Listen to Little Suspicions' debut single 'Wasting All My Time'.
British indie-rock four-piece Little Suspicions give a unique insight into their sound in a new interview with Contactmusic. They also open up about COVID-19 has affected their musical plans, and release a new single entitled Wasting All My Time.
For those who may be new to your music, how best would you describe your sound?
Continue reading: Little Suspicions Give The Best Description Of Their Sound We've Ever Heard [EXCLUSIVE]
Incredibly, Morricone had never won an Oscar despite racking up more than 500 movie credits in his lengthy career, despite his honorary award in 2007.
Leonardo DiCaprio may have made most of the headlines with his first Oscar win after five nominations for Best Actor, but perhaps just as significant was the triumph of Ennio Morricone, the legendary soundtrack composer who won his first statuette at the age of 87.
The Italian maestro has notched up more than 500 movie credits throughout his lengthy career, but finally struck gold on Sunday night as he collected the Oscar for Best Original Score to add to the Golden Globe he picked up for the same work he did for Quentin Tarantino’s The Hateful Eight.
Ennio Morricone with his wife at the European premiere of 'The Hateful Eight'
Continue reading: Ennio Morricone Wins First Oscar Of His Career For Scoring T`arantino's 'The Hateful Eight'
Morricone provides the soundtrack for Tarantino's upcoming movie, out December 25th in the US and January 8th in the UK.
Ennio Morricone, the legendary composer who has written the scores for many classic movies, has admitted that he was “shocked” by the amount of violence in Quentin Tarantino’s new film The Hateful Eight, for which he has provided the soundtrack.
Tarantino has used pieces of Morricone music in his movies before, but the imminently released project constitutes the first time that the Italian composer has written original material specifically for one of his movies. Speaking to The Telegraph at an event at London’s Abbey Road Studios, he spoke of his motivation for working with Tarantino.
Ennio Morricone provides the score for Tarantino's new movie 'The Hateful Eight'
Continue reading: Ennio Morricone Says He Was "Shocked" By The Level Of Violence In Tarantino's 'The Hateful Eight'
Quentin Tarantino, speaking at Comic-Con 2015, announced Ennio Morricone is composing the score for ‘The Hateful Eight’.
Ennio Morricone is set to write the score for Quentin Tarantino’s The Hateful Eight. He is best known for composing music for a number of Italian (Spaghetti) Westerns including the Dollars Trilogy, The Good, the Bad and the Ugly, and Once Upon a Time in the West. The 86-year-old Italian composer is returning to writing film scores after eight years away but it has been more than forty years since he worked on a Western.
Quentin Tarantino at San Diego Comic-Con 2015.
Read More: Quentin Tarantino Shot The Hateful Eight on Refrigerated Set.
Continue reading: Ennio Morricone Is Composing The Score For Quentin Tarantino’s ‘The Hateful Eight’
Well, this is the soundtrack to a western, but it's also the soundtrack to the bloody new vision of Quentin Tarantino so while it hints at it, it's not exactly the most classical collection of dusty old desert songs you could imagine. It's a soundtrack that packs just as many punches as his movie and brands those wincingly visceral scenes into your mind as if it was an 'r' on Jamie Foxx's face.
From Ennio Morricone to Rick Ross it's a thrilling OST that somehow manages to modernise the western without completely ruining it in the process, I mean perhaps Rick Ross out of context is a little jarring, but John Legend's 'Who Did That to You?' is the smarmy second gun in Foxx's hand after you think he's all out of bullets. It's drawling guitar line wails with a lone gunman swagger as Legend's R&B vocals cry out with an over the top pulp. This more than any other song on the soundtrack encapsulates your thoughts of not what a Tarantino western is, but what it should be.
It's difficult to pick out tracks here that are better than the rest, they're all good, but this isn't a record in the usual sense, it's a soundtrack, obviously, and therefore it's about the feeling it brings with it and Tarantino's choices of tracks like 'Freedom' ring with the authenticity of classic slavery hymnals. It's a record that feels as sadistic and redemptive as the tale is on screen and it's a testament to these musicians that you don't need to see the film to understand the tale. It's spliced with some of the finest cuts of dialogue and death from the movie which add an extra layer of texture to this inspired collection and mean that you get to hear Christoph Waltz say, 'five thousand dollar n***a, that's practically my middle name' as much as you bloody well please.
Continue reading: Quentin Tarantino - Django Unchained: Original Motion Picture Soundtrack Album Review
A mixed week for US albums releases; old classics given an airing, a major movie soundtrack launched and hip-hop arTIsts new and old having a stab at chart success. Currently, the top of the US album chart is dominated by Taylor Swift, who’s back at the top with Red, Wiz Khalifa, riding high at number two with O.N.F.C. and Rod Stewart’s festive compilation album, Merry Christmas, Baby.
Eric Clapton’s Slowhand gets a 35th anniversary reissue, having been remastered from the original “1/4 tape. There are four album session outtakes, entitled ‘Looking at the Rain,’ ‘Alberta,’ ‘Greyhound Bus,’ and ‘Stars, Strays and Ashtrays.’ A second disc contains a live performance at London’s Hammersmith Odeon, from April 27, 1977.
One for the completists, then – and more a case of Clapton’s record label rubbing their hands in glee at a cash in, than any real significant moment in his career. The re-release of Slowhand has hardly set the music press alight and we probably don’t need to fetch any fire blankets for the albums chart, either.
Continue reading: Out Now: US Album Releases, Django Unchained OST Features Rick Ross, Chief Keef Banks On Hip-Hop Heavyweight Support, Eric Clapton's Slowhand Revisited