Promo CD Reviews: Teddy Bear Murders and Evolution by Mirowitz
The Fluorescent Shaded Teddy Bear Murders ** 1/2
KEITH MOORE
Promo
12 tracks - 35:13
The screenplay (yes, screenplay -- it hasn't been made) for The Fluorescent
Shaded Teddy Bear Murders revolves around an island occupied by "insanely
beautiful" supermodels who must protect themselves from murderous stuffed
animals. And though author Keith Moore hasn't found a buyer yet, in 2001
he composed a score based on his own screenplay (a digital copy is packaged
with the score album). In his press kit, he explains, "There's something
personally rewarding about sharing my work in this format with the general
public, instead of waiting for Hollywood to share it for me."
Using the Ztar, "a guitar-shaped keyboard with buttons on each fret
instead of strings," Moore layers his music with a wide range of styles
-- both popular and serious -- to create a complex, almost schizophrenic
sound. "Sometimes They Say Yes," for instance, juxtaposes jabbing strings,
droning Glass-like synths and vocals that betray the influence of Depeche
Mode. Similarly, "Can I Smile Now," with its accordion-tinged melody, hearkens
back to both late-'70s new wave and the bal musette played in Paris cafes.
Frenetic and occasionally charming, this score may or may not sell Moore's
script. It does, however, herald the arrival of a capable new composer.
Let's hope a copy winds up on the desk of a perceptive producer soon.
-- Stephen Armstrong
Evolution ****
SHELDON MIROWITZ
Promo
28 tracks - 47:24
Wait! This is not the score to the dreadful Ivan Reitman film from last
summer. This Evolution is the music for a WGBH/PBS production, composed
by the Emmy- and Oscar-nominated Sheldon Mirowitz. His "break-out" score
was Outside Providence, though much of his contribution may have
been bumped to make room for pop songs. If Evolution is any indication,
this wasn't in any way due to the quality of Mirowitz's music.
This music will be instantly engaging to a wide range of film music
fans. It's in a very traditional vein, mixing the likes of Elfman, Arnold,
Horner, Newton Howard and Goldsmith. The melodic ideas and themes are almost
always interesting, and Mirowitz mixes in electronic sounds in a way that's
never distracting.
The CD is grouped into five distinct "chapters," (each with multiple
cues) along with an opening and closing. Highlights include the opening
chapter, "Annie's Death," which features great thematic development. The
style of "The Karoo Graveyard" may remind some of The Sixth Sense,
while the following "Gobi Desert" begins with a nod to Thomas Newman. In
"Why Sex?" Mirowitz even employs Latin-flavored music and a little old-fashioned
jazz.
The performances are superb and add to a top-notch production. This
is a recording well worth searching out. To find out how you can get a
copy, write to info@veritemusic.com.
-- Steven A. Kennedy
MailBag@filmscoremonthly.com
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