Following on from the reissue of his debut album Dispatches, Field Records has just released Epilogue, a curated collection of electronic artist Mike Parker‘s work for the Prologue label between 2011 and 2013.
Known for his distinctive, minimalist techno sound, Parker’s output on the label was hypnotic, deep, and at times psychedelic, with the compilation revisiting material from the Subterranean Liquid EP and Lustrations LP among others. It’s out now in vinyl format, featuring twelve tracks, and as an expanded digital version including eight additional cuts.
With that in mind, and given Parker’s exploration of cinematic soundscapes through his productions, for the latest #MyRecordBag, Mike Parker presents his top cinematic masterpieces.
Tangerine Dream – Sorcerer (1977)
“William Friedkin’s bleak existentialist film Sorcerer has been remastered in the 4K UHD format by Criterion. To really appreciate Tangerine Dream’s soundtrack, you also need to listen to it as a stand alone album. This is Tangerine Dream at the top of their game, delivering a pulsating storm of electronic sound. Friedkin chose wisely.”
Louis & Bebe Barron – Forbidden Planet (1956)
“In presentations and interviews, I almost always highlight the soundtrack of Forbidden Planet as a milestone in the history of electronic music. Produced by the Barrons in 1956 with their own self-built studio equipment, their electronic tonalities serve as both the soundtrack and sound effect language of the film. Absolutely essential.”
Jerry Goldsmith – Logan’s Run (1976)
“Jerry Goldsmith composed many brilliant, memorable soundtracks, among them Planet of the Apes. In Logan’s Run, he incorporates heavy electronic textures and sequences that evoke the dystopian moods required for the story. Released one year before Star Wars, the movie transcends its budgetary limitations and remains an intriguing, if slightly flawed classic.”
Delia Derbyshire and Brian Hodgson – The Legend of Hell House (1973)
“Surprisingly, this movie was shown on TV a lot when I was a kid. Scream Factory’s blu-ray presentation reminded me that the film’s power is accentuated by its unique music. Revisiting it again after all these years, I’m still impressed at how scary and stylish it is. This is top notch 70’s horror, highly recommended.”
Gino Marinuzzi Jr. – Planet of the Vampires (1965)
“I am a massive fan of the Italian film director Mario Bava, whose movies were often drenched in exquisite, saturated colour. Marinuzzi’s original soundtrack contains electronic elements mixed with a traditional ensemble. But this movie also had an alternate, entirely synthesized score by Kendall Schmidt when it was released to US home video in the late 80’s.”
Elisabeth Lutyens – The Skull (1965)
“Not an electronic score, but notable for its use of the cimbalom, evoking weird bell-like tones. Directed by Freddie Francis, The Skull deals with evil spirits that inhabit inanimate objects. The skull from its title is inhabited by the ghost of the Marquis de Sade. The British film studio Amicus produced this movie, pairing Peter Cushing and Christopher Lee, who had incredible chemistry in their scenes together.”
Chrome – Read Only Memory (1979)
“Chrome was one of the most unique bands to come out of the San Francisco area in the 1970s. Here they present some of their most experimental music.”
Various – Night of the Living Dead (1968)
“Filmed in the Pittsburgh area with limited resources, George Romero’s masterpiece Night of the Living Dead does not have a singular composer for its soundtrack. Instead, the movie often utilises library music that you can hear in other films, expertly edited and accentuated with electronic effects. Released at the height of the Vietnam War and the Civil Rights Movement, the movie is a metaphor: the United States eating itself. For the best experience, watch the restored version by Criterion.”
Akira Ifukube – Invasion of Astro Monster (1965)
“Known in the United States as Godzilla vs Monster Zero or just Monster Zero, this is one of my favourites from the series, directed by Ishiro Honda. Sure, it’s goofy and the audience it was intended for skewed towards children. But it also gave Akira Ifukube a chance to score some otherworldly music in a science fictional setting.”
Jack Tamul – Zaat (1971)
“If bad movies are something you enjoy, you may think you’ve died and gone to heaven when you witness Zaat, aka Blood Waters of Doctor Z. This movie is hilariously bad, yet it’s an endearing example of early 70’s drive-in regionalism. The electronic elements of the soundtrack exude the bubbly, bleepy character of tape music. The monster looks like an amalgamation of Bigfoot and the Gill Man from Creature from the Black Lagoon – perhaps a great Halloween costume!”
Thanks to Mike for his selections. Epilogue is out now on triple vinyl and digital via Field Records – check it out here.
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