Created to accompany Drafthouse Films’ recent Blu-ray/VOD release, this week marked the unleashing of Franco Micalizzi’s score for the Giulio Paradisi‘s 1979 film, The Visitor. Pressed by Drafthouse’s merchandising cohorts, Mondo, the album features a deluxe gatefold jacket designed by Jay Shaw and 2 x 180 gram LPs on black vinyl with randomly-inserted sunburst vinyl (pictured above).
Franco Micalizzi is an Italian composer recognized for his early spaghetti western score for They Call Me Trinity; however, he is most well known for his many collaborations with director Umberto Lenzi including The Greatest Battle, Violent Naples (which includes the uber-amazing track Folk and Violence), and Rome Armed to the Teeth, adding to his prolific contributions to the sound of the Poliziotteschi (Italian Crime) genre.
Micalizzi’s talents allow him to glide easily between genres and although The Visitor resides within the Sci-fi/Horror classification, the film’s score can easily replace any Italian action thriller.
Be sure to check out a sample of the main theme below and get your hands on this beauty through Mondo’s website, here.
Due to the number of artists revealing their inspiration regarding the work, it’s becoming far easier to see the scope of influence felt byDavid Bowie and Brian Eno’s landmark album, Low. The now-legendary side two of the album is comprised of a series of instrumentals that were conceived initially to score the Nicolas Roeg film, The Man Who Fell To Earth. After Roeg decided against using the music in the film, Bowie added the tracks to the Station to Station follow-up, creating one of the more experimental and ground-breaking moves in electronic music history.
One of the artists moved by the work was experimental composer Philip Glass, who in 1992 chose to court the instrumental pieces of the LPs second side to see how the collaboration could influence his own work. He explains, “My approach was to treat the themes very much as if they were my own and allow their transformations to follow my own compositional bent when possible. In practice, however, Bowie and Eno’s music certainly influenced how I worked, leading me to sometimes surprising musical conclusions. In the end I think I arrived at something of a real collaboration between my music and theirs.”
This week, the piece was released on vinyl for the first time through music publishers, Music On Vinyl. The album is pressed on 180 gram vinyl, includes insert and deluxe PVC sleeve. Be sure to grab a copy while they last, here.
To get a taste for the tone of the piece, check out the video below: