Morricone’s second collaboration with director Sergio Leone only yielded 14 minutes of recorded music, but every second counts. The shards of soundtrack came first, with the film shot to them – a revolutionary way of working that placed much more emphasis on Morricone’s contribution. Utilizing sound effects, whistling, jew’s harp and bells, he created an eerie soundscape on the theme, but it’s “Carillon,” written for the music pocket watch, that steals the show, the tension and fear building as the music slows.
By Michaelangelo Matos on 12.18.12 in Reviews
We can call the Quentin Tarantino soundtrack a legitimate subgenre of its own now, can't we? After all, the director has said that he constructs his scripts partly by crafting accompanying mixes. Naturally, Django Unchai...
By Joe Muggs on 01.23.11 in Reviews
If you ever really need to demonstrate the Maestro's range, this is the album you need. There are no sweeping orchestral themes or sophisticated grooves, just the most brain-sizzling sonic experimentation, unsettling moo...
By Chris Nickson on 01.23.11 in Reviews
Although it dates from the tail end of the decade, Morricone's soundtrack for L'Alibi is very '60s cool, packed full of tasty Farfisa organ flourishes, as well as the sly, inventive percussion that would become one of hi...
By Andy Beta on 01.27.10 in Six Degrees
It used to be easier to pretend that an album was its own perfectly self-contained artifact. The great records certainly feel that way. But albums are more permeable than solid, their motivations, executions and inspirat...