Rabu, Oktober 30, 2013


La-La Land Records akan merilis score album Restless, huhuy! Berikut kutipan pengumumannya dari halaman Facebook La-La Land Records:
Next Tuesday, Nov 5, 2013 at 12 pm NOON pst La-La Land Records is honored to be releasing 2 WORLD PREMIERE soundtracks by two of our favorite composers:
First up:
LLLCD 1274


La-La Land Records and Sony Pictures Entertainment present the world premiere release of Danny Elfman’s score to the 2011 Gus Van Sant dark quirky romantic drama RESTLESS. Scored much in the style of MILK and TAKING WOODSTOCK, this quaint, beautiful little score tugs at the heart strings as well as tickles the funny bone. It’s the story of a terminally ill teenage girl falls for a boy who likes to attend funerals. New interview with director Gus Van Sant are a highlight in the detailed liner notes by Tim Greiving. Dan Goldwasser’s lovely art direction round out the package.
BONUS OFFER: If you purchase RESTLESS directly through the La-La Land Records website you will receive, at absolutely NO CHARGE, a FREE COPY of Danny Elfman’s score to TAKING WOODSTOCK. PLEASE NOTE: Supplies are limited and you are not guaranteed a copy of Taking Woodstock.
Situs resmi LLL ada di sini.

Danny Elfman and his film scores taking center stage at Nokia Theatre

Tanggal 29 Oktober, LA Times memuat artikel mengenai Danny Elfman, berikut kutipannya:
Collaborating with his orchestrator Steve Bartek, Elfman worked intensively over three months to determine the order in which the music should be presented. Then he wrote musical transitions to ensure the pieces from the 15 films would flow seamlessly during the performance.
He also created new passages to bolster some compositions — the up-tempo Gypsy number "Edward the Barber" from "Edward Scissorhands," for one, was extended for the performance. But Elfman wasn't necessarily interested in updating the music, especially the older material, to sound more contemporary.
"I tried not to take an approach of modernizing everything to be as I would do now. That would take away some of the charm of some of the earlier stuff, and I didn't want to do that."
"Serenada Schizophrana" is enjoying a robust afterlife — four selections from it will be featured in the first act of a dance program at Orange County's Segerstrom Center for the Arts, "Diana Vishneva: On the Edge," choreographed by Jean-Christophe Maillot and set to open Nov. 6. The program also features two pieces from Elfman's "Rummy (Not Edited)," taken from the score of Errol Morris' documentary "The Unknown Known: The Life and Times of Donald Rumsfeld."
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Sabtu, Oktober 19, 2013


The Big Issue mewawancarai Danny Elfman, berikut kutipannya:
My youngest son Oliver is eight. My first conscious moment each day is a kiss goodbye when he goes to school. I then hopefully get a few hours more sleep before I start my day. I try to see him either at dinner or at bedtime. That’s all I see him during the week. On Saturday nights we have movie night. Right now we’re going through all the films of the Japanese animator Hayao Miyazaki. My favourite is always going to be Spirited Away. Oliver’s is between Princess Mononoke and My Neighbour Totoro.

I shuttle back and forth to London a lot when I’m working with Tim [Burton], which we will be soon on Big Eyes. If we’re not talking about work, we’ll go and sit in a pub for a pint and talk about how our families are doing – I am godfather to his son, Billy. Other than that, we usually are talking about music and the films and work. We’re both rather obsessive.
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Movie Wave me-review soundtrack Epic, berikut kutipannya:
An early highlight is “The Selection”, where an unmistakably Elfmanish choir is added to a more dynamic, dramatic arrangement of the fluid main theme. But the echoes of Powell are heard a few more times – the very next cue, “Ambush”, could easily be by the British composer. A key difference, particularly compared with Powell’s more recent scores for animations, is that there seems to be a greater structure to Elfman’s music – it’s still mostly at a frantic pace, but the composer keeps it all musical, the album isn’t a parade of tiny cues flitting all over the place – and that coherent sound certainly helps with the enjoyment. When Elfman does slow down the pace, this offers some of the score’s most magical moments – “Tara’s Gift” is absolutely lovely (and you’d never mistake it for anyone other than Danny Elfman), “Antlers” is (appropriately enough) pretty epic, and best of all is the conclusion, the sweeping “Return”, which is approaching vintage Elfman. The frequent action music is lively and energetic, indeed the whole album is entertaining, though it lacks truly the truly memorable melody that would elevate it to something a bit more special and allow it to be considered with the composer’s best.
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Minggu, Oktober 13, 2013

Music From the Films of Tim Burton Concert Review

IGN me-review konser Danny Elfman, berikut kutipannya:
“Thank you for providing me with the greatest night of my life," said composer Danny Elfman at the end of his triumphant Royal Albert Hall gig on Monday night, in which he played music from the many Tim Burton movies that he has scored.
But the biggest cheer of the night was saved for The Nightmare Before Christmas, with Elfman himself finally taking to the stage and quickly bringing the house down with a rendition of Jack Skellington’s greatest hits. Elfman’s vocals were note-perfect, while it was a blast watching him act out each verse and chorus.

And a wonderful night was brought to a fitting close when Tim Burton joined his musical collaborator onstage for a lengthy and well deserved standing ovation, directed at two unique, original and quite brilliant talents.
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Rabu, Oktober 09, 2013


Black Beauty: Limited Edition telah dirilis oleh La-La Land Records, HUHUY! Berikut kutipannya:
La-La Land Records, Warner Bros. and WEA present the latest reamstered and expanded title in our collection of notable scores celebrating Warner Bros.'90th Anniversary-the original motion picture score to the 1994 family drama BLACK BEAUTY, starring Sean Bean and David Thewlis, and directed by Caroline Thompson. Lush, gorgeous, but also stirring and strong in spirit, Mr. Elfman’s score is much like the film’s titular creature and is considered to be one of his finest works. This deluxe treatment, expanded to nearly 79 minutes, finally gives this important film score the release it has always warranted. Produced by Dan Goldwasser and mastered by James Nelson, this special release, limited to 3000 Units, features attractive art design by Dan Goldwasser and exclusive, in-depth liner notes from film music writer Jeff Bond, with comments from the composer and the film’s director. A must for all film music enthusiasts!
Baca lengkapnya di situs LLL di sini.

Senin, Oktober 07, 2013


La-La Land Records mengumumkan di halaman Facebook-nya bahwa mereka akan merilis BLACK BEAUTY EXPANDED LIMITED EDITION, berikut kutipannya:
Coming October 8, 2013 at 12 pm pst
Coming out next Tuesday we have one more title to add to our catalog:
LLLCD 1273


La-La Land Records, Warner Bros and WEA are proud to announce the expanded edition to one of Danny Elfman's greatest scores BLACK BEAUTY, written and directed by Caroline Thompson. Lush, gorgeous, melodic and inspirational -- this magnificent score gets the deluxe treatment "La-La Land style" with an expanded program clocking in at nearly 79 minutes, tracks remastered by James Nelson, and a 24 page booklet with in depth liner notes by Jeff Bond, including comments by composer Danny Elfman and writer/director Caroline Thompson. This is our favorite non-Burton score of Elfman's! He taps into the soul of the characters that made his scores to Edward Scissorhands and Dolores Claiborne so memorable. A must for any Elfman or film music fan alike!


1. Main Titles 2:34
2. Birth (“Baby Beauty”) 4:41
3. Gang on the Run** / Bye Mum* 4:37
4. Beauty* 1:18
5. Merrylegs 2:03
6. Kicking Up a Storm 1:36
7. Jump for Joy (film version)* 1:02
8. The Rescue* 2:27
9. Sick 3:18
10. He’s Back (Revival) / Frolic 4:00
11. The Fire* 3:42
12. Carriage* (unused) / The Dance / Bye Merrylegs 3:23
13. Goodbye Joe 1:18
14. Ginger Snaps 3:21
15. Wound* 0:52
16. Wild Ride / Dream 2:14
17. Injury* / Job* 2:37
18. Is It Joe? 1:21
19. Black Jack (“Mommy”)** 1:14
20. Nuns* / In the Country 3:35
21. Poor Ginger! (film version)* 3:50
22. Sick Jerry* 1:58
23. Bye Jerry 1:12
24. Hard Times / Epilogue: Saved (“Memories”) 5:30
25. End Credits 1:38

Total Score Time 66:10


26. Street Violin* (source) 0:42
27. Bye Mum* (alternate) 0:46
28. Job* (alternate intro) 1:07
29. Is It Joe?* (alternate) 1:21
30. Nuns* (alternate) 0:57
31. Sick Jerry* (alternate) 1:58
32. Jump for Joy (album version) 1:02
33. Poor Ginger! (album version) 4:19

Total Album Time: 78:44

*previously unreleased
** contains previously unreleased material
Facebook page-nya LLL ada di sini. Black Beauty, a must have!!

Danny Elfman conquers his stage fright for rare show

Berikut kutipan dari artikel Birmingham Mail tanggal 4 Oktober:
“I had great stage fright for 23 years, even when I was performing with my band Oingo Boingo, and I’ve never got over it. When I stopped performing, I felt no sense of regret at all. I was relieved not to have the anxiety any more.
“One of my greatest fears is still speaking in front of an audience, that’s even worse than singing. I had to give away an award at an event recently and even though the audience was friendly, my voice was shaking.
“When they asked me to sing some of Jack Skellington’s songs from The Nightmare Before Christmas, live for the first time in these concerts, I said ‘Sure, why not?’. Now I’m thinking ‘oh my god, what have I done?’.
“I am extremely nervous. I’m having heart palpitations. I just hope I’ll be able to get a hold of the beast and tame it, although I’m sure my first few moments of singing will be terribly shaky.”
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Danny Elfman on Tim Burton, The Simpsons and his return to singing live

Berikut kutipan dari artikel The Guardian tanggal 2 Oktober:
More remarkably, he will sing compositions he wrote and recorded in 1993 forThe Nightmare Before Christmas. It will be the songs' first live performance (not counting the millions of children who howl along to them in front of the TV), and the first time Elfman has sung on stage in 18 years.
"I'm scared shitless," he says, raising a weak smile. To be perfectly honest, he looks it. He's a slight, softly-spoken man with orange-tinted specs that match his marmalade hair. We are seated on sofas in a cavernous, wood-floored room in his Los Angeles base, Studio Della Morte, where instruments (several gongs, a discarded accordion on the floor) compete for space with macabre props (cow skulls, dolls in various states of metamorphosis or dismemberment) and oddball paintings (a hare with boxing gloves). "Until I get to rehearsals this Saturday with the BBC Orchestra, I do not know what to expect. It would be typical for me to have bitten off more than I can chew. If I hold true to form I'll have gone a bit too far."
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