CD REVIEW - KILLER CALIBRO 32 + NEWS FROM COSTA COMMUNICATIONS
Killer Calibro 32
Music by Robby Poitevin
GDM Hillside Series GDM 4120
23 Tracks 67:24 mins
More very welcome Italian Western releases in this fabulous series, starting out with Robby Poitevin's music for Alfonso Brescia's 1967 oater Killer Calibro 32, starring Peter Lee Lawrence.
This generous album starts out with a fine, flowing title track, enhanced by the trusty I Cantori Moderni di Alessandroni, and featuring a fine trumpet solo bridge. The catchy guitar source cue "Cantina Messicana" follows, then comes "Amore E Fugato," with its hesitant variations on the main theme, and galloping conclusion. The following track, "Complotto" continues in similar vein, and, as its predecessor, features whistled and electric guitar variations on the theme, plus more galloping and some percussive suspense, with harpsichord stabs. An expressive trumpet solo features in "Il Mio Nome E' Silver,"giving way to gentler acoustic guitar. More suspense features in "Silver Indaga," with a romantic interlude for flute and guitar. The following "Un Amore" is pure romance, with flute again leading the way. "Il Piano Di Silver" is in fact largely dominated by an electric guitar solo of the main theme, which steps up a gear into galloping fashion as the track proceeds, before ending with Alessandroni whistling. This gives way to a wordless choral version of the theme in "Nella Prateria," with more expressive trumpet playing rounding off one of the best tracks on the album. The rather lengthy "Un Agente Segreto Nel West," again features Alessandroni and electric guitar variations on the theme, before giving way to a Christmasy theme, complete with sleigh bells, concluding again with the main theme. "Attesa" is a typical genre dissonant suspense cue; with "Dopo Il Prateria" continuing the mood somewhat, complete with threatening bongos and harpsichord stabs. More Suspenseful variations on the main theme, mostly voiced by harpsichord, follow in "Minaccia," building to a menacing crescendo. "Fine Della Missione" brings the score to a close with a straightforward, easy-going rendition of the main theme; the distinctive voice of Maurizio Graf rounding things off with a vocal version of the theme "Amica Colt," with Italian lyrics.
A number of saloon piano cues round out the score, with four bonus tracks featuring some alternate cues, some in stereo.
Accompanying the disc is a colourful booklet, packed with stills and artwork from the film, as well as cast and credits.
A second western release is also avilable in this series, featuring two fine scores from Stelvio Cipriani, for Testa T'Ammazzo, Croce...Sei...Morto Mi Chiamano Alleluja and Il West Ti Va Stretto, Amico... E'Arrivato Alleluja. Go to www.hillsidecd.co.uk for all your Italian film music requirements.
From Costa Communications
COMPOSER ELIA CMIRAL
SCORES
SPLINTER
Premieres at ScreamFestLA on October 16, 2008
In Theaters Halloween 2008
Composer Elia Cmiral creates a haunting score for “Splinter,” the first full-length film by award-winning director Toby Wilkins. In the film, a convict and his girlfriend carjack a couple on a weekend retreat in the woods. The couples soon find themselves trapped together in an isolated gas station, on the run from a deadly parasite that occupies the woods outside. Cmiral will attend the film’s premiere at ScreamFestLA as the festival’s Centerpiece film on October 16, 2008. It opens in theaters on October 31, 2008.
ScreamFestLA, a film festival devoted entirely to the horror genre, showcases some of the best independent short and full-length horror films each year. “Splinter” director Toby Wilkins won Best Horror Short for his film “Staring at the Sun” in 2005, garnering the attention of producer Sam Raimi, who then chose Wilkins to produce, direct, and write a number of short films for his production company, Ghost House Pictures. This year, the festival runs from October 10th to October 19th at Grauman’s Mann Chinese 6 Theatres in Hollywood, Calif.
No stranger to the world of thrillers, Cmiral scored “Tooth & Nail” and “The Deaths of Ian Stone,” both featured at last year’s After Dark Horrorfest. Most recently, he finished scoring “Pulse 2: Afterlife,” the sequel to last year’s Wes Craven film, “Pulse,” for which he also wrote the score. This was Cmiral’s second collaboration with Craven, having scored “Wes Craven Presents: They” in 2002. In addition, he scored John Frankenheimer’s suspense thriller “Ronin,” starring Robert DeNiro. Cmiral continues to provide highly original and evocative scores for major Hollywood studios as well as independent filmmakers, including “Journey to the End of the Night,” “Stigmata,” “Bones” and “Species 3.”
Born in Czechoslovakia, Elia Cmiral quickly established himself as one of Europe’s leading young composers after graduating from the prestigious Prague Music Conservatory. He wrote scores for several European films and three ballets before coming to the United States to attend USC’s famous Film Scoring Program, after which he was hired to produce tango-based music for “Apartment Zero,” composing a now-classic full length score in a scant ten days. By the mid-1990s, Cmiral had garnered a reputation with Hollywood executives, leading to his scoring the successful “Nash Bridges” television series.
Killer Calibro 32
Music by Robby Poitevin
GDM Hillside Series GDM 4120
23 Tracks 67:24 mins
More very welcome Italian Western releases in this fabulous series, starting out with Robby Poitevin's music for Alfonso Brescia's 1967 oater Killer Calibro 32, starring Peter Lee Lawrence.
This generous album starts out with a fine, flowing title track, enhanced by the trusty I Cantori Moderni di Alessandroni, and featuring a fine trumpet solo bridge. The catchy guitar source cue "Cantina Messicana" follows, then comes "Amore E Fugato," with its hesitant variations on the main theme, and galloping conclusion. The following track, "Complotto" continues in similar vein, and, as its predecessor, features whistled and electric guitar variations on the theme, plus more galloping and some percussive suspense, with harpsichord stabs. An expressive trumpet solo features in "Il Mio Nome E' Silver,"giving way to gentler acoustic guitar. More suspense features in "Silver Indaga," with a romantic interlude for flute and guitar. The following "Un Amore" is pure romance, with flute again leading the way. "Il Piano Di Silver" is in fact largely dominated by an electric guitar solo of the main theme, which steps up a gear into galloping fashion as the track proceeds, before ending with Alessandroni whistling. This gives way to a wordless choral version of the theme in "Nella Prateria," with more expressive trumpet playing rounding off one of the best tracks on the album. The rather lengthy "Un Agente Segreto Nel West," again features Alessandroni and electric guitar variations on the theme, before giving way to a Christmasy theme, complete with sleigh bells, concluding again with the main theme. "Attesa" is a typical genre dissonant suspense cue; with "Dopo Il Prateria" continuing the mood somewhat, complete with threatening bongos and harpsichord stabs. More Suspenseful variations on the main theme, mostly voiced by harpsichord, follow in "Minaccia," building to a menacing crescendo. "Fine Della Missione" brings the score to a close with a straightforward, easy-going rendition of the main theme; the distinctive voice of Maurizio Graf rounding things off with a vocal version of the theme "Amica Colt," with Italian lyrics.
A number of saloon piano cues round out the score, with four bonus tracks featuring some alternate cues, some in stereo.
Accompanying the disc is a colourful booklet, packed with stills and artwork from the film, as well as cast and credits.
A second western release is also avilable in this series, featuring two fine scores from Stelvio Cipriani, for Testa T'Ammazzo, Croce...Sei...Morto Mi Chiamano Alleluja and Il West Ti Va Stretto, Amico... E'Arrivato Alleluja. Go to www.hillsidecd.co.uk for all your Italian film music requirements.
From Costa Communications
COMPOSER ELIA CMIRAL
SCORES
SPLINTER
Premieres at ScreamFestLA on October 16, 2008
In Theaters Halloween 2008
Composer Elia Cmiral creates a haunting score for “Splinter,” the first full-length film by award-winning director Toby Wilkins. In the film, a convict and his girlfriend carjack a couple on a weekend retreat in the woods. The couples soon find themselves trapped together in an isolated gas station, on the run from a deadly parasite that occupies the woods outside. Cmiral will attend the film’s premiere at ScreamFestLA as the festival’s Centerpiece film on October 16, 2008. It opens in theaters on October 31, 2008.
ScreamFestLA, a film festival devoted entirely to the horror genre, showcases some of the best independent short and full-length horror films each year. “Splinter” director Toby Wilkins won Best Horror Short for his film “Staring at the Sun” in 2005, garnering the attention of producer Sam Raimi, who then chose Wilkins to produce, direct, and write a number of short films for his production company, Ghost House Pictures. This year, the festival runs from October 10th to October 19th at Grauman’s Mann Chinese 6 Theatres in Hollywood, Calif.
No stranger to the world of thrillers, Cmiral scored “Tooth & Nail” and “The Deaths of Ian Stone,” both featured at last year’s After Dark Horrorfest. Most recently, he finished scoring “Pulse 2: Afterlife,” the sequel to last year’s Wes Craven film, “Pulse,” for which he also wrote the score. This was Cmiral’s second collaboration with Craven, having scored “Wes Craven Presents: They” in 2002. In addition, he scored John Frankenheimer’s suspense thriller “Ronin,” starring Robert DeNiro. Cmiral continues to provide highly original and evocative scores for major Hollywood studios as well as independent filmmakers, including “Journey to the End of the Night,” “Stigmata,” “Bones” and “Species 3.”
Born in Czechoslovakia, Elia Cmiral quickly established himself as one of Europe’s leading young composers after graduating from the prestigious Prague Music Conservatory. He wrote scores for several European films and three ballets before coming to the United States to attend USC’s famous Film Scoring Program, after which he was hired to produce tango-based music for “Apartment Zero,” composing a now-classic full length score in a scant ten days. By the mid-1990s, Cmiral had garnered a reputation with Hollywood executives, leading to his scoring the successful “Nash Bridges” television series.
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