ennio morricone

I’m kicking myself for not picking this up today, perhaps it was the fact that in the selling notes it was described as being pressed upon two different variants of coloured vinyl – both by all accounts quite lurid and something of an eye ache. However guaranteed that come the end of play on Monday we’d have at least rested at least one version from our record emporium and will not doubt be seducing our listening space with the beautified sounds within. Now I’ll admit I haven’t a full encyclopaedic knowledge of the work of Ennio Morricone but until now I was happy in my foolish misguided mind that I knew the ones to adore and the ones to avoid. So how come I missed ‘Spasmo’. Surely deserving of a re-appraisal for I suspect that I can’t be the only one who has somehow skipped a musical page with this one. Okay agreed it is Morricone by numbers, it echoes to previous canons and utilises the same tricks and traits, I wouldn’t be none to surprised to discover he’d written it in his sleep. But what makes it work is the full spectrum of atmospheric devices it gathers – certainly one of Morricone’s more darker if not darkest scores and without doubt perhaps his most fractured and disturbed for here your dragged along a twisted and turning complex collage oozed in suspense stricken noir so prevalent of the day (the soundtrack adorned Lenzi’s little known ’74 Giallo), drone recitals, chase scenes, tripped out disorienting nightmarish sequences, ghostly pastorals, the divine religious visitation that appears around the 23 minute mark and moments of lush Hammer-esque horrorphonic beauty not to mention a gravitas nodding towards Bernard Hermann, it really is an aural feast deserving of a closer listen.


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