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Editorial Reviews
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This dank-as-style contemporary film noir features most of the genre's familiar ingredients: murder, creepy characters, narrative flashbacks, an identity crisis or two, and a compelling if twisted subculture, in this case the scaly underbelly of the L.A. some speed freaks call home. While the genre has generally relied on dark jazz shadings--or, in the case of David Lynch and Angelo Badalamenti, a hodgepodge of hellish synthscapes and nostalgic irony gone sour--the presence of Thomas Newman here guarantees something more expansive than clichés, and the young veteran delivers again. Newman's odd, percussion-reliant tack may occasionally be familiar here, but the score's unusually large ensemble allows him a wide timbral palate. He wastes no time infusing the score with jarring industrial rhythms, indistinct ethnic modalities that seem invented out whole cloth, some of Erin Brockovich's spare, Fender Rhodes-driven acid jazz shadings, and great, eerie dollops of the ominous, electro-acoustic soundscapes that have defined so many of his scores, yet without ever descending into caricature. Newman mixes it all into a hypnotic sonic cocktail that's as nervy as it is unsettling, one that zigs when you're sure it will zag, offering up some strangely reassuring musical comfort in a world of moral indifference and dramatic detachment. --Jerry McCulley
Salton Sea (Score),Thomas Newman,Varese Sarabande,Pop,Soundtrack,Soundtracks & Film Scores
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Salton Sea (Score)
Thomas Newman Manufacturer: Varese Sarabande ProductGroup: Music Binding: Audio CD  Movie Soundtracks
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ASIN: B000065UNB Release Date: 2002-04-30 |
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Amazon.com
This dank-as-style contemporary film noir features most of the genre's familiar ingredients: murder, creepy characters, narrative flashbacks, an identity crisis or two, and a compelling if twisted subculture, in this case the scaly underbelly of the L.A. some speed freaks call home. While the genre has generally relied on dark jazz shadings--or, in the case of David Lynch and Angelo Badalamenti, a hodgepodge of hellish synthscapes and nostalgic irony gone sour--the presence of Thomas Newman here guarantees something more expansive than clichés, and the young veteran delivers again. Newman's odd, percussion-reliant tack may occasionally be familiar here, but the score's unusually large ensemble allows him a wide timbral palate. He wastes no time infusing the score with jarring industrial rhythms, indistinct ethnic modalities that seem invented out whole cloth, some of Erin Brockovich's spare, Fender Rhodes-driven acid jazz shadings, and great, eerie dollops of the ominous, electro-acoustic soundscapes that have defined so many of his scores, yet without ever descending into caricature. Newman mixes it all into a hypnotic sonic cocktail that's as nervy as it is unsettling, one that zigs when you're sure it will zag, offering up some strangely reassuring musical comfort in a world of moral indifference and dramatic detachment. --Jerry McCulleyCustomer Reviews:
almost perfect.......2004-05-27
Incredible Stuff.......2002-09-25
This is my first album, of thomas newman, surely not going to be the last. Its a great record, buy it after u see the movie.
one of thomas newman's best.......2002-07-20
"double life and revenge delivers a graphic score".......2002-05-08
With director D.J. Caruso, screenwriter Tony Gayton and composer Thomas Newman, we experience each character on the screen. This tense and moody story has a cast of players to match ~ Val Kilmer(Danny Parker), Peter Sarsgaard(Jimmy the Fin) and Deborah Kara Unger (Colette) ~ a modern day film noir dealing with drug trade and the answers to an unsolved murder of Kilmer's wife.
Newman's cues are dark, moody and sometimes bleak. Shades of sadistic counterpoints surface within "BADGER", percussion and guitar takes each piece of music to a dooming place ~ "LAST WIFE", piano recalls memories and strings answer the questions ~ "LINOLEUM/WALK TO BLACK", dreamlike trance voices adhere while strings swell, guitar opens the door for drums to react and all join in with a haunting tempo that grabs you, this is the highlight...ENJOY!
All in all, Newman has captured the essence of a brutal undercover story and the demons that haunt each character. Much like Jerry Goldsmith with "L.A. Confidential", the elements within the soundtrack are very sound. As a "film-score-buff", this is going into my collection as a keeper.
Total Time: 47:33 on 23 Tracks ~ Varese Sarabande 302-066-351-2 ~ (2002)
Experimental, somewhat classic Newman - an Ambient feel........2002-05-04
This is not the Newman that is able to include synths and rather electronic-like music along with a spellbinding theme (generally included by piano). This is a rather destructive and intrusive score, but displays some qualities heard in G. Ravell's score to "Until the End of the World". There really isn't any place to go - the listener is forced to feel the "in between-ness" which is speckled all over the theme of the actual movie.
In itself, the score is utterly dark, mysterious, and deeply hauntingly sad. I can understand why Newman would go for this type of movie - it pushes him to be very creative in dealing with visual themes.
You hear the trumpet! What the heck is Newman thinking? However, it is something that just makes him that much more of a musical genius, in my opinion.
Get this album to add to a music collection, not necessarily for something that you can listen to while doing something - but just to listen to for its musical force and strikingly haunting themes.
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