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Candyman (Original Motion Picture Soundtrack) is the soundtrack to the 2021 film of the same name.Featuring the film's score composed by Lichens who credited under his original name Robert Aiki Aubrey Lowe, the score consisted of vocal performances by the composer as well as acoustic instruments sampled and manipulated through recordings of various sounds at live locations.
Lacking a symphonic soundtrack, the film's score consists of a piano melody played in a 10/8 or "complex 5/4" time signature, composed and performed by director Carpenter. He admitted that the music was inspired by Dario Argento's Suspiria (which also influenced the film's slightly surreal color scheme) and William Friedkin's The Exorcist.
Music in the Horror Film. Routledge. ISBN 978-0-415-99202-2. Rosar, William H. (1983). "Music for the Monsters: Universal's Pictures' Horror Film Scores in the Thirties". The Quarterly Journal of the Library of Congress. 40 (4). Thrower, Stephen (August 18, 2011). "From Goblin to Morricone: The Art of Horror Movie Music". The Guardian
In 2011 these three songs were released, as MP3 format only, in their stereo, studio mixes on the download-only release The Rocky Horror Picture Show Complete Soundtrack: Absolute Treasures 2011 Special Edition. The 2011 album was later issued on double red vinyl for the film's 40th anniversary.
Much of the music used in the film was licensed from the De Wolfe Music Library, a much-utilized source of stock music for film and TV projects. Although the Goblin score has been variously available since the film's release, it was not until 2004 that any of the highly sought-after 60-plus cues of library music used in the film were released on a compilation album from Trunk Records.
Scream: Music from the Dimension Motion Picture is the original soundtrack to the film released on December 17, 1996, by TVT Records. It featured 11 songs—most of which appeared in various scenes in the film—in addition to a cue from Beltrami film's score. The soundtrack was not as successful, failing to chart on the US Billboard 200. [3]
Music critic Jonathan Broxton commented "Although the creepy Latin chanting is certainly effective, and although the ‘I Got 5 On It’ remix from the finale has already worked its way into public consciousness, the rest of the score has too much traditional abstract horror music for it to cross over from the film music niche and into the ...
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