Review: Those who've seen acclaimed sci-fi flick Arrival should be familiar with Max Richter's "On The Nature of Daylight"; two interpretations of the piece are used to open and close the movie (a move which subsequently made the soundtrack score ineligible for the Oscars). This EP gathers both variations of the neo-classical piece on one slab of wax. The A-side version, used at the beginning of the film, sees Richter's swooping themes and intricate, intertwined melodies played by a string quintet. On the flip, you'll find Richter's full orchestra recording, a slightly more grandiose - but no less poignant - interpretation that's utterly cinematic in feel.
Review: Label co-founder Gianni Vercetti Balopitas aka Vercetti Technicolor returns to Giallo Disco after the Black September LP. Here he presents the soundtrack to 'the psychedelic neon-soaked slasher short' Hard Pill. Directed by Daniel Freedman, Balopitas' Fulci meets Digweed score takes you from Mainetti to Martinez. Drugged out club hits and tense shadowed corridor atmospherics. The title track's dark romance is epic suspense and moodlighting reminiscent of the great John Carpenter while B side electro cut "Voice Of Darkness" goes down the same gothic brooding path as Visonia. It all comes to a thrilling climax on the slow burning closer "She Does" full on rich vintage synth flar, ricocheting Linn drums drenched in gated reverb and the most razor sharp arpeggios you'll ever hear. Alongside Timothy J Fairplay's LP on Charlois, we'd rate this as one of the 2017's finest offerings for new wave Italo fiends and retroverts.
Review: Martin Jenkins dons the Pye Corner Audio alias once more, transferring to Death Waltz in order to deliver the soundtrack to an imaginary horror film. It's naturally an all-analogue affair, with Jenkins making the most of his impressive collection of vintage synths, analogue drum machines and effects units. There's much to enjoy from start to finish. Check, for example, the ghostly chords, foreboding bassline and spacey electronics of "Do You Hear Then", the creepy, Carpenter-ish horror-ambience of "It May Not Be Real", the evocative late night paranoia of "Descent" - which is similar in tone to some of Jonny Jewel's soundtrack work - and the clattering dancefloor throb of "The Spiral", whose bassline, beats and darting melodies are just begging to be played over a booming club soundsystem.
David Bowie/The Rebels - "Revolutionary Song" (4:42)
Marlene Dietrich - "Just A Gigolo" (3:34)
Review: Here's something to get Bowie fans hot under the collar: a first worldwide pressing of the Thin White Duke's "Revolutionary Song", his only contribution to the soundtrack of 1978 West German flick "Just A Gigolo", in which he also starred alongside silver screen legend Marlene Dietrich. The song was recorded with a local band of musicians hastily dubbed "The Rebels" and sees Bowie in classic crooner mode, adding his distinctive vocals to a jangly, largely acoustic number that's effectively a folksy take on waltz. Over on side B there's a chance to enjoy one of Marlene Dietrich's last ever recordings: an atmospheric cover of 1930s cabaret standard "Just A Gigolo" which ended up being the movie's title track.