Enter Stuart Braithwaite and Dominic Aitchison’s sound saloon!
(John Carpenter, 1978)
SB: It’s very ahead of its time. The music is very modern, using early programming, and it’s very evocative of being chased by a c**t in a Captain Kirk mask. And it works as a piece of music as well.
DA: It’s very fat-free, like most of Carpenter’s soundtracks.
The Exorcist II: The Heretic
(Ennio Morricone, 1977)
SB: It’s a fairly shite film, but the soundtrack’s amazing. Again, it is ahead of its time, and it’s also very proggy. A belter.
(Cliff Martinez, 2002)
DA: It came out on CD on a stupidly short print run and I really wanted it but I didn’t want to spend the money. Martinez got given a set of steel drums, and it’s really hard to produce something like that, but it sounds brilliant. It’s all spread out, but it’s still sparse.
Requiem For A Dream
(Clint Mansell, 2000)
SB: It’s a classic string motif that ‘dings’ straight away with the movie. He does a lot of great soundtracks as well – High Rise is amazing. But sorry, Clint, you’re not getting two…
(Wendy Carlos, 1971)
SB: Wendy Carlos’ Moog versions of Beethoven, and the theme itself, are fucking amazing. Orbital came on stage to that once and it really worked. Plus the film is so strong and so shocking that as soon as you hear any of the music, you’re thinking about maniacs running around causing havoc.