Genre Variations, & System Adjustments

"Mmm... the other white meat..."

Sorry about the conk-out – the websites & blog are back online, but it might be a day or three before the domains are propagated by search engines. (In Inglaisio: main index page urls may not load, but if you Google the site or load from an existing hyperlink, the site should pop up.)

Now then.

Now live are a quartet of horror-ish reviews for specific genre splinters, each done fairly recently:

Cliff Martinez

There was a two-year period where in my car I had a tape containing Cliff Martinez’s scores for Traffic, Solaris [M], and Wicker Park (and weirdly, the suite of themes from Shane Carruth’s Primer, because the cues stylistically fit the mix).

During that chunk of time it wasn’t unusual to have the tape sitting in the deck, playing again, and again, and again.

A friend (fellow vowel brother MRI) once remarked how he too would listen to Martinez’s music, but both of us were pretty fixed on Solaris as being the most haunting, addictive, soothing, and hypnotic.

It’s the best thing Martinez, Steven Soderbergh’s main composer since Sex, Lies, and Videotape, has written, and you just wish someone would let him write more sci-fi / dramatically wrenching music, because his combination of electronic, glass, metal, and orchestral instruments is second to none.

That’s why I jumped at the chance to interview Martinez regarding his latest releases which, alongside Lincoln Lawyer [M], form part of a rare cosmic occurrence: 3 Martinez scores in one year.