Friday, October 26, 2012

MORRICONE YOUTH Lives Scores "Nosferatu" 10/27 and 10/31

F.W. Murnau • 1922 • 94 Mins. • Germany • Silent/English Intertitles • Digital This is a LIVE + SOUND + CINEMA event! MORRICONE YOUTH play live music & soundscape for NOSFERATU: A Symphony of Horror Our special Halloween presentation of Nosferatu includes a live pre-show where Morricone Youth performs classic horror movie scores to a curated montage of our favorite scary flicks and a costume contest hosted by Nitehawk’s own Kris King - prizes and candy!
Watching Nosferatu is like standing in the same room as death itself. It's a brooding chamber piece of gothic ruminations, occult imagery, and of the flickering light of the world waging a losing battle against the overwhelming darkness. Tod Browning's Dracula may be the more immediately recognized of the two earliest vampire features but it is Murnau's silent masterpiece to which the entire genre—and then some—owes its existence. Count Orlock, as played by the inimitable Max Schreck (literal translation: "maximum terror"), seems to embody death as it exists for all of mankind, simultaneously bringing in his wake a plague that knows not the limits of gender, class, or beauty. That he requires blood to sustain his torturous existence and that people will fall prey to his thirst are givens here. Orlock, more rat than human, only beckons to his bloodthirsty cravings out of primal, instinctive need, like a junkie looking for the next fix, regardless of how much it prolongs their suffering. Truly, there are things worse than death. Morricone Youth is a New York City music collective formed in 1999 dedicated to performing and recording old film and television soundtrack and library production music. In addition reworking soundtrack covers, the band composes original music much in the same vein for the "imaginary film" as well as for live settings to accompany moving pictures. Thanks to Rocket Rob Patton for the flyerage. We recommend buying tickets in advance online HERE as past live score screenings have been selling out.

Dances of Vice: Experiment in Terror, A Classic Horror Film Music Retrospective (1954-1981) 10/26/12 10:30p

Morricone Youth's 50 Years of James Bond Film Music [ARCHIVE]

This month mark's James Bond's 50th anniversary on screen spanning from the release of Dr. No on October 5, 1962 to next week's Skyfall, on October 23, 2012, now the longest running movie franchise in history.  Tune into your source for all things soundtrack Morricone Youth HERE, when host Devon E. Levins spun his favorite Bond scores and theme songs of the past 50 years including rejected scores and a special sneak peak of the forthcoming soundtrack to be released on Sony Classical for Skyfall on November 6, 2012, consisting of original music written by leading film composer Thomas Newman.  And check out the PLAYLIST. 

From Albert R. Broccoli’s EON Productions, Metro-Goldwyn-Mayer Studios and Sony Pictures EntertainmentSkyfallmarks the debut of distinguished director Sam Mendes in the James Bond franchise.  Daniel Craig is back as Ian Fleming’s James Bond 007, the 23rd adventure in the longest-running film franchise of all time.  In Skyfall, Bond’s loyalty to M is tested as her past comes back to haunt her.  As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost. The film is produced by Michael G. Wilson and Barbara Broccoli and written by Neal Purvis & Robert Wade and John Logan.
Composer Thomas Newman’s uniquely expressive musical style fits perfectly with the humor and slickness of a Bond movie.  His expressive range goes from thunderous and dramatic for the many action sequences to broodingly atmospheric for scenes in which the dark side of the story, marked by mistrust and fear of betrayal, is at the forefront. With its big orchestral effects, this music is equal to the spectacular events that the movie portrays.  Starting with American Beauty in 1999, Thomas Newman has collaborated on all but one of Mendes’ films.  One of the most respected composers in the film business, he has scored more than fifty feature films and has been nominated for ten Academy Awards®, nine times in the category Best Original Score and once for Best Original Song. He has won a BAFTA, two Grammys and an Emmy, and has also been nominated for a Golden Globe.  Born in Los Angeles, he comes from a prominent Hollywood musical dynasty: his father Alfred Newman, brother David Newman, sister Maria Newman and uncle Lionel Newman all composed music for the movies, and his cousin is the noted singer-songwriter and film composer Randy Newman.
Newman’s first major work in movies was in 1984 for Reckless and quickly followed by Revenge of the Nerds.  He composed the scores for Erin Brockovich and The Good German for director Steven Soderbergh, as well as for such acclaimed films as Finding NemoThe PlayerThe Shawshank RedemptionWall-EThe Help and The Horse Whisperer.  Newman has composed for television, including the HBO Miniseries "Angels In America," and the theme for "Six Feet Under," which won him Grammys for Best Instrumental Composition and Best Instrumental Arrangement. 
Newman joins the exclusive club of Bond composers, notably John Barry (of course! He composed the 007 Theme no less!), George MartinBill ContiMarvin HamlischMichael KamenEric Serra and David Arnold.  The series has produced a considerable number of classic pieces of cinematic music and signature theme songs such as Shirley Bassey's "Goldfinger," "Diamond's Are Forever," and "Moonraker," Nancy Sinatra's "You Only Live Once," Paul McCartney's "Live and Let Die," Carly Simon's Noboy Does It Better," Duran Duran's "A View To A Kill," Sheena Easton's "For Your Eyes Only," Tina Turner's "GoldenEye," a-ha's "The Living Daylights," Madonna's "Die Another Day" and, next month, Adele's "Skyfall."

Friday, October 12, 2012

Beasts of the Southern Wild Composer Dan Romer on Morricone Youth, Sunday 2pm ET

On Morricone Youth this weekend, host Devon E. Levins welcomes soundtrack composer, songwriter and producer Dan Romer for an exclusive interview and in-depth listen to his recent score for Beasts of the Southern Wild.  Listen live Sun 2-4p ET or to the archive HERE!

Beasts of the Southern Wild earned the Grand Jury Prize (Dramatic) at the 2012 Sundance Film Festival and earned director/co-composer Benh Zeitlin the Caméra D’Or at the 2012 Cannes Film Festival.  Six-year-old Hushpuppy (Quvenzhané Wallis) exists on the brink of orphanhood, in a forgotten but defiant bayou community cut off from the rest of the world by a sprawling levee.  Buoyed by her childish optimism and extraordinary imagination, she believes that the natural order is in balance with the universe until a fierce storm changes her reality.  Desperate to repair the structure of her world in order to save her ailing father, Wink (Dwight Henry), and sinking home, this tiny hero must learn to survive unstoppable catastrophes of epic proportions.

The soundtrack, heralded “a treasure” by Wall Street Journal, the “year’s best score” by and “major contender for soundtrack of the year” by, was composed by Dan Romer and Benh Zeitlin and is currently available via iTunes with a CD release planned for later this year.  Together Romer and Zeitlin created what Variety calls a “resonant score” that “lends real dignity to her [Hushpuppy’s] oddysey.”  “The score was built from the idea that the Bathtub [the fictional setting of Beasts] had its own ‘Auld Lang Syne’ or ‘America the Beautiful’ or ‘We Are the Champions,’” said Zeitlin.  We needed an anthem to express the ferocious, resilient, triumphant mentality necessary to hold out at the end of the world.”  The composers also wanted the film’s score to reflect the point of view of its imaginative young heroine.  Zeitlin continues, "When we made the score, we just thought, What is Hushpuppy thinking about this situation? Let's make music that would reflect what she thinks about what's happening," he said. "If we tried to score it from anybody else's point of view other than Hushpuppy's, it fell flat."  In addition to the original score, the composers searched for a Cajun band that could evoke the particular sound of the Bathtub, full of both verve and tradition. They found that in the Lost Bayou Ramblers, a Grammy®-nominated local group from Pilette, Louisiana.  The legendary band combines the heritage music of their native Southern Louisiana with contemporary twists of rockabilly, punk and swing. 

Working towards a shared vision is not new to Zeitlin and Romer, who have a history of collaboration.  Queens-born and raised Zeitlin was working on his short film Egg when he first met Romer, who engineered the film score for the short.  The next year the two collaborated to co-compose the music for Ray Tintori’s award winning short Death to the Tin Man.  The two also wrote the score for Zeitlin’s short epic Glory at Sea.  “I think Benh intentionally leaves parts of the film for music to fill in,” described Romer.  “And that’s a great way to work – to think that a piece of art isn’t complete until every single creative part is there.  If the film made sense without the music, then the music would be superfluous.”



In his Brooklyn studio, Dan Romer has produced albums for an array of artists such as Ingrid Michaelson, Jenny Owen Youngs, Ian Axel, He Is We, April Smith, Lelia Broussard, Cara Salimando and Jukebox The Ghost. Listen live starting at 2pm ET on Sunday through this link or via the free EVR Mobile App for iPhone and Droid.

NYC Comic Con Party @ Le Poisson Rouge Tonite

Dances of Vice will be celebrating the golden age of pulp scifi at this New York Comic Con afterparty featuring live music by Morricone Youth, gogo dancers from Mars, and giveaways by Singularity & Co Books! All this followed by a special Disko Nouveaux set from 1-4AM with DJ PUREVILE!

Dress Code: Cosmobabe Realness, Spider from Mars, Retro-future Glamour, Time Travel Chic, etc.

The Gallery at LPR, 158 Bleecker St NYC, 21+

Tickets:$8 in advance, $10 doors
Disko Nouveaux FREE after 1AM!

Soundtrack Composer Nathan Johnson Guests on Morricone Youth [ARCHIVE]

Check out this edition of Morricone Youth ARCHIVED HERE where host Devon E. Levins welcomed film soundtrack composer and The Cinematic Underground frontman Nathan Johnson to the program for an exclusive interview and in-depth listen to his music.

As a composer, producer, art director, and songwriter, Nathan Johnson's innovative film scores and hybrid media performances have consistently blurred the lines between stage, screen, music, and narrative. Best known for his unconventional work in film and music, Nathan favors modified, organic instrumentation combined with unique approaches to recording and performing. Nathan Johnson’s creative partnership with writer/director (and cousin) Rian Johnson started when the two were children and has continued throughout their professional lives. Beginning with the critically acclaimed score for their first feature collaboration, Brick, Nathan and his team used and abused a variety of household implements including dinner settings, filing cabinets, cheese graters, and radiators. Any real instruments that were included in the soundtrack were horribly misused: pianos were bolted and tacked, double basses were beaten with mallets, and tuned wine glasses were re-purposed in place of a string section. After developing this "junkyard orchestra", Nathan went on to produce and compose the scores for Rian Johnson's second film, The Brother’s Bloom, Joseph Gordon-Levitt's Morgan M. Morgansen series, and the forthcoming Melanie Laurent feature Et Soudain, Tout Le Monde Me Manque, among others.

 Rian Johnson's third film, Looper starring Bruce Willis, Joseph Gordon-Levitt and Emily Blunt, is perhaps Nathan's most unique score to date, featuring a host of indecipherable instruments along with intertwining rhythms and textures. In preparation for the project, Nathan began gathering a wide range of field recordings and then he and his team created a sort of playable, hybrid found-sound orchestra using those original recordings. The results were combined with live strings and horns to produce deep textures featuring pitched industrial fans, tuned treadmills, and a wide range of intricate rhythmic elements — all looping and cycling on themselves at various speeds.

Nathan continues to compose and produce while fronting The Cinematic Underground, a sprawling artistic collective known for mixing visual art with performance and found-sounds. He is part of the atmospheric pop band Faux Fix, and has produced a variety of independent artists while acting as a concert developer and live show consultant for a number of bands. When he is not creating music, he works as an art director with The Made Shop, a boutique design firm that specializes in graphic and architectural projects. Learn more by visiting