Alexander Grodzinski

Snow Files of the Week: „Smoking Telegram", aus „The X-Files: Fight The Future" (1998). Zu diesem Track gibt es eine faszinierende Geschichte, fast schon eine X-Akte, denn der Track war ursprünglich unauffindbar und schien verloren zu sein. Er untermalt die letzte Szene des ersten Films, als der Raucher das riesige Feld mit dem manipulierten Mais in der Wüste Tunesiens aufsucht, um Strughold mitzuteilen, dass die X-Akten wieder geöffnet sind. Diese Szene sollte ursprünglich eigentlich keine Musik haben. Doch in letzter Sekunde entschied sich Chris Carter dann doch für einen Musikeinsatz. Die finale Abmischung des Films lief bereits, also musste Mark schnell in sein Studio, um die Musik für die letzte Szene zu komponieren. Das fertige Stück schickte er als DAT ins Tonstudio. Es war so wenig Zeit, dass Mark, entgegen seiner sonstigen Gewohnheiten, keine Kopie für sein Archiv davon anfertigen konnte. Als La-La Land Records dann vor einigen Jahren das expandierte Album zu „Fight The Future" produzierte, suchten sie überall nach diesem letzten Track. Mark hatte ihn nicht mehr, da die DAT mit der Aufnahme wohl im allgemeinen Chaos verschwunden ist und auch das Studio schien keine Kopie davon bei sich im Archiv zu haben. Daher fehlte dieses Stück auf dem Album. Doch kurz nach Veröffentlichung des erweiterten Albums tauchte der Track wieder auf. Laut Neil S. Bulk, der die Box-Sets mitproduziert hat, tauchte der Track wieder auf, weil das Studio Musik-Restaurationen betrieb. Er wurde zwar nicht konkret, was das Ausmaß dieser Restaurationen betraf, also ob es nur den Akte-X-Film betraf, das Akte-X-Franchise oder ihr Filmmusik-Archiv allgemein, aber das ist doch eine recht interessante Info. Vielleicht bereitete man die Musik sogar für zukünftige Veröffentlichungen vor, wer weiß? Aber wie Mulder es einmal ausgedrückt hat: „Maybe there is hope." Daher ist dieser Track nun als einziger Track aus dem Film auf dem vierten Box-Set gelandet und nicht auf dem expandierten Album zum Film. Die vierte Box von LLL ist auf 2.000 Stück limitiert. Viel Spaß beim Hören!

A 2-CD set. Newly remastered and expanded edition. 16-page CD booklet with liner notes by Daniel Schweiger. Limited Edition of 2000 units. In collaboration with Warner Chappell Music, Sony Music and Paramount Pictures, Music Box Records proudly presents the remastered and expanded edition of Gabriel Yared’s score for the 1999 thriller The Talented Mr. Ripley, starring Matt Damon, Jude Law, Gwyneth Paltrow, Cate Blanchett and Phillip Seymour Hoffman, as written for the screen and directed by Anthony Minghella (The English Patient, Cold Mountain, Breaking and Entering). Nominated for five Academy Awards (including Best Original Score, Best Supporting Actor and Best Adapted Screenplay), this movie about a desperately murderous quest for identity, class and love was based on the most notorious character created by author Patricia Highsmith (Strangers on a Train). Previously adapted as Purple Noon with Alain Delon, Anthony Minghella’s version gave a new, tragically vulnerable take on the character, who insinuates himself among jazz loving expatriates (Jude Law and Gwyneth Paltrow), only to kill the brother he’d always wanted and assume his identity, all while trying to keep his illusion of innocence at any cost. Taking his lush Oscar-winning approach for The English Patient in a new direction to capture both the beat jazz era of the film’s 1959 setting alongside a multi-thematic approach that plays both Ripley’s increasingly psychotic quest for the good life and the wounded, child-like boy that yearns for love and purpose. The score combining striking orchestral melody with suspenseful rhythm, eerie female voices and the music of a dark lullaby (as personified by its title song by Sinéad O’Connor), The Talented Mr. Ripley is a masterpiece of dark romance and suspense that’s a highlight of Yared’s acclaimed collaborations with Anthony Minghella. Celebrating the film's 25th anniversary, this new expanded edition, supervised by Gabriel Yared, has been assembled and remastered from the recording session elements. Disc 1 ("The Film Score") presents the expanded film score with previously unreleased cues. Disc 2 ("The Extras") presents excerpts from the original Sony album, Yared’s demo cues and numerous instrumental tracks that highlight the alternative presentations and edits of the score. The CD comes with a 16-page booklet with liner notes by Daniel Schweiger, who discusses the film and the score including new comments by Gabriel Yared on his career-defining work with Anthony Minghella and film editor Walter Murch. The CD release is limited to 2000 units. DISC 1 - THE FILM SCORE 1. Lullaby for Cain (3:30) Performed by Sinéad O'Connor 2. Italia (0:50) 3. I Hate You (0:50) 4. No, I Like Him (0:54) 5. Italia (Part 2) (1:00) 6. Promise (1:11) 7. Syncopes (2:08) 8. Marge Maintenance (1:29) 9. Silvana’s Body (1:23) 10. Last Trip (2:26) 11. Heartbreak (1:47) 12. Lost Love (1:16) 13. Cain & Abel (2:51) 14. Syncopes (Part 2) (1:01) 15. Mischief (1:54) 16. Opera Intermission (1:50) 17. Meredith Meets Marge (1:58) 18. As If That Makes Sense (1:51) 19. Killing Freddie (2:17) 20. Dumping Freddie’s Body (2:08) 21. Syncopes (Part 3) (1:27) 22. Ripley (3:38) 23. Nightmare/Dickie’s Rings (0:59) 24. Suitable Instrument (0:42) 25. You’re Shivering (2:12) 26. Just Kidding (1:17) 27. Huis-clos (1:06) 28. Syncopes (Part 4) (3:16) 29. End Title (2:08) 30. Lullaby in D Minor (0:42) Disc 1 Time • 53:06 DISC 2 – THE EXTRAS ADDITIONAL SCORE FROM THE ORIGINAL SOUNDTRACK ALBUM 1. Italia (1:38) 2. Crazy Tom (4:46) 3. Mischief (2:27) 4. Ripley (3:29) 5. Proust (1:57) 6. Promise (2:48) 7. Syncopes (4:47) BONUS TRACKS 8. Lullaby for Cain (Opera Version) (3:44) Performed by MaryAnn McCormick & Toni Manoli 9. Italia (Alternate) (0:51) 10. Heartbreak (Alternate) (1:46) 11. Lost Love (Alternate Mix) (1:12) 12. Venezia (#1) (4:11) 13. Mischief (Alternate) (1:54) 14. Killing Freddie (Alternate) (2:18) 15. Promise (English Horn Version) (1:10) 16. Mischief (Alternate #2) (0:28) 17. You’re Shivering (Alternate) (2:09) 18. Venezia (#2) (1:55) 19. Ripley (Alternate) (3:27) 20. Lost Love (Alternate) (2:20) 21. Crazy Tom (Alternate) (4:38) 22. Lullaby for Cain (Instrumental) (3:30) DEMO CUES 23. Ripley (Main Theme) (2:33) 24. You’re Shivering (2:11) 25. Italia (Sailing) (0:59) 26. Promise (1:27) 27. Crazy Tom (2:32) Disc 2 Time • 68:12 Total 2-CD Time • 121:18

Das und war da nicht auch was vertraglich, dass der Komponist aus Australien sein muss? Kurzel war damals ja gut im Geschäft mit THE BABADOOK und eben dem von Fassbender auch produzierten ASSASSIN'S CREED. Lange hat das aber nicht angehalten. Werden wohl auch die kommerziellen Reinfälle von COVENANT und ASSASSIN'S CREED gewesen sein. Harry Gregson-Williams sollte ja eigentlich die Musik zu COVENANT machen, nachdem sich Streitenfeld mit Scott zerstritten hatte, beziehungsweise mit dem Studio Fox. Aber die berühmten kreativen Differenzen und Terminprobleme führten dann dazu, dass HGW nicht weitermachte.

Quartet Records, in collaboration with GDM, Universal Music Publishing Italy and EMI General Music Publishing, presents a revised, remastered reissue of the famous giallo score composed by Ennio Morricone in 1971 for LA CORTE NOTTE DELLE BAMBOLE DI VETRO (aka SHORT NIGHT OF THE CRYSTAL DOLLS) directed by Aldo Lado and starring Jean Sorel, Ingrid Thulin, Barbara Bach and Mario Adorf. Considered one of the best and most consistent giallos, the film is about journalist Gregory Moore (Sorel), whose corpse is found in a Prague square and taken to the local morgue. But Moore’s spirit is alive, trapped inside his dead body and desperately remembering the disappearance of his beautiful girlfriend, who is linked to a terrifying conspiracy of depravity. Can a reporter with no visible signs of life solve this perverse puzzle before his existence ends? Morricone’s thriller scores remain some of his most distinctive and original works. As demonstrated in his scores for Dario Argento’s efforts in the genre, Morricone’s uncanny ability to combine lyricism, unbridled avant-garde experimentation and stylish elegance was his most significant contribution to the category. LA CORTA NOTTE DELLE BAMBOLE DI VETRO shows Morricone once again embracing the sophisticated avant-garde sound while beginning his score with a haunting tune performed by Edda Dell’Orso heard over the film’s main titles. The waltz theme has a timeless quality, providing a disturbing and disarming melody for the film. Morricone prepared a vinyl album to coincide with the film’s release in 1971, but despite the success of the film, the album was aborted and only the main theme from LA CORTA NOTTE DELLE BAMBOLE DI VETRO was released on the RCA compilation “I Film Della Violenza” in 1975. It was not until 1998 that the Screen Trax label in Italy released a CD with a selection of 14 cues personally chosen by the composer. That selection was expanded in 2009 on a Digitmovies CD, and quickly sold out. This new Quartet release has been completely remastered by Chris Malone from original master tapes, giving a new generation of avid collectors the chance to hear this score by the Roman maestro. Supervised by Claudio Fuiano, the package includes an essay by film music writer Miguel Angel Ordóñez. Notte e bambole 2:31 Il bisturi 2:36 Oppressione 3:07 B Bambole di vetro 6:46 Valzer 2:20 Emmetrentatre 4:06 La corta notte delle bambole di vetro 2:06 La corta notte delle bambole di vetro (#2) 4:34 Incubi solitari 1:42 Sospiri di morte 4:33 Valzer (#2) 1:23 Brividi di archi 2:21 La corta notte delle bambole di vetro (#3) 2:21 Valzer (#3) 2:54 Depressione 1:17 Inconscientemente 2:07 Incubi solitari (#2) 2:05 Oppressione di mostri 1:21 La corta notte delle bambole di vetro (#4) 5:14 Irrealta e follia 1:48 Valzer (#4) 2:43 Quartet Records, in collaboration with GDM and Universal Music Publishing Italy, presents a revised, remastered reissue of a famous giallo score composed by Bruno Nicolai in 1975 for GATTI ROSSI IN UN LABIRINTO DI VETRO (aka EYEBALL) directed by Umberto Lenzi and starring John Richardson, Martine Brochard, Inés Pellegrini and Mirta Miller. Shot entirely in Spain, Lenzi’s movie, while visually attractive, is still a conventional giallo already showing the tiredness of the genre. The plot involves the typical red-hooded killer who kills tourists in Barcelona, this time by tearing out their eyes. Bruno Nicolai’s music, however, is one of his best for the genre, with a catchy main theme and elegant variations on it, as well as sophisticated suspense music. As usual with Nicolai’s thrillers, everything is taken very seriously. Unfortunately, like most of his giallos, Bruno Nicolai’s score remained unreleased for two decades. It was not until 1999 that a selection of 11 cues was released on an RCA CD paired with Guido & Maurizio De Angelis’ score for the slasher film TORSO. An expanded selection with the complete score (32 cues) was released by Digitmovies in 2007, which quickly sold out and went for high prices on the second-hand market. The present edition contains the same material, supervised by Claudio Fuiano and remastered from the original tapes by Chris Malone. The package includes an essay by the much-missed Gergely Hubai discussing the movie, the composer and the score. Bruno Nicolai’s EYEBALL is the kind of score that deserves to be in print so that new generations of listeners can enjoy discovering one of the greatest themes of Italian giallo cinema. Gatti rossi (Titoli) 2:24 Barlington 0:51 Gatti rossi (#2) 1:30 Prodromi 2:08 Labirinto (Film version) 2:07 Gatti rossi (#3) 1:10 Nell’assolata alhambra 1:15 Una figura incappucciata 1:12 Una figura incappucciata (#2) 1:21 Barlington (#2) 1:01 Catena di delitti 1:46 Occhi 1:01 Barlington (#3) 1:09 Orbita vuota 1:02 Una figura incappucciata (#3) 2:28 Occhi (#2) 1:58 Gatti rossi (#4) 1:44 Occhi (#3) 0:57 Gatti rossi (#5) 0:46 Barlington (#4) 2:04 Catena di delitti (#2) 1:15 Barcellona 1:22 Barcellona (#2) 4:27 Gatti rossi (#6) 4:02 Orbita vuota 1:48 Orbita vuota (#2) 1:03 Barlington (#5) 0:55 L’incubo è finito (Finale) 1:04 Barcellona (Alternate take) 1:35 Labirinto (Alternate take – Long version) 2:52 Catena di delitti (Alternate take – Long version) 3:49 Gatti rossi (Titoli – Alternate take – Long version) 3:54

Jetzt schon digital erhältlich, eine CD reicht Intrada im Herbst nach. INTRADA Announces: KILLING ME SOFTLY WITH HIS SONGS Music by CHARLES FOX INTRADA INT 7180 The spirited 2024 documentary Killing Me Softly With His Songs, directed by Danny Gold, follows composer Charles Fox around the world exploring his past while showcasing songs performed by various groups and singers from around the world. Fox traveled from the US to Paris to Havana, Cuba. Following closely on Intrada's 2-CD release of Fox's Foul Play, this new release features brand new songs written with Rita Wilson, Common, Alain Boublil and Cuban songwriters, Edesio and Cristian Alejandro. The film has garnered numerous awards at film festivals and Best Music Documentary at the Hollywood Music In Media Awards. The album also includes new and innovative arrangements of some of Fox's most classic tunes, performed by the following wonderful artists: Sing a Brand New Song (Donald Webber, Jr.) Viene Acabando (Charles Fox with Cuba All Star Band Featuring Orquesta Aragon) At The Movies (Rita Wilson and Jason Alexander) Wonder Woman (Cristian Alejandro) I Got a Name (A. J. Croce) Night Life (Charles Fox Paris Sextette) On N'aime Qu’une Fois Comme Ça (Anne Sila) Sin Tu Amor (Cristian Alejandro) Ballade (Charles Fox with Cuba All Star Band) Elle Chantait Ma Vie En Musique (Anne Sila) Blue Pachanga (Charles Fox Paris Sextette Featuring Alexandre Desplat) Happy Days (Barenaked Ladies) A Day Our Love Has Put Together (Charles Fox with Cuba All Star Band) Salsa Suite (Charles Fox Paris Sextette Featuring Alexandre Desplat) Killing Me Softly With His Song (Charles Fox, Piano Solo) The film follows Fox’s life and career from the Bronx to Paris and the conservatoire in the Palace of Fontainebleau, France, where he studied with the legendary composition teacher Nadia Boulanger (who taught Aaron Copland, Quincy Jones, Elliot Carter, Michel Legrand and others), through his fabled career in Hollywood, and finally to his musical roots in Havana, Cuba. All of this is interspersed with some of the most phenomenal live music—shot with an emphasis on capturing the interactions of gifted musicians joyously making music together. Featuring Anne Sila (winner of the French version of The Voice), A.J. Croce (son of the legendary Jim Croce), Henry Winkler (Happy Days, Barry), Paul Williams (Academy Award-winning composer), Rita Wilson (recording artist, actor, producer), Jason Alexander (Seinfeld, and Tony Award winner), Donald Webber, Jr. (Hamilton), Alexandre Desplat (two-time Academy Award winner, and Alain Boublil (Tony Award-winning book writer/lyricist known for Les Misérables and Miss Saigon)—the film is a musical feast … with a great story! INTRADA INT 7180 Retail Price: $18.99 Bar Code: 7 20258 71800 6 Available digitally now on all major streaming platforms. CD coming this fall.

Snow Files of the Week: "Capsules/A Mother Never Forgets/Mulder’s Memories" aus "The X-Files: The Event Series", Episode "Founder's Mutation" (2016). Mit den X-Akten kehrte 2016 natürlich auch Mark Snow zurück. Seine Musik für die neuen Folgen bewegt sich zwar auf bewährtem Territorium, fügt aber genügend neue Elemente hinzu, um interessant zu bleiben. Dabei ist seine Musik minimalistischer als noch in den letzten Staffeln der Serie. Snow kehrte eher zu den Klanglandschaften der frühen Staffeln zurück, was ihn aber nicht davon abhielt, auch für die neuen Folgen tolle Themen zu schreiben. "Founder's Mutation" ist die zweite Folge der neuen Staffel. Darin geht es um einen Wissenschaftler, der Experimente an Kindern mit genetischen Anomalien durchführt, um sie zu heilen. Dass dies nicht ohne Nebenwirkungen verläuft, ist klar. In der Folge haben sowohl Scully als auch Mulder Visionen ihres Sohns William, den sie in der neunten Staffel als Baby zur Adoption freigegeben haben, um ihn vor den bösen Mächten zu schützen, die ihn verfolgt haben, wegen seiner Alien-Mensch-Hybrid-DNA. Das Stück "Mulder's Memories" untermalt die letzte Szene der Folge, als Mulder in seiner Fantasie mit seinem zum Kind herangewachsenen Sohn William spielt. Unter anderem bauen sie zusammen eine kleine Rakete, die sie in den Himmel steigen lassen. Mulders Vision endet damit, dass er Zeuge der Entführung Williams durch Außerirdische wird, wie damals bei seiner Schwester. Wieder in der Wirklichkeit betrachtet Mulder ein Foto seines Sohnes. Snows Musik zu dieser Szene ist für mich die schönste der ganzen Staffel. Viel Spaß beim Hören!

Und auch FOUL PLAY kommt wieder. Intrada announces the revisit of a classic Charles Fox score, the 1978 Paramount Pictures film Foul Play. This new edition is a 2-CD set, remixed from the original 16-track sources stored at Paramount.The first disc features the complete score, including selections of The Mikado recorded for the film and assembled with the score as they appear in the film. Fox carefully constructed the score to seamlessly weave in and out of the operetta, as the film intercuts back and forth between the San Francisco street chase and a performance of the Gilbert and Sullivan classic. Disc 1 concludes with source music heard in the film and a few alternates (including the unassembled chase music from the end of the film for those that want it Mikado free) and film versions, including the film version of "Ready to Take a Chance Again." Disc 2 features the original album program, rebuilt from the newly mixed masters as well as the complete suite of cues recorded for The Mikado. Charles Fox collaborated with lyricist Norman Gimbel to create a melancholy yet empowering song, “Ready to Take a Chance Again,” sung by Barry Manilow during a visually sweeping opening sequence. Fox incorporated the song's melody into the body of the film as an instrumental “Love Theme.” Though director Colin Higgins was saluting Hitchcock, Fox drew his musical style from the tense, orchestral sound of 1940s and ‘50s film noir. While Fox’s score reaches unusually dark heights, its menace is countered with a harmlessly hilarious action theme that pops up periodically and the tongue-in-cheek chase sequence at the end of the film. Foul Play stars Goldie Hawn and Chevy Chase and is a salute to Alfred Hitchcock, most notably the grand assassination plot of The Man Who Knew Too Much. Hawn plays Gloria Mundy, an innocent victim of knowing too much (or at least thought to know too much) about a plot to kill the Pope, and she becomes a target of an albino gunman and a nefarious "dwarf." Chase plays a handsome, glib detective who believes Mundy’s seemingly tall tales when no one else will. Together they make an effervescent screen couple like hip updates of Cary Grant and Grace Kelly, in a San Francisco-set film that affectionately references Hitchcock classics. CD 1 EXPANDED SOUNDTRACK 01. Ready To Take A Chance Again – Main Title (Album Version) (3:09) 02. Overture To The Mikado (0:31) 03. Scotty Followed (1:20) 04. Gloria Walks Home I (0:27) 05. Movie Music (2:39) 06. Gloria Walks Home II (1:05) 07. Esme/Man At Window (1:49) 08. Beware Of The Dwarf (2:51) 09. Scarface/Gloria Grabbed From Behind (3:23) 10. Gloria Escapes (1:30) 11. Gloria On The Fire Escape (1:05) 12. Will Find Out Who And Why/Holy S. (1:00) 13. Gloria Attacks Dwarf (1:18) 14. You’ve Just Attacked/Archbishop’s Door/Now It Really Has Hit The Fan (1:18) 15. Houseboat (Love Song) (1:32) 16. Love Theme – Ready To Take A Chance Again (Film Version) (3:54) 17. What’s The Clue?/Gloria Falls For The Trap (3:30) 18. The McGuffin Burns/Meet Me ‘Round Back/Don’t Move Lieutenant (1:30) 19. Overture From The Mikado/Help (2:14) 20. The Mikado/Get Me To The Opera On Time – Part 1 (3:20) 21. The Mikado/Get Me To The Opera On Time – Part 2 (11:07) 22. Ready To Take A Chance Again (Finale) (0:36) 23. Ready To Take A Chance Again – End Title (Album Version) (2:14) Expanded Soundtrack Total Time: 53:24 THE EXTRAS 24. Cocktail Piano (Ready To Take A Chance Again) (4:26) 25. Ready To Take A Chance Again – Main Title (Film Version) (2:56) 26. Gloria Walks Home (Original Version) (0:27) 27. Holy S. (Film Version) (0:22) 28. Kojak Bang Bang (0:43) 29. Get Me To The Opera On Time I (1:14) 30. Crash Into Pizza Parlor (0:40) 31. Get Me To The Opera On Time II (0:27) 32. Far Out (0:41) 33. Get Me To The Opera On Time III (1:50) 34. Kojak! (1:03) 35. More Kojak (1:04) 36. Kojak Bang Bang (Record Version) (0:41) 37. Ready To Take A Chance Again – End Title (Film Version) (2:34) 38. Cocktail Piano, Again I (1:57) 39. Cocktail Piano, Again II (0:41) 40. Cocktail Piano, Again III (0:58) 41. Foul Play – Main Title (Television Series) (2:09) The Extras Total Time: 24:54 CD 1 Total Time: 79:01 CD 2 FOUL PLAY – ORIGINAL SOUNDTRACK ALBUM 1. Ready To Take A Chance Again – Main Title (Album Version) (3:09) 2. Help (1:35) 3. Beware Of The Dwarf (2:50) 4. Love Theme (Ready To Take A Chance Again) (3:53) 5. Copacabana (At The Copa) (3:57) 6. Gloria Falls For The Trap (2:26) 7. Foul Play Disco (3:22) 8. Scarface (2:52) 9. Gloria Escapes (1:28) 10. Houseboat (Love Song) (1:30) 11. Get Me To The Opera On Time (3:09) 12. Ready To Take A Chance Again – End Title (Album Version) (2:14) Original Album Total Time: 32:27 FOUL PLAY – SOUNDTRACK ALBUM ALTERNATES 13. Copacabana (At The Copa) (Extended Disco Mix) (5:46) 14. Foul Play Disco (Extended Version) (5:54) 15. Copacabana (At The Copa) (Original LP Mix) (4:08) 16. Ready To Take A Chance Again (Mono 45 RPM Mix) (2:59) Soundtrack Album Alternates Total Time: 18:47 FOUL PLAY – THE MIKADO SOURCE MUSIC 17. The Mikado – Overture (7:31) 18. The Mikado – If You Want To Know Who We Are (2:42) 19. The Mikado – Our Great Mikado (2:59) 20. The Mikado – Three Little Maids (1:35) 21. The Mikado – So Please You Sir, We Much Regret (2:04) 22. The Mikado – Act I Finale – The Threatened Cloud (9:32) The Mikado Source Music Total Time: 26:22 CD 2 Total Time: 77:36

Und weg

Ohne groß zu spoilern kann ich wohl sagen, dass genau dieses Zitat auch in ROMOLUS auftaucht. Aber wem, außer wirklichen Fans der Filme, fällt das überhaupt auf? Der Normalverbraucher wird sich nur in Grundzügen an die alten Filme erinnern, schon gar nicht an irgendwelche Dialoge. Ebenso bei der Musik. Das ist alles wirklich nur für Leute wie uns gemacht.

Ich kann mich nur erinnern, dass es in einer Raumschiffszene im All war.

Horner ist mir im Film auch nur einmal kurz aufgefallen. Goldsmith dagegen taucht öfter auf. Von ihm hört man das markante Zwei-Noten-Motiv mehrmals, sein Thema ist mehrmals zu hören und auch sein Echoplex-Effekt. Das passte eigentlich ganz gut in den Film. Gleichzeitig haben mich diese "Callbacks" aber auch immer wieder aus dem Film gerissen, vor allem wenn ganze Dialogzeilen übernommen wurden. Weil mir das einfach zu offensichtlich Fanservice war und sich nicht natürlich anfühlte, dass der oder der Charakter das jetzt sagt. Zumal es auch Callbacks zu ALIENS gibt, der in der Zeitleiste von ALIEN ROMOLUS noch gar nicht stattgefunden hat. Den Film fand ich an sich ganz gut. Alvarez versteht durchaus Terrorkino. War für mich jetzt interessanter und besser als COVENANT und ja, auch als PROMETHEUS. ROMOLUS spannt am Ende sogar den Bogen zu PROMETHEUS, daher taucht wohl auch Streitenfelds Thema auf.

Würde ich nach der ersten Sichtung auch so sehen. In den ersten zwei Dritteln des Films ist es ein überraschend orchestraler Score. Allerdings tatsächlich ohne thematischen Faden. Im letzten Drittel ist es dann eher nur noch Grummeln, Brummeln, ein wenig Inception-Bräääm und manchmal einfach nur stampfend-metallische Percussion. Goldsmith ist natürlich recht leicht auszumachen. Horner hab ich allerdings auch kurz gehört. Wobei ich an der Stelle eher an STAR TREK II denken musste. Und wenn man so will ist auch Goldenthal dabei, denn die Fox-Fanfare endet hier wie in ALIEN 3.

Kommt nun auch auf Vinyl.

Da ich bei der LLL-Doppel-CD zugegriffen habe, verschenke ich das alte Album von Columbia. Bei Interesse PN an mich. Bei mehreren Interessenten entscheidet das Los.

Snow Files of the Week: "Cortege" (1999/2002) aus dem "Cold Spring" Sampler "The Chamber". Hier haben wir eine rare Begebenheit, bei der Snow nicht für einen Film oder eine Serie komponierte. Das Stück "Cortege" stammt aus einem Konzept-Album mit dem Titel "Death...be not proud", welches komplett aus neuen Kompositionen von Snow bestehen sollte.  Das Veröffentlichungsdatum sollte im Frühjahr 1999 sein, es gibt sogar eine Trackliste (Intonation, Cortege, If Hitler Had Autism, Mr Jones, Quietude and Colonel Parkinson). Aber leider wurde das Album nicht veröffentlicht. Auf Nachfrage beim Label bekam ich als Antwort, dass Snow tatsächlich an dem Album gearbeitet hat, aber mehr und mehr mit Filmmusik-Aufträgen beschäftigt war, sodass er keine Zeit mehr hatte für das Album. Das Label hat immer noch ein 25-minütiges Master für das Album. Der Track zeigt Snow in seinem düsteren X-Files-Ambient-Modus.  Viel Spaß beim Hören!

Gern. Man muss sich aber im Klaren sein, dass das komplette Album in diesem gesprochenen, sich überlagernden Singsang ist. Ich kann mir vorstellen, dass das manchen auf die Laufzeit zu anstrengend wird.

David Lynch und Chrystabell haben ein neues Album veröffentlicht, „Cellophane Memories". Es ist ihr erstes gemeinsames Album seit „This Train" von 2011 (und einer EP). Chrystabell veröffentlichte seitdem mehrere Alben ohne Lynch, spielte aber in seiner dritten TWIN PEAKS Staffel mit. Anders als bei „This Train" gibt es auf „Cellophane Memories" keine Songs im eigentlichen Sinne. Die Idee zum Album entstand während eines Nachtspaziergangs Lynchs durch einen Wald mit hohen Bäumen. Über den Baumwipfeln sah er ein helles Licht und dieses Licht wurde zu Chrystabells Stimme. So sind die Tracks auf dem Album dann auch wie Träume oder ein Zug von Gedanken. Während Lynch und sein musikalischer Partner Dean Hurley für den musikalischen Hintergrund sorgen, spricht Chrystabell in einer Art Singsang die Texte von Lynch. So werden auf dem Album auch nicht traditionell Komponist und Texter für jedes Stück genannt, sondern meist nur „Synth by David Lynch/Dean Hurley, Vocal Melody by Chrystabell". Chrystabell improvisierte also quasi ihren Gesang auf das, was David und Dean spielten. Gleich der erste Track des Albums, „She Knew", bildet eine kleine Ausnahme. Denn hier wird Angelo Badalamenti als „Synth by" genannt. Ob Badalamenti vor seinem Tod dieses Stück noch für das Album aufgenommen hat oder ob es sich einfach um eine Aufnahme von ihm handelt, die Lynch noch in seinem Archiv hatte, wird leider nicht erwähnt. So oder so eine schöne Hommage an seinen verstorbenen Freund. Auf dem Cover der CD/LP befindet sich ein Sticker, auf dem in Lynchs Handschrift steht „If you listen to this record 3 times you will find a friend."

Und nun kommt die abgespeckte Version.

Intrada presents an expansive 5-CD set featuring the music from the three-part movie series Fear Street. The spellbinding original scores are the work of a team of composers led by Marco Beltrami, whose extensive horror credentials include the original Scream, The Faculty, and high-profile remakes of The Omen, The Thing and Carrie. The vision was to create a separate musical identity for each movie, but with an overarching, coherent spirit. Each part is set in a different time period, with a complementary score. Joined by an immensely creative team made up of Marcus Trumpp, Brandon Roberts and Anna Drubich, Beltrami was able to create a saga of horror music and some of the most thrilling music for full orchestra and choir. Fear Street: 1978 is a striking standout with its use of large chorus and Jerry Goldsmith-inspired action riffs. At the time the movies dropped on Netflix, vinyl and digital albums were released, but no CD made an appearance. Given the sheer amount of music written and the epic nature of both score and films, it became a priority for Intrada to seek out a license and give each score full presentation in a deluxe package—each score is in its own jewel case with newly commissioned cover art by artist Sam Gilbey and housed in a cardboard slipcase. The entire set was produced by Scott Williams and Tyson Lozensky working directly with the composer team. This album wouldn't be possible without the kind cooperation of both Sony Music/Milan and Netflix. Before author R.L. Stine gave readers Goosebumps, he introduced them to Fear Street—a series of more than 150 novels, including spinoffs.Targeting a mostly teen audience, the books chronicle murder and mayhem in the cursed town of Shadyside, USA. In 2021, Netflix partnered with Chernin Entertainment to release a trilogy of interconnected Fear Street films inspired by Stine’s novels, drawing especially from The Fear Street Saga. The films, spanning from 1994 to 1666, follows a group of teenagers in the cursed town of Shadyside as they confront a series of supernatural killings linked to an ancient witch, Sarah Fier. The saga begins with a modern-day massacre, delves into a summer camp slaughter in 1978, and ultimately reveals the origins of the curse in 1666. As the teens unravel the mystery across different time periods, they uncover dark secrets and face malevolent forces to break the cycle of violence haunting their town. CD 1 01. Logo (0:26) 02. Mall Massacre (5:57) 03. Main Titles (2:08) 04. Tragedy Struck Again (2:04) 05. She Reaches From Beyond (2:56) 06. Candlelight Vigil (3:20) 07. Look To The Light (1:32) 08. Stop The Bus (1:39) 09. After The Crash (1:15) 10. Goode In The Woods (1:54) 11. Morning In Shadyside (1:36) 12. Some Creeper (2:03) 13. Arguing Peter To Death (1:31) 14. Skullmask (2:50) 15. Sheriff Goode (3:02) 16. Deena’s Got A Gun (1:49) 17. Ruby Attacks (3:07) 18. Curse Is Real (3:08) Total CD Time: 42:00 CD 2 01. Dead Maniacs (3:39) 02. Just Like Jaws (2:20) 03. A Reminder Of Us (3:43) 04. Bathroom Blowout (3:36) 05. Sam Bait (2:37) 06. C Berman Is The Key (2:35) 07. Goode Warning (2:56) 08. Right Now You Have To Die (3:01) 09. Market Massacre (6:32) 10. Bring Her Back (2:22) 11. Fell On Glass (2:38) 12. See You Tonight (1:36) 13. Berman Calls Deena (2:23) THE EXTRAS 14. Mall Massacre (Film Version Alternate Ending) (1:33) 15. Main Titles (Alternate Film Version) (1:51) Total CD Time: 43:00 Total Score Time: 85:00 CD 3 01. Opening (2:32) 02. Our Last Chance (2:46) 03. Chased Through The Woods (2:05) 04. Cut Down (0:48) 05. Nurse Attacks (3:07) 06. Crazy Eyes (1:40) 07. Cindy And Ziggy (1:38) 08. Finding The Diary (1:55) 09. Searching The Woods (3:41) 10. Sarah Got Candy? (3:14) 11. Tommy Turns ... Better Run (3:13) 12. Who Are You? (0:28) 13. Gonna Die Down Here (0:57) 14. Alice Mad (1:15) 15. Witch’s Mark (1:02) 16. Property Of Shadyside (0:44) 17. Here’s Tommy (1:02) 18. Girl From Shadyside (1:23) 19. Remembering Boyfriends (1:52) 20. Witch Blob (1:56) 21. Bedroom Lays (1:22) 22. I’ve Been A Bad Sister (2:21) 23. Game Over (1:08) 24. Outhousin’ (1:57) 25. Camper Chum (1:34) 26. Chop Chop (2:43) 27. Snake On A Floor (1:58) 28. Meeting House (1:26) 29. Blood Will Fall (1:44) 30. The Final Axe (1:53) 31. Sisters United (1:36) 32. Alice’s Plan (0:46) 33. Give Her A Hand (2:47) 34. Heart Of Darkness (1:15) 35. Sisters (4:29) 36. We Found Sarah Fier (3:08) 37. 1666 Teaser (1:32) THE EXTRA 38. Give Her A Hand (Alternate) (1:23) Total CD Time: 72:00 CD 4 01. Reflection (1:20) 02. Fruits Of The Land (1:10) 03. Pastor’s Daughter (0:46) 04. Cross Creek (0:53) 05. Sneaking Out (2:17) 06. Devil’s Book (2:34) 07. Full Moon Party (1:23) 08. Maiden Rock (1:50) 09. Discovered (1:11) 10. Pastor Miller (2:27) 11. Strangeness (2:36) 12. Bad Omens (1:22) 13. Darkness Grows (2:56) 14. Dalliance (1:33) 15. The Pastor (2:33) 16. Hysteria (2:06) 17. Accusation (2:23) 18. Hannah Caught (2:18) 19. No Lamb (2:32) 20. Book Is Gone (1:44) 21. Mob Arrives (1:18) 22. Sarah Hides (2:01) Total CD Time: 41:00) CD 5 01. Revelation (1:08) 02. Confession (1:54) 03. The Tunnels (1:59) 04. Severed Hand (1:37) 05. Sarah Escapes (1:52) 06. Sarah Returns (1:12) 07. Sarah’s Fate (6:38) 08. Goode Is Evil (2:02) 09. The Curse (3:14) 10. The Mall (1:32) 11. Try Not To Die (0:37) 12. Let’s Do This (3:11) 13. Into The Trap (4:23) 14. Goode Arrives (3:25) 15. Down The Hatch (2:10) 16. We Lost Sam (3:33) 17. Ending Goode (3:57) 18. NC-21 (3:21) THE EXTRA 19. Sarah Returns (Alternate) (0:55) Total CD Time: 48:00 Total Score Time: 89:00

STAR TREK: THE ORIGINAL SERIES – THE 1701 COLLECTION VOL 6: LIMITED EDITION (2-CD SET) LLLCD 1647 Music by Samuel Matlovsky, Jerry Fielding, Alexander Courage, Fred Steiner, Gerald Fried, George Duning and Wilbur Hatch Theme from Star Trek by Alexander Courage Limited Edition of 1701 Units RETAIL PRICE: $31.98 STARTS SHIPPING AUGUST 5 Available to order NOW at www.lalalandrecords.com La-La Land Records and CBS Studios proudly present STAR TREK: THE ORIGINAL SERIES – THE 1701 COLLECTION VOL. 6, the sixth in a series of limited edition CD releases that showcase original scores from the landmark sci-fi television series STAR TREK (1966-1969). Containing music originally from our long out-of-print 2012 Original Series Box Set, these exciting volumes utilize the same restored master as that acclaimed release, but feature new packaging by Dan Goldwasser, along with brand new, exclusive liner notes by film music writer and Trek historian, Jeff Bond. This groundbreaking, iconic music, from one of television’s most acclaimed and beloved series, is now again available for fans everywhere! Vol. 6 of the 1701 Collection focuses on the Trek TOS music of renowned composers Samuel Matlovsky, Jerry Fielding, Alexander Courage, Fred Steiner, Gerald Fried, George Duning and Wilbur Hatch, with the “Star Trek Theme” by Alexander Courage, and contains original score from the classic episodes I MUDD, THE TROUBLE WITH TRIBBLES, AND THE CHILDREN SHALL LEAD, along with MAIN and END TITLES and much more, including a bounty of Second and Third Season Library Music, Alternate Cues, Outtakes and Source Music. Produced by Lukas Kendall, Neil S. Bulk and Jeff Bond, restored by Chris Malone and mastered by Doug Schwartz, this limited edition 2-CD release of 1701 units, as well as forthcoming volumes of this series, illustrate how the original Trek series scores not only teem with action, adventure and drama, but how they are infused with deep emotion and the greatness of the human spirit. Such characteristics have kept these richly orchestrated tracks vital and relevant decades beyond their original recording. TRACK LISTING: DISC 1 1. Main Title* (Soprano Version, Second Season Mix; arr. Courage) 1:03 2006 Recording Conducted and Produced by Gregory Smith I, Mudd Music Composed and Conducted by SAMUEL MATLOVSKY Episode #41, Recorded 9/22/67 • Aired #37, 11/3/67 Total Time: 16:43 2. Please*/You Listen M21/M23 1:24 3. Harry Mudd/Mudd’s Series M24/M25 1:00 4. Stella M31 0:44 5. Control Room M32 0:56 6. Eternal Beauty/Crew Gone M33/M36 0:43 7. We Are Real M40 1:12 8. A Gilded Cage/Not Programmed M41/M42 1:10 9. Mudd’s Farewell/Stella’s Reprise M43/M44 0:59 10. Alice in Wonderland M55 2:08 11. Love’s Hate M56 0:50 12. Tired of Happiness M62 1:26 13. The Last Straw M63 2:12 14. Mudd’s Detention/Stella 500 M65/M66 1:38 The Trouble With Tribbles Music Composed and Conducted by JERRY FIELDING Episode #42, Recorded 10/5/67 • Aired #44, 12/29/67 Total Time: 12:05 15. The Muzak Maker M16 0:55 16. They Quibble Over Tribble/Kirk Out M21+M21S/M31 0:59 17. The Scherzo Maker M34 0:44 18. Bartender Bit M35 0:29 19. Big Fite M36/M36A/M36B 2:16 20. A Matter of Pride/Barrel of Tribbles/Tribble Hooks Kirk/My Chicken Sandwich/Come on Spock!/Raining Tribbles M42/M43+M43S/M44/M44A+M44AS/M44B/M51/M51A+M51AS /M52/M54+M54S 4:03 21. Dead Heap!/Close That Door/Hissing Tribbles/Poor Jonesy/No Tribble at All M55/M56/M57/M63+M63S/M65 2:30 Second Season Library Music Conducted by ALEXANDER COURAGE Recorded 6/16/67 Total Time: 31:17 Composed by ALEXANDER COURAGE 22. Ship in Orbit* (Big) LM6 0:40 23. Sad and Thoughtful on Captain’s Theme LM8 2:30 24. Captain Playoff No. 1 (Heavy) LM2 0:08 25. Smooth Neutral Ship Theme* LM7 0:41 26. Playoff on M.T. Theme LM1 0:23 27. Fight on Captain’s Theme LM5/LM5A 1:50 28. Captain Playoff No. 2 (Neutral—Slightly Ominous) LM3 0:12 29. Stingers LM17A/LM17B/LM17C/LM17D 0:51 30. New Sexy Exotic LM9 2:18 31. Captain Playoff No. 3 (Sad and Alone) LM4 0:20 32. Prime Specimen (“The Cage” M21–30) LM19 3:13 33. Monster Illusion (“The Cage” M42) LM18 2:34 34. Mr. Spock (“Captain’s Wig” From “The Naked Time” M54–61) LM16 3:27 35. The Big Go* (“The Naked Time” M62) LM15 2:30 Composed by FRED STEINER 36. Mudd’s Perfidy (“Mudd’s Women” M43) LM10A/LM10 0:33 37. Zap the Cap (“Charlie X” M53) LM11 1:34 38. Zap the Cap (“Charlie X” M53) LM11A tk 1 0:09 39. Zap the Cap (“Charlie X” M53) LM11A tk 2 0:06 40. Zap the Spaceship (“Charlie X” M54) LM12 1:28 41. Zap the Spaceship (“Charlie X” M54) LM12A 0:35 42. Zap the Spaceship (“Charlie X” M54) LM12B 0:08 43. Ruk Attacks (“What Are Little Girls Made Of?” M43A) LM13 1:41 Composed by GERALD FRIED 44. 2nd Ruth (“Shore Leave” M31A, orch. Gus Levene) LM14 2:35 Second Season Alternates and Outtakes Total Time: 6:02 45. Neck Pinch Sweetener (“Catspaw” M61A) (Fried) 0:04 46. Shuttle Helpless (“Metamorphosis” M12A) (Duning) 0:38 47. Starship* (“Metamorphosis” M41 tk 2) (Duning) 0:15 48. Nancy Sobs* (“Metamorphosis” M51A) (Duning) 0:20 49. Nancy Sobs* (“Metamorphosis” M51B) (Duning) 0:11 50. You Loved Me (“Metamorphosis” M61A) (Duning) 0:20 51. Cochrane’s Decision* (“Metamorphosis” M62B) (Duning) 0:13 52. We Are Real (“I, Mudd” M40A) (Matlovsky) 1:11 53. No Tribble at All (“The Trouble With Tribbles” M65A) (Fielding) 0:13 54. Poor Jonesy (“The Trouble With Tribbles” M63, orchestra only) (Fielding) 0:29 55. Poor Jonesy (“The Trouble With Tribbles” M63S trombone sweetener at recorded speed) (Fielding) 0:53 56. Tribbles FX (unused) (Matlovsky) 0:53 The Apple Unused Percussion Tracks Composed and Conducted by GERALD FRIED Episode #38, Recorded 7/7/67 (With "Friday's Child") Aired #34, 10/13/67 Total Time: 5:59 57. M1 tk 1 1:35 58. M2 tk 1 1:00 59. M3 tk 2 0:20 60. M4 tk 1 1:33 61. M5 tk 1 1:03 62. M6 tk 1 0:21 Wolf in the Fold Unused Belly Dancer Music Composed and Conducted by GERALD FRIED Episode #36, Recorded 7/19/67 (With "Amok Time") Aired #43, 12/22/67 63. Navel Maneuvers M1/M1A 3:06 Total Disc Time: 76:53 ================ DISC 2 1. Main Title* (Soprano Version, Third Season Mix; arr. Courage) 1:02 2006 Recording Conducted and Produced by Gregory Smith And The Children Shall Lead Music Composed and Conducted by GEORGE DUNING Episode #60, Recorded 8/9/68 • Aired #59, 10/11/68 Total Time: 35:48 2. Triacus*/What Goes Kids? M11/M12 2:41 3. Triacus Burial/Kooky Kids/Reluctant Kids M13/M14/M15 1:49 4. Strange Feelings M16–20 1:30 5. Starship Again*/Instant Ice Cream M21/M22 1:05 6. Busy-Busy/Tommy Tired/Here Comes the Gorgan/Kids’ Whammy #1 M23/M24/M25/M26 3:59 7. Standard Orbit #1*/Starnes’ Tape/Kids’ Whammy #2/Tommy’s Whammy/Standard Orbit #2*/Whammed Crew*/Starnes’ Story M31/M32/M33/M34/M35/M36/M36A/M37 5:37 8. Mislead Innocent/McCoy Mad*/Out of Orbit*/Call the Angel M38/M41/M42/M43/M43A 2:56 9. Kids in Control M44–50/M44–50A/M44–50B/M44–50C/M44–50D/M44–50E 7:15 10. Scotty Whammied/By Whose Orders M51/M52 2:02 11. Last Whammy M53/M53A 1:30 12. Gorgan Summoned/Gorgan Zapped* M54–60/M61 5:07 Third Season Library Music Conducted by WILBUR HATCH Recorded 6/25/68 From “The Cage” (Alexander Courage): 13. Survivors (M21) LM100 1:42 14. Bottled (M31) LM101 1:52 15. Monster Illusion (M42) LM102 2:47 16. Monster Illusion (tag) (M42) LM102A 0:10 17. The Kibitzers (M44) LM103 0:41 18. Vina’s Punishment (M51) LM104 1:54 19. Vina’s Dance (M62) LM105 1:54 20. Wrong Think (M73) LM106 0:43 From “Where No Man Has Gone Before” (Alexander Courage): 21. Act 1 Card (M13) LM107 0:38 22. Crippled Ship (M22) LM108 0:55 23. Speedy Reader (M24) LM109 1:06 24. End Title (M64) LM110 0:24 From “The Man Trap” (Alexander Courage): 25. First Goner (M14–21) LM111 tk 3 0:49 26. First Goner (M14–21) LM111 tk 4 0:49 27. Dressing Down (M23) LM114 0:08 28. Monitor Gizzard (M25) LM113 0:14 29. Monitor Gizzard (M25) LM113A 0:09 30. Lazer Dazer (M45–51) LM112 2:44 31. Dodo Girl (M52) LM115 0:10 From “Catspaw” (Gerald Fried): 32. Drugged (M25) LM116 1:24 33. Mace Fight (M61) LM117 0:59 34. Mace Fight (M61) LM117A 0:19 From “Friday’s Child” (Gerald Fried): 35. Down the Throat (M58) LM118 1:13 36. Arrows (M61) LM119 1:26 Total Time (13–36): 25:55 Composed and Conducted by GERALD FRIED (With “The Paradise Syndrome”) 37. School Chum (“Shore Leave” M23) LM125 0:33 38. Mr. Spock (“Amok Time” M14) LM128/LM128A 0:57 39. Contrary Order (“Amok Time” M16–20A) LM129 2:59 40. More Soup* (“Amok Time” M26–30B) LM126 2:00 41. More Soup (“Amok Time” M26–30B) LM126A/LM127 1:06 Total Time: 7:41 Composed and Conducted by GEORGE DUNING (With “Is There in Truth No Beauty?”) 42. Act Out LM131 tk 1 0:14 43. Act Out LM131 tk 2 0:14 Total Time: 0:28 Score Alternates Total Time: 1:48 44. Ambassador Arrival* (“Is There in Truth No Beauty?” by Duning, M13A) 0:16 45. Out of Orbit* (“And the Children Shall Lead” by Duning, M42A) 0:15 46. Final Curtain* (“Spectre of the Gun” by Fielding, M63C) 0:13 47. Unfair Exchange (“The Enterprise Incident” by Courage, M14–20A) 0:15 48. Tromba Sweetener (“Plato’s Stepchildren” by Courage, M25A) 0:24 49. The Aristocrats (“Plato’s Stepchildren” by Courage, M52A) 0:15 The Savage Curtain Episode #77, Recorded 1/24/69 • Aired #77, 3/7/69 Music Composed and Conducted by WILBUR HATCH Total Time: 2:24 50. Drums/Salute to Our President Fanfare MX/M1/M1A 1:30 51. Salute to Our President Fanfare (outtakes medley) M2/M3/M4/M5 0:52 Format Music Total Time: 1:34 52. Bumper (Broadcast Edit) 0:06 53. Bumpers (Alternates) 0:26 54. End Title* (Soprano Version, Alternate Ending; arr. Courage, cond. Hatch) 0:42 55. Paramount Television I.D. (Wilbur Hatch) 0:05 56. Paramount Television I.D. (Alternate) (Wilbur Hatch) 0:05 Total Disc Time: 77:22 TOTAL ALBUM TIME: 154:15 * Contains “Theme From STAR TREK (TV Series)” by Alexander Courage and Gene Roddenberry This is a CD format release.

Und auch hier schiebt Varesé eine Vinyl nach.

Snow Files of the Week: "Starspeak/Hidden Truths/Big Happening" aus "The X-Files, Season 8, Episode "This is not happening" (2001). Zu Beginn der achten Staffel komponierte Snow ein Thema für Scully. Dieses sollte die Verzweiflung, aber auch die Entschlossenheit Scullys bei der Suche nach Mulder unterstreichen. Nicci Sill steuerte dafür den Gesang bei, bei dem sie unter anderem die Worte "We are near" leicht verfremdet über die Melodie singt. In der Episode "This is not happening" taucht das Thema in einer instrumentalen Version wieder auf, als Scully mit Skinner über eine Unterhaltung spricht, die sie einst mit Mulder bezüglich den Sternen bzw des Weltalls geführt hat. Als Mulders Leiche nachts auf einem Feld auftaucht, weiss Scully, dass es nur eine Chance für Mulder gibt: Jeremiah Smith, der Wunderheiler. Dieser sammelt mit seiner Gemeinde die Körper derjenigen auf, die von den Aliens nachts auf Feldern nach den Experimenten zurückgelassen werden. Doch bevor Scully zu Jeremiah gelangen kann, sieht sie ein UFO, welches Jeremiah mit sich nimmt. Mulder scheint verloren. Mark komponierte für die Szene große, dramatische, fast schon Hans-Zimmer-artige Musik, in der er Scullys Thema in einen Marsch verwandelt. Diese Stücke stammen vom ersten Volume X-Files-Musik von LLL, limitiert auf 2000 Exemplare. Viel Spaß beim Hören!

Kommt von Intrada als 5-CD-Box.

Das Album erscheint nun auch auf Vinyl.

Und auch hier legt Varesé eine Vinyl nach.