disturbed social worker to figure out that ‘Baby’s’ family deliberately keeps the retarded man-child from maturing. There are even more disturbing facts to note: the disappearance of previous social worker being the most unsettling. But lo and behold, the new social worker finds herself confronted with the ‘Baby’s’ family who, so it seems, is out to silence her. Gerald Fried’s music provides a phonic reminder that things may not be as presented; a harmonic harbinger of hidden dread. Fried’s resonantly descriptive dissertation is centered around a somber and melancholy etude, offered first in cello solo (performed by the esteemed Edgar Lustgarten), and expanded into a dreamlike lullaby, which sustains the film’s emotional capital throughout. This forlorn, needful melody acts as a guiding constant with the netherworld atmosphere created by Gerald Fried’s eerily sublime orchestration – a creepy and unsettling realm of threatening rattles, hypnotic chimes, and nightmarish music box tinkling. The 29th CD-release of Caldera Records features a detailed booklet-text by David Fuller and Stephan Eicke and elegant artwork by Luis Miguel Rojas as well as an exclusive audio commentary by Gerald Fried. The CD was produced by Stephan Eicke and John Elborg. Music Composed and Conducted by Gerald Fried Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke The Baby 1. Main Title (2:49) 2. Meet the Baby (0:37) 3. Sitter (0:54) 4. Evil Eye (0:55) 5. Hatchet Wielders (0:37) 6. Slides (1:39) 7. Maloche (0:30) 8. Germaine (1:06) 9. Anne’s Closeup (0:53) 10. Ruth Complains (0:32) 11. Anne and Baby Gone (1:17) 12. Baby Dressed Older (1:11) 13. Night Approach (2:28) 14. See You in Court (0:57) 15. Knife Job (0:44) 16. Sneak Racy/DOA (6:30) 17. Second Hatchet (0:39) 18. Excavation (1:44) 19. Pool Games (1:41) 20. The Baby (Guitar) (1:49) 21. The Baby (Piano) (3:51) 22. Party Music (2:52) 23. Dance Music (4:32) 24. Dennis (4:39) Bonus: 25. Audio Commentary by Gerald Fried (7:14) Listen to a 5 min clip here: https://soundcloud.com/alderaecords/the-baby-gerald-fried For more information, please visit: http://caldera-records.com/portfolio/the-baby/gallery/soundtracks/
  8. Caldera

    LADIES IN BLACK von Christopher Gordon

    "muss" sowieso nicht. Christopher Gordon bevorzugt es, seine Musik auf dem eigenen Label zu veröffentlichen. Für 'Out of Shadows' hatte er mehrere Angebote von Labels - unter anderem von uns - hat aber höflich abgelehnt. Das hat mit der Popularität der Filme gar nichts zu tun.
  9. Caldera Records is proud to present the score for the motion picture “Valley of Shadows” from 2017, directed by Jonas Matzow Gulbrandsen, featuring music by Zbigniew Preisner. The story of “Valley of Shadows” was inspired by a wide variety of sources, mostly going back to the director’s childhood: “I am interested in fables and allegories, in mythology and children’s tales, these stories that we often believe are regional but are actually extremely universal, sometime with a moral and often with joyful gravitas. One example is Draumkvedet (The Dream Poem), a Norwegian ballad from the Middle Ages. I read a lot when I was a child – traditional stories of course – but especially Swedish literature for children. As a child, I thought a lot and was hungry to learn. Reading Bruno Bettelheim was also something that I draw greatly from.” When it came to selecting the composer for the film, Gulbrandsen used his familiarity with the Polish film industry to get in touch with a living legend of the field. Born in Bielsko-Biała in 1955, Zbigniew Preisner has been composing music in his native Poland since the early 1980s. He is best-known for his work with Polish director Krzysztof Kieślowski on his epic “Three Colors” trilogy. The collaboration with Gulbrandsen was ground-breaking in more than one sense for the composer – it wasn’t only the fastest score he has ever realized, but it also introduced him to new concepts as he explains: “Jonas had the vision of having mostly electronic music, that it should be narration in film, and that it should be played from the beginning to the end. I am not fan of such usage of music in film but in this case, the director turned out to be right. The combination of symphonic and electronic music gave an amazing effect, though this was the first time I used so much electronics for a picture.” For the highlights of the score, the combination of electronic and symphonic elements is augmented by the voice of Lisa Gerrard who appears in both Valley of Shadows and Valley of Shadows – Wake Up. Connected by the middle passage entitled Odyssey, this 18-minute long, almost continuous segment underscores the moments as Aslak finds something he cannot comprehend. The 28th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai and elegant artwork by Luis Miguel Rojas. The CD was produced by Stephan Eicke and John Elborg. Music Composed by Zbigniew Preisner Album Produced by Stephan Eicke Executive Producers for Caldera Records: John Elborg, Stephan Eicke 1. Aslak's Dream (1:16) 2. The Calling (9:47) 3. The Shadow (3:10) 4. The Forest Gate (3:13) 5. Alas (3:38) 6. Search of Lost Time (4:22) 7. Moon (1:16) 8. Journey in the Woods (7:24) 9. Before Dawn (6:59) 10. Valley of Shadows (3:52)* 11. Odyssey (12:07) 12. Valley of Shadows – Wake Up (1:20)* 13. Metamorphosis (7:22) 14. Afterlife (3:59) * Vocals by Lisa Gerrard Listen to a 5 min clip here: https://soundcloud.com/alderaecords/valley-of-shadows-zbigniew-preisner Fore more information please visit: http://caldera-records.com/portfolio/valley-of-shadows/
  10. Was lange währt und so...: http://www.soundtrackcorner.de/the-lost-children-of-planet-x-p8088.htm?osCsidX=e0d4ca5c279ecc8bd3db027daaaa3a42
  11. Der/die Clip(s) sind repräsentativ. Konzertantes/Opusmusik wirst du nur hören, wenn das Presswerk aus Versehen Beethovens Neunte auf deinen Silberling gepresst hat.
  12. Hm, vielleicht mag der Herr Riedrich uns auch einfach nicht. Nee, nee, fünf Minuten reichen schon.
  13. Super, wir haben einen Kunden! :) Die CD kannst du beim Soundtrackcorner ordern, sobald Herr Riedrich sich entscheidet, sie online zu stellen.
  14. Caldera Records is proud to present Christopher Young’s and Bob Badway’s concept album “The Lost Children of Planet X”. In the daily grind of film scoring, composers are often left with great bits of material that they love, but for various reasons were dropped from the scenes they were written for. Sometimes these pieces find new life in other films, sometimes they are buried forever, or sometimes they are resurrected – as in the case of Christopher Young and his latest album. Young’s re-working of these tracks into a concept album was something that started as a passion project, and it wasn’t until 2011 that this material was woven into the form we hear now. Precursors and inspirations for the music/dialogue include In Held ‘Twas In I by Procol Harum and Frank Zappa’s Lumpy Gravy as well as the Beatles’ 45ers. From the world of classical music, the primary inspirations were Luciano Berio’s Laborintus II, Ages by Bruno Maderna, and Karlheinz Stockhausen’s Gesang Der Jünglinge. “The Lost Children of Planet X” is very much a spoken word drama, filled with surrealism and dream logic. Explains writer Bob Badway: “When you listen to the album, you get an overall picture of what’s going on, but have trouble visualizing it because the details are screwy and everything seems to be in total contradiction.” The album is filled with Easter eggs in terms of casting and the lines delivered. Young himself appears as the booming voice of King Everett, while also delivering a few odd quips here and there, including his personal favorite, ‘Help me God, please help me!’ As a bonus, eight purely instrumental tracks are included that accompany the adventures in space. “The Lost Children of Planet X” is a highly unusual album – not only for Young and Caldera Records. We hope that people will find great joy in going on this 80-minute psychedelic trip. We had a blast working on it. The 27th CD-release of Caldera Records features a detailed booklet-text by Gergely Hubai, elegant artwork by Luis Miguel Rojas and Helmut „Dino“ Breneis, who provided the original illustrations. The CD was produced by Stephan Eicke and John Elborg. The Lost Children of Planet X 1. King Everett Speaks (18:05)* 2. X2 (11:08)** 3. Round and Round (27:41)* Bonus: 4. Chart I (2:52) 5. Chart II (2:12) 6. Chart III (2:42) 7. Chart IV (2:55) 8. Chart V (2:32) 9. Chart VI (3:07) 10. Chart VII (2:45) 11. Chart VIII (3:04) Music by Christopher Young *Spoken Words by Bob Badway and Christopher Young **Spoken Words by Bob Badway For more information please visit: http://caldera-records.com/portfolio/the-lost-children-of-planet-x/ Listen to a 5 min clip here: https://soundcloud.com/alderaecords/the-lost-children-of-planet-x-christopher-young
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