Preisner's scoring for films have been very successful with "The Double Life Of Veronika", and three albums of scores for "Three Colours Blue, White and Red", some reaching Platinum CD status by Poland's musical standards… another outstanding score was "The Last September", based on a novel by Elizabeth Bowen and brought to the screen by director Hector Babenco, beautiful and compelling music, and the unforgettable Agnieszka Holland's "Secret Garden". Let us look at the soundtrack at hand–-"ABERDEEN", from writer/director Hans Petter Moland finds our characters on the road to Aberdeen in Scotland… storyline is between father and daughter regarding their reconciliation as the prepare to visit her dying mother… the big surprise is her father may not really be her father. Preisner captures the tone and mood of Moland's screenplay, with piano solo (Leszek Mozdzer) of a lingering theme, interwoven at times with the voice of Stina Nordenstam… create feelings of dreamlike drifting…mesmerizing counter-melodies featuring John Parricelli (guitar)… completely enters your body and soul.
John Carpenter is a rarity among film directors in that he is also a composer who writes the musical scores for his movies as well. Carpenter's 1981 film Escape From New York was a kind of genre hybrid, a science-fiction crime thriller with suggestions of a spaghetti western thrown in. Set in a near future when Manhattan has been converted into a no-man's-land prison, the movie needed an appropriately futuristic soundtrack, and Carpenter came up with a score for synthesizer that he played with his sound designer Alan Howarth. Despite the instrumentation, however, the composer retained a style familiar from such earlier works as Halloween. He favored simple, repetitive keyboard figures, generally two per sequence, set in a fast-slow counterpoint. The Escape From New York score had a few changes of pace, notably a borrowing from Debussy and an ersatz Broadway show tune, "Everyone's Coming to New York" ("Shoot a cop with a gun/The Big Apple is plenty of fun"), but most of the music sounded like earlier Carpenter scores, similarly creating a tense, ominous tone much of the time.
The ten one-hour Dekalog films are set around the same modern Warsaw apartment building. Each film deals with a theme - love, marriage, infidelity, parenthood, guilt, faith, compassion - exploring the relevance of one of the Ten Commandments, showing how people deal with moral dilemma in their everyday lives. The soundtrack for nine of the ten Dekalog films marks the point where the creative relationship and friendship between Preisner and Kieslowski first flowered and contains the seeds of much of Preisner's later work. (Kieslowski and Preisner decided that Dekalog X would not require an original music score). The music was recorded by Zbigniew Malecki and Aleksander Dowsilas at Radiowy Dom Sztuki Studio, Katowice.
John Carpenter s 1980 follow-up film to his smash hit Halloween featured ghost sailors terrorizing a Californian coastal community as a dense fog descends on their homes. The multi-talented filmmaker not only directed and wrote his films but also created his own unique brand of atmospheric synthesiser scores. This updated version of Silva Screen s long deleted and sought after 2000 reissue brings together not just the original album which featured 20 minutes of newly released music but a second 20 track disc of the entire score, drawn from the original tapes, remastered by long-time Carpenter collaborator Alan Howarth.
…Richie's taste for extreme music collectives is what makes his soundtracks so pleasing and timeless; starting with heavy electronica to the Latin tango of "Hernando's Hideaway," the two-tone of the the Specials' "Ghost Town," back to Madonna's early pop, and even a traditional Jewish anthem for good measure. Highlights of the album include the Strangler's British new wave "Golden Brown" and Herbaliser's bold "Sensual Woman." Richie once again proves his ability to smoothly tie together a wide spectrum of music genres while somehow keeping them focused in the direction of a film just as sporadic as its music.