MAGIC MIX

soundtracks . library music . exotica . easy

WEEK STARTING 20 Sep

Genre pick of the week Cover of Stranger Things 3 - Original Score From The Netflix Original Series by Kyle Dixon & Michael Stein.

Kyle Dixon & Michael Stein

Stranger Things 3 - Original Score From The Netflix Original Series

S U R V I V E members Kyle Dixon & Michael Stein's score to Stranger Things 3.

GRAMMY Nominated and EMMY Winning composers Kyle Dixon & Michael Stein's score to 'Stranger Things' is perhaps the show’s secret ingredient. A mixture of icy new-wave hooks, spooky ambient textures and menacing drones which bring a spine-tingling ambience and a hauntingly beautiful nostalgia all at once.

It’s 1985 in Hawkins, Indiana, and summer’s heating up. School’s out, there’s a brand new mall in town, and the Hawkins crew are on the cusp of adulthood. Romance blossoms and complicates the group’s dynamic, and they’ll have to figure out how to grow up without growing apart. Meanwhile, danger looms. When the town’s threatened by enemies old and new, Eleven and her friends are reminded that evil never ends; it evolves. Now they’ll have to band together to survive, and remember that friendship is always stronger than fear.


STAFF COMMENTS

Barry says: Dixon! Stein! Bad-ass kids with super and / or not super powers! Winona! The neverending story! A Mancunian graphic design god! all GREAT things, and all involved in Stranger Things. Bonus points for the hot pink 80's vinyl. Amazing stuff.

FORMAT INFORMATION

2xColoured LP Info: Neon pink vinyl housed in deluxe heavyweight gatefold sleeve.
The package features stunning artwork throughout designed by Kyle Lambert.

The rarest of all exotic LPs, like Eden Ahbez but with extra added death. This bizarre, rarely heard masterpiece brings together jazz, ancient manuscripts and a convicted murderer…

Issued originally in 1959 it originates from Pheonix, Arizona. The concept behind the recording was unusual - to brings together two unconnected worlds: the jazz genius of Buddy Collette with the academic oriental studies and translations of A.I Groeg.

Little can be found of A.I. Groeg, But before the LP was recorded A.I Groeg had translated several Polynesian and Japanese manuscripts. These form the basis of the dark narrations and lyrics across the album.

Sublime vocalist Marni Nixon (the voice of Maria in West Side Story) was brought in for two songs and fledgling actor Robert Sorrels (now a convicted murderer) supplied the strangely unsettling and almost otherworldly narration.

The original LP states that “Buddy was given carte blanche with the material. After six months of composing and studying with the voice soloists, the results were two instrumentals and two songs on side one, and tone poems on side two. The latter represents a new musical genre. They are musical descriptions, preceded by spoken lines, and they become tone poems or musical illustrations inspired by the islanders, their words and marvelous simplicity. The mood is complete, yet hovers strangely in the air like a vague tantalizing dream.”

I’d first heard the album in about 2010 on a bizarre bootlegged CD (edited strangely with exotic library music), and spent the next few years desperately trying to find an original pressing. About one copy turns up a year, it seems to be far rarer than the legendary Eden’s Island album and occupies a similar musical space. But this album has a little more death.

Heaven knows what new listeners will think of Polynesia, but it sure is a dark and weird musical trip. One I feel everyone should take.
Jonny Trunk 2019.


In support of their forthcoming Bob Moog documentary 'Electronic Voyager', Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, "Electronic Voyages: Early Moog recordings 1964-1969" contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.

Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, "Electronic Voyages..." aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an audio letter ("The Abominatron") from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, "Electronic Voyages" veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).

The musicians and composers behind these "Electronic Voyages" may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy. A triumph!



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