Musings About Music In Film

Weekly Roundup

room Rock The Kasbah (Varese Sarabande) surprisingly does not feature the Clash track of the same name, but does include cuts from Cat Stevens, Nilsson, and Bob Dylan. People might be drawn to Bill Murray belting out Deep Purple's 'Smoke On The Water' or Zooey Deschanel dusting off the terrible Meredith Brooks track 'Bitch', but neither are worth your time. Marcelo Zarvos' spaghetti-western infused score is nice, but there are only two score tracks on the album. A welcome inclusion is Bob Dylan's 'Knockin' On Heaven's Door' - by far the best thing about the record.

Alan Silvestri (Silva Screen) is a celebration of the composer's scores from a concert for this year's World Soundtrack Awards, conducted by Dirk Brosse. It moves from the obvious (Back To The Future, The Avengers) to the unexpected (The Quick and the Dead, The Mummy Returns) and serves as a fine summary of Silvestri's career. Arrow: Season 3 and The Flash: Season 1 (Both La-La Land) are both muscular programs with flashes of symphonic colour that are a bit too generic for a solo listen, while Agents of Shield (Hollywood Records) is bold and brilliant with an actual feeling of heroism and the usual Bear McCreary guitar.

A lovely surprise is the emergence of more music from Maurizio Malagnini's score to the BBC series The Paradise. Season 2 (Silva Screen) returns with copious amounts of sumptuous classical score that is highly recommended. Harry Escott's River (Silva Screen) is a lovely chilled-out piece that blends orchestral and electronic flavours to great effect, at times hauntingly beautiful. Michael Price's thriller score Unforgotten (Silva Screen) is suitably mysterious, not really offering anything new but still sounding pretty while doing so.

Stephen Rennicks' Room (Lakeshore) is an unexpectedly beautiful surprise, delicate and emotionally gripping. This one really knocked me for six, and I wish I had more space to devote to it. Stunning, and a lovely note to end on. -CB