Can't Stop the Music - Village People

It's March, and I have been doing this now for 3 months, so let's keep up the steam and keep on going with this classic. When you find out the history of this record, its very funny that this is what its titled. This is the sixth studio release, if you include the Sleazy half of Live and Sleazy. This is a soundtrack to the movie of the same name, titled after the production company Can't Stop Productions. This movie is, how can I put it, ridiculous. This is also the first record not to feature original lead singer Victor Willis. Though he did write the words to Milkshake, Magic Night and obviously the previously released YMCA.

1. Can't Stop The Music: The first track, which also happens to be the title track and the last in the movie (big finale). The biggest problem is this song is too long in the movie, and while is catchy, it goes a little too long. As catchy as In-A-Gadda-Da-Vida is the middle percussion solo goes a little too long, nothing really happens. This is much of the same..... In the film at least.  It wasn't until I heard the full version on its own that I really "got it". Then I realized, this song is actually not half bad. It's kind of good, which is odd, but it's good. Like I can't listen to the album 3 minute edit, I need all 7 minutes of it baby. Really it's much like hearing an edited version of Love to Love You, Supernature or any extended cut that you really need all 10+ minutes of. The song is very tastefully arranged, has some great vocals and is one of the best disco songs I have heard. It's very fun, even though I can sing In the Navy in the beginning, and you can dance to it. Wasn't that the purpose of disco? Besides appealing to Gay men. The bass on the song also tops what most rock bands could ever dream of playing. It's just I wish there was more variation. Not to say there isn't, but if I'm not in the mood the longer instrumental part can be a bit grating. It was for the review, but literally ever over time I listen and dance in the car it goes by so fucking fast. Maybe it's because I have to sit and listen and can't move you know. Fighting the natural order of the song. But at the end of the day I feel like an injustice was done, it's like an edited version of a song [on the album]. This isn't Let's Go Crazy, we need the whole thing. Plus it doesn't kill the momentum of the song having the whole thing either.
2. Samantha by David London: With an introduction that reminds me of My Sharona, and a glam rock inspired by a Rocky Horror, this song isn't anything to rave about. Well maybe more along the lines of a chorus off the more popular Styx songs. It makes me smile a bit because of that, but they did it better than David London. This song is pretty easy to take, but as easy as it is to hear it is to forget. Like I forgot about it in between listens.
3. Give Me A Break by The Ritchie Family: This tune isn't half bad, but there is something that keeps me from loving or wanting to revisit this track. I couldn't wrap my finger around it until listen number 3 that I understood. That's when I realized it wasn't that great of a song. I mean there are better songs on the album, why does this group have to be on the album. Really it's a pretty boring song. I mean I feel like it's kind of trying to evoke other songs that I think are better. Some songs include Bad Girls, My Prerogative (I know that's from 1989) and throw in kind of generic disco sounds. The bass also reminds me at one point of Good Times. For whatever reason.
4. Liberation: As much as I feel this should be looked at as campy and just clearly a pro-gay song, I can't help but want to chant along. It's also pretty hilarious when in context of the film, but when not its kind of a fun song. I mean it's very very very heavy handed, but I don't care. I mean this isn't I Am What I Am. Also there is some nice guitar in this song that I didn't think I'd hear in a disco tune. Tasty. I also like the dual guitars in the song. This is like a sort of good bad. Like I roll my eyes when I hear this, but I feel like there is a possibility it could be kind of good. Not like the title track, but like, it's not the worst thing I've ever heard and it's far better than the last two songs. And also has more potential.
5. Magic Night: This is such a happy song, this is one of two songs I bet will be stuck in your head. It's funny how simple the words are, but how infectious this song truly is. It's the kind of infectious that you only get from innocence, or ignorance (on part of the performer). Who cares, it's great and makes me want to dance and got some nice four on the floor. Thought, I don't think the drums sound that good... but that could just be the MP3. I could hear someone saying it sounds sped up, and when you pay deep attention it kind of feels a bit sped up, but when you just hear it without that it doesn't. But then again I could be a bit buzzed and that's why it feels a bit sped up, at the end of the day it's fun, dance-to-able and memorable. Nice disco tune, and nice guitar licks.
6. The Sound of the City by David London: If anything this reminds me, vocally, of Elton John. Seriously, this sounds like his vocals on Philadelphia Freedom. In fact if this was a little more orchestrated and lavish sounding I'd bet this could be Philly soul instead of disco/dance pop.  The introductions to the songs seem top be rather weak. The thing that sucks is that I remember liking this tune so much more in the context of the film instead of by it's own self. I also can't get behind the orchestra hits. It's like over use, Horrace what the fuck were you thinking. This is a disco tune, not a Bond theme. Also the tune is far too long. But really, this has too much orchestration, it doesn't really make sense to me.
7. Milkshake: Like most of the songs in this movie, they are so stupid. This is the stupidest, but it's also by far the catchiest. It's got that same happiness in Go West, but its so stupid. If you take the corniness of the 90s kids commercials extreme, and up the anty to making milk glamorous. Also get this, not just glamorous, the exact line in the movie for what they were going for "we're going to make milk more glamorous then champagne". This plays during the commercial that attempts to do that. This also happens to be the length of at least 3 commercials, maybe 4. I don't think I can exaggerate how dumb this is. But its also one of my favorite songs on the album, and is a favorite of all time. The intro to this is so musical, the beat and vocals work great and the strings are just ON. I can't find anything wrong with this song. On its own its great, the text of the movie elevate the like-ability of it. The only down side is I wish they took the " one more time" and repeated the song again on the album. PS they don't do it once more. 
8. Y.M.C.A.: The only real difference between this and the Crusin' version from 1978 is Ray sings this, if I'm correct. I am saying that because the vocals sound a little different. Ray does sing in a similar style as Victor, but I don't know. I really can't say anything else other than, in the film it was PG and you see a few schlongs (not counting), and its during this number. Also the girl's (1) topless too, at a part, so I guess it's even....... Kinda. Oh I also prefer the original. When I revisited it I heard more guitar in the track, but that's really the only other main difference. Also I think i hear a clavichord in this version. The charm of the original isn't really present on this version. Maybe because Ray sounds more like a homy polone than the butch that Victor was. Ray also isn't as emotional and soulful. Like this feels less energetic.
9. I Love You to Death: This tracks sung by the Construction Worker. Now I wasn't sure if this should be highlighted or not. This is easily the most rocking song by the group I heard. It kinda of makes me think Rocky Horror meets the Flight of the Conchords' tracks Love Is Your Weapon of Choice and Demon Woman. If that sounds interesting check it out. But in the movie it sounded a little off. I couldn't figure if the vocals were off tempo, pitch or choppy or if the instrumental was one of those. It took me multiple listens to get what the hell was "off" about this track. Also, did anyone else who saw the movie think this was one of the gayest things they have ever seen. The scene, with the imaginary music video of sorts. The sort of breakdown could so be in the Rocky Horror musical. Really it would work quite well there. 
10. Sophistication  by The Ritchie Family: This is probably the worst track in the entire movie. It's so bland, uninteresting, stereotypical disco female vocal group. It's like a bad Donna Summer's track of the time. Even though some tracks are repetitive and some are cheesy as hell, this is the least interesting and easily forgettable track here. I mean I began to tune out about 30 seconds into the singing and, the only interesting part was the woman's breasts. Seriously. 

Overall I have to give this album a 6/10. This could quite possibly be the most consistently good album released by these guys. And with that in consideration..... That kinda makes this their best record. Now when you make pop music you want a catchy song, good hook, and for it to stick with you. There is enough variety, where there isn't on past records, and futures ones also. If you watch the movie I dare you to get Milkshake, Liberation or Magic Night out of you head. It can only be done with extensive time away from it, or therapy. And still they play in your head and don't leave when you utter the titular phrases. But seriously, this record isn't half bad. And even without the other artists considered, each song by the group isn't extremely similar. They all have their distance sound and idea. There isn't nearly as much overlap musically as on Crusin', Go West, Village People and so forth. Please do me a favor and check this out if you want to just have fun. 

Heretic: Jeux des Dames Cruelles - Naked City

This is the third studio album, and only soundtrack, released by John Zorn's super group Naked City. This is my first Naked City review, and since I like this album (a favorite of mine) I decided to review this. I also decided to review this keeping in the themes of Flith [;)] and more dark side of things..... what "scares" me I guess. I haven't been able to find the this film on the internet, thought if means anything I sat thought The Elegant Spanking which Zorn also scored. I would rather not relive this film, it's kinda boring but also if you can look past the kind of slow pace.... It's hilarious. Plain and simple, it's just so.... I feel like I could have written that script. So that should be saying something. The music did thought add to the experience, so I am kinda 'pissed' I couldn't find a copy on the interwebs of this. Thought based off the cover, and the inside photographs from the film, it's probably much more hardcore. I'm also not really into anything that isn't.... I don't like pain, plain and simple. However I should stop wandering and review this album. Playing on this record we have Yamantaka Eye (I should really do a Hanatarash and Boredoms review soon) on vocals, John Zorn on Alto Saxophone, Bill Frisell on Guitar, Wayne Horvitz plays keyboards, Fred Frith is on bass and Joey Baron is the drummer. But this album is pretty awesome, so let's get it on. Also I though, since the last review was a soundtrack, why not do another. One I much better like. Because they conveniently listed each player on each track in the liner notes (well back cover), I decided to mention them by name. I also would like to note I hope to have another review up tomorrow. This was intended for last Thursday.

1. Main Titles: With this track, featuring Eye, Horvitz and Baron; we get the opening to the album. It also serves as the main titles to the underground S&M film Jeux des Dames Cruelles. This opens the album, and is very odd sounding. The first time you hear it you almost have to wrap your head around what's happening. What I imagine is a they were in a room and they are just hitting a bunch of chimes and electronics and, it's crazy. It makes me thing that drums also includes percussion (though it isn't listed). It's not the most extreme thing I've heard, it almost sounds watered down listening to it now.... But it's still a great track in my opinion. And Watered Down in making it more accessible vs making it stupider and less good. Does that makes sense
2. Sex Games: This is kinda of the exact opposite of the last track. Where that was very improvised and loose, this kinda of has a very jazzy structure, be it a loose one. Frisell really sounds like he's playing if Pink Floyd did jazz. And I also like the contrast in rhythm of Frith's bass. It isn't exactly in sync with anything really. Don't get me wrong this is loose, but it's loose like..... well..... I hate to say this but.... Like if they were stoned and they played. It's still there, but not completely. But then I also feel like Baron wouldn't be having those drum bursts if he toked up before hand. It's not until about 30 seconds until the song kinda melds and works cohesively. But I kinda feel like it came together the same way It's Gonna Rain fell apart. They way they were playing eventually it would sync up, like that ones eventually it would unsync. Though there is a clear difference between this and that... that's what I liken it to, loosely. Like after that if you listen it's still together, but not completely again. I do like the razor sharp sounds the guitar is making and those bass "scales" damn. Plus while I've heard faster drumming, I still gotta hand it to Joey for keeping it together, but at the same time not.
3. The Brood: There is a very Ennio Morricone atonal film score piece feeling I get to this track. Zorn's Sax tricks you into thinking it's a string instrument. Or maybe that's Horvitz's keys playing a string sample. And throw in Joey's drums and you have one unsettling piece that is giving me goose bumps. And Zorn doesn't over do those squeals. They make the track more uncomfortable.
4. Sweat, Sperm + Blood: What's better than a Yamantaka eYe and John Zorn alto saxophone and voice harmonization in the beginning of your track. If I'm being completely honest, I kinda like that backing him up vs the Boredoms. While I haven't even come close to hearing everything by them, or everything by Hanatarash I think he's best fit here. There is a part where he does this sound where it sounds like a growl (stomach) and it's kinda funny. But serioulsy, this type of piece where it's just voice and what not.... It blew my mind when I heard this. Fuck Mike Patton was inspired to do his first solo album because of Eye. So I mean the sounds he produces with his voice, and the saxophone accompanying him. Let's just say The Classic Guide to Strategy would easily be an lot if Eye was on it.
5. Vliet: The only name I've ever seen with Vliet is Don Van Vliet. So this could be a tribute to him, it also could just be a coincidence. I love the funky bass paying here, I also love the very Residents' guitar of Nolan Cook playing on the track. This guitar sounds like it'd fit on one of the newer albums with him playing on it. It's very short, and I kinda wish there was a bit more. But I also don't know how long the track would be able to keep my interest. But I also don't haven't any lack of faith when it comes to these guys, and this album. So it's more of a devils advocate for me.
6. Heretic 1: The first of three title tracks, and this intro reminds me so much of Oingo Boingo. The rhythm and it's great. I love the guitar on this and the sax. This isn't really industrial, at least I don't think it is, but I have a very machine like quality to it. It kinda almost sounds like a backwords version of an Oingo Boingo rhythm section. With Saxophone shrieks. also it's just sax and bass. I think the saxophone is what really give it that feeling. And eventually before I can even really realize it, I doesn't remind me of what I was just listening to. Prominent bass and sax, also solid bass playing here. Then just saxophone before going into what sounds like a sped up backwards tape fuck of a storm. It's very interesting sounding. Like I can Imagine someone sticking their penis into that tape machine and having sex with it and then that is what caused the atmosphere of the track.... And considering what type of film this is sound track to, that might not be that insane.
7. Submission: I wonder what happens at this part in the movie. And to be honest, I don't really know what to make of this track. There is a feeling of a motif with the guitar, like I could imagine someone walking around or being more innocent maybe. That might be a stretch, but still. And it's funny, the guitar and the drums are together, but off, there are only seconds where it could be a "theme" in the conventional sense but not long enough to be able to be one. This actually reminds me of a Zappa track that I am blanking on at the moment. This is a very drum based track, and while I kinda whish it had the drum playing of Han Bennink on it, Joe does a great job none the less. There there is a part where it sounds like the guitar is playing a loop of a section of the South Park theme. Also the keys on this track make it more atmospheric (thought it could be looped guitar) but it adds a really nice texture here. And oddly enough the song gets more aggressive, or irritated as it progresses. In terms of a movie, what plays in my head is the sub is tired and over throws the dom. Maybe kills or hurts the person. That's what played in my head, scene wise. And then the reflection of no wait no. I could totally imagine a silent film being played with this playing to a scene. And while the drums at the ending might make more sense when you see it in practice, I can't say I feel the solo drums are necessary.
8. Heretic 2: This has to have a backwards bass on it, al thought the drums kinda sound backwards a bit too. The only part I can say that I know is forwards is the sax. This isn't all to much like the first Heretic. I mean, yes it's similar and could be a continuation or a variation, but I don't know. I get a different feeling with this one. Its not so "industrial" and more in like with the other tracks.
9. Catacombs: There is a very ambient feeling of this track, and what sounds like a saw. That saw is what I'm assuming is the keyboards on the track. While I haven't heard anything in the genre, the best way I can describe this is "dark ambient". There is a bit that reminds me a tad of Delìrium Còrdia and maybe other Fantômas tracks. Just bursts of that group in the track.
10. Heretic 3: With the same Zorn, Horvitz, Baron line up tha was on the second part, this sounds like there are game calls on this track. And this is also just so weird, I mean it's not weirder than anything you've heard earlier, but I feel like the track was maybe sped up a bit. It's more in line with Torture Garden in my opinion. It almost could be an outtake from the sequel. Althougth I am also getting more of a Radio feeling to it. I like the extra wind instruments on this and the odd noises that make it worth coming back to.
11. My Master, My Slave: Wooooooow, is what I imagine the intro is saying. It sounds like they wah-wahed Frith or Horvitz. It also sounds more like there is an actual piano on the track vs just keyboards. There is also this noise that sounds like scraping in the beginning that reminds me a tad of drum and bass music. Honestly the best thing I can compare this too is a move interesting version of something that was done on The Elegant Spanking. There are water echoes and it almost make me think of under  water.
12. Saint Jude: This track vaguely reminds me of a solo by Zappa off Tinsel Town Rebellion. This could actually be a tampered with tempo cover of one of those tracks. It's got drums, bass and guitar so it has the basis of one of those vamps. If not Tinsel Town then maybe 78-81, so like the period that Shut Up And Play Yer Guitar was recorded.
13. The Conqueror Worm: This is the name of a poem by the famous Edgar Allen Poe. I saw the 60's film they made of it, I thought it was kinda boring. I don't believe this is just Zorn and Horvitz. There is too many percussive sounds that aren't covered by sax and keys. I also think there is a whale call in this track. I also get a tad of an oriental feeling from the sounds.
14. Dominatrix 5B: I like the drums in this track, and the weird prepared guitar sounds. Then it goes into an overdriven guitar and the fastest drums by Joey I've heard. This actually vaguely reminds me of Spillane. Not a ton, but just a bit. I really like the more "metal" feeling I'm getting here. There is a lot more power and force here than on previous tracks. And Damn that drumming, he's fast.
15. Back Through the Looking Glass: Classic title, classic duo. Here we have Frith and Frisell. This picks up the guitar overdrive from the last track, and goes has these sounds that I could imagine Eraserhead having in the film. But buried, in the film. Like that type of atmospheric, thought the movie has much more settling music. This is a pretty weird track that often goes into Nolan Cook territory..... But get this, Frisell did it first. I can see this title fitting the track. The loops feel very psychedelic towards the ending, before kinda dying off and decaying.
16. Here Comes the 7,000 Frogs: That's a shit ton of frogs. While I wished there would be a ribbut, I can't say I am complaining. In reality this isn't that different from Sweat, Sperm + Blood, though parts sound more like Mike Patton doing the vocals. He also makes monkey sounds rather than frog sounds on this.
17. Slaughter House / Chase Sequence: The album seems to be making more sense, syncing together, as it moves forward. Another more industrial feeling track. This is more cohesive though and features the bass, drums and guitar trio of earlier. This is actually, while maybe not as good as the other, still solid. I mean the drums are awesome, and so is the bass, but the guitar is what is off for me. Just not feeling it, thought I am feeling the jungle vibe. Also the guitar kinda reminds me the guitar, tone wise and at certain parts sonic-wise(?), in the "live section" of Train Kept A-Rollin'.
18. Castle Keep: This much more ambient in nature. Like there is barley any guitar and it's mostly very pretty relaxing sound that lasts most of the track. It decays out before being played again. This is something that I think is easy to listen to. Thought the second time though it sounds like whistles blowing. Which isn't as pretty on your ears.
19. Mantra of Resurrected Shit: I might have second thoughts of this film.... maybe I shouldn't watch it. In fact based off that title I think I'm gonna throw up. I will give them this, there are parts where the voice and sax become one. This is probably one of the weaker tracks, thought I still do think it's solid. I can't say it's awesome, I just with he'd do voice over other instruments instead of just sax.
20. Trypsicore: This sounds like sand falling slowing being recorded with chimes and guitar mixed in and drums. Thought some of the drums/percussion sounds like rocks falling and hitting stuff. It's also just keys and drums.
21. Fire and Ice (Club Scene): This title makes me laugh, because it reminds me of the Fire and Ice Ball. But, seriously, this is a track I could feel myself jamming over. I can best describe it as a funky groove meets Deep Purple organ, with cyber computer effects and saxophone mixed in. The rhythm section is solid throughout and everything else is just added over sounds from what sounds like sirens, whistle blows... this really is a great track. This is also the only track to feature everyone.
22. Crosstalk: The guitar in the beginning reminds me of Crack Hitler, and the drums are frantic. The beginning sounds like when I pitch shift and speed stuff up really fast. Then it goes into something more like and earlier track with popping bass and popping guitar. Thought parts sound backwards.
23. Copraphagist Rituals: This is my favorite of the Eye tracks, it features Baron and Horvitz too and everyone in on the same wave length this time. eYe does his thing while they accompany him with some faster drums and piano. I dig this track.
24. Labyrinth: Significantly longer then the rest of the track, here at 5:47. The second longest is Submission at 4:21 followed by The Brood at 2:48. The beginning remind me of Jimi Hendrix and Voodoo Child. This is a very laid back track, very ambient. There are also guitar moments that remind me of the laid back part right before the almost Batman Theme like section of Spillane. You could almost look at this as that section, just the full take rather than an edit. I don't think this needs to be as long as it is, maybe if it changed up a bit more, but it is what it is. The track ends on a very, what sounds like, thunder storm coming in.

Overall I have to give this album a 7.8/10. While anything by Naked City is terrific from the genre melting pot that is Radio to the Grindcore (or I guess Jazzcore) Torture Garden to even the ambient Absinthe... This is the first one I listened to front to back. I'd suggest if you want to broaden your horizons, and you are not looking to something super off putting, check out the John Zorn album Naked City, which is considered the groups first album.... Though I think Torture Garden came first.... I don't know it's confusing. But at 57 minutes this is a great album to check out and to get new fresh ideas for expanding your musical vocabulary. It also doesn't take forever to get over with. While based in Free Improvisation, there is enough variety to keep me interested here.... like wholly interested. I cant really pick any favorites, I usually sit through the entire album. Also after re-listening to this album, I will probably regret this.... I really want to watch this film.

Halloween - John Carpenter

This is the soundtrack/score to the 1978 classic slasher film Halloween. Funny enough, this sound track was released two years after the sequel's, Halloween II, from 1981. I saw this film a few years ago in High School, and I thought it was pretty great. I mean I think I need to re-watch it, but still. But since my friend Justin has released a new mini-album, coming the 31st, I decided to review the album that inspired it. I already heard it, I think it's pretty good, but let's here where this style supposedly (from my understanding) originated from. I could be wrong, but I'm pretty sure Horror Synth  started here

1. Main Theme: This is the famous theme to the film of the same name. When I listen to the recording though, without the images, I picked up on something right away. Something that actually pissed me off. There is a little loop that's about a second long, and it sounds like it's skipping maybe. I mean, don't get me wrong, I like this the whole feeling of the song is great. I just wish I could cut the bug zapper sound out. I can't really think of anything else to call it other than it's high and sometimes is buried but it still plays in my head. Even the drums aren't half bad, or the sample that is the drums. But I do like how the song gets larger and I imagine if it was orchestrated it'd sound fantastic with a similar arrangement.
2. Laurie's Theme: I think this isn't that bad of a track. I'm not 100% if there is or isn't a violin or a string instrument here, but regardless I think this is a decent track. Maybe not as good of a stand alone as the prior track, but I mean it give a mood.
3. Shape Escapes: A reprise of Main Titles. just about 1 minute and a half shorter. Also with the addition of a lazer sound effects. Basically that serves as the variation on the theme. But if I'm being serious I prefer this length for this track over the Main Titles over 3 mintues.
4. Meyer's House: I might be crazy, but this sounds like a more together version of Laurie's Theme. I had to revisit this to make sure it wasn't. Then there is this like chimes thing, not real chimes but it kinda simulated chimes. Before going back into the first part and the eventually into the theme. At this fucking point............... The theme has played on three of the four tracks. And it's very minute differences. The biggest difference in the theme is the thing that pissed me off was even louder than before, thought it doesn't bother me in this case... oddly enough.
5. Michael Kills Judith: Finally, this is unique to this track. It's very minimal, starting with just one tone at a time being held. I can't think of the exact phrase for what's happening, but I'm not to concerned with it at the moment. I do think the piano adds to it. It then stops and it just that one synth. I also love the dissonance here. I couldn't picture really any scene before but this piece really reminds me of that girl dying. So that's a plus, but I do genuinely think this is the best track so far on the album. Thought maybe the last time it plays the main part I could do with out. Like after about 2:46ish. I don't think it's all that necessary. I mean it does close the song more harmonically maybe, but there was a lot of dissonance so I don't see why they'd want to end it with consonance.
6. Loomis and Shape's Car: The titular theme, but this time with an new synth.... maybe. I could be remember wrong. Yea.
7. "The Haunted House": When this track started I had to stop the review. I got up and went to the bathroom. Now this isn't a terrible track, it's just I've basically already heard this before. And I still have about 14 minutes left of this album. Also the stupid fucking ending thing then silence then start thing again on every track.....!!!!!!!!!!!!!!!
8. The Shape Lurks: I'm gonna take a shot in the dark...... A another track that contains nothing really but the theme. Hey I was wrong, there is a dissonance that I really think creeps me out. I'm glad this is here. It's not very pretty and not only is it ugly (which here is a good thing) it ends and doesn't start up again.
9. Laurie Knows: ..... Refer to track 2, if you want to hear this. Guess what plays after this song stops................ I don't think I'll ever figure it out.
10. Better Check the Kids: This title makes me laugh, I imagine someone doing a stereotypical African American attitude you see in movies. I mean I just laughed, and I'm glad that I was excited. But the second it started.... that joy was slowly killed off. Don't get me wrong it's not that I hate this style, it's I can't stand there is so many tracks that literally have the exact same, or almost exact same, audio as each other.
11. The Shape Stalks: This is different, kinda. But in reality, I think this is more annoying and at this point I can't tolerate the minimalism-esque repetition. I like minimalism, but this album hasn't really done anything to let me enjoy it's repetition.

Overall I have to give this album a 4/10. I want to score films, that's what I'd like to do when I'm grown up. But the thing is for a sound track to be memorable right.......  Well not really. I believe it need to evoke whatever emotion or feel the movie/scene calls for. Now yes a genre helps you convey the style of the film The Good, The Bad and The Ugly has more of a spacious lonely wandering feeling. Not that it isn't epic, I'm just saying in reality it's mostly more vast and spacious, which the West probably was. Indiana Jones has an adventurous feeling that makes you want to be a part of his journey. Irreversible has a more uncomfortable feeling and uneasiness that adds to what's already a difficult (for some) film to watch. While this has an atmosphere, is iconic and is eerie..... I can't sit through an entire 33 minutes of what is basically Theme, other theme, theme + sound, new piece, theme again + newer sound. While in the movie it works, as a stand alone piece it doesn't even come close to something that I really enjoy. I mean those films listed above all have tracks that are different enough and have stand out enough moments to where Yes I enjoy listening and want to watch the film...... this makes me feel I better wait till I forget about the soundtrack because I might be focusing on the music more then the film.