Occasional Foley effects-footsteps, rustling, ominous groans-serve a function similar to the muffled screams of Goblin’s score, infusing the music with a subliminal pedal tone of terror. Tracks run together, connected by viscous strings and unsettling sound design the “proper” songs float along a vast expanse of half-frozen slurry. While Yorke’s score doesn’t sound anything like Goblin’s, you can hear the influence of their spooky central theme-a minor-key melody for celeste and bells that Argento deploys as a means of anticipating moments of awful violence-in a handful of skeletal melodies that lend cohesion to the soundtrack, primarily in the form of piano figures pacing haltingly against an orchestral morass, tritones hanging in the air like echoes of a scream.ĭespite the tension between songs that could pass for Radiohead’s repertoire and more soundtrack-like material, the whole album flows remarkably well, particularly given its 80-minute running time. It’s only some 15 seconds long, but it has a powerful impact, transforming sullen trip-hop into something transcendent. “Unmade,” a stately showcase for Yorke’s voice at its most moving, is cut from similar cloth, and “Has Ended,” a droning dirge set to a hurdy-gurdy grind and a slow, almost funky drum shuffle, is even more compelling, if only for a Mellotron-like solo about halfway through. “ Suspirium,” a lilting ballad largely for piano and voice, wouldn’t sound out of place on a Radiohead album, and though the lyrics gesture at some of the film’s themes, they’re oblique enough to stand on their own, and spooky enough to sound haunting even outside the context of the movie. There are appropriately cinematic, minor-key passages for piano and strings great sheets of electronic buzz gorgeous choral miniatures with a whiff of Arvo Pärt’s arctic grace brooding, gothic Americana and striking forays into pure electronic abstraction, the kind of thing you might have found on the German experimental label Mille Plateaux in the late 1990s. However it may work in the film, on its own, Yorke’s score tackles a broader range of styles and ideas than any of his previous solo work, and all of them shine. (For what it’s worth “suspiria” is Latin for “sighs” the film’s title comes from Thomas de Quincey’s essay “Suspiria de Profundis,” or “Sighs from the Depths.”) Just listen to something like “There Is No Ice (For My Drink),” off his last solo album, Tomorrow’s Modern Boxes: In Yorke’s hands, even muscular club tracks come off sounding like vaporous sighs. “It builds the blood,” enthuses the unctuous doctor, and one suspects he’d probably want to get Yorke on a regular Sangiovese regimen as well.īut unlike Argento’s film, with its almost cartoonishly supersaturated, blood-red hues, Guadagnino’s remake favors a drab, wintry, washed-out palette, which is precisely what the Radiohead frontman does best. To call him “anemic” might sound unkind, but a scene from Argento’s film comes to mind: Protagonist Suzy, following a faint and a nosebleed, is prescribed bed rest, bland food, and a nightly glass of red wine.

At his multimedia performances and in his recordings, strongly experimental electronic music meets pure, ethereal and simple-seeming piano playing that nevertheless relays deep emotions.Yorke, on the other hand, is, well, Thom Yorke-the brainy, sensitive possessor of a falsetto and a perpetual melancholy that lingers like a head cold he can’t quite shake. The experience he has gained as a theatre musician has increased his interest in the relationship between sounds and spectacle he has composed music for ballets and films and accompanied installations and experimental art productions (Atelier de Lumières - Paris, Carrières de Lumières - Baux-de-Provence, Kunstkraftwerk - Leipzig). His works reveal a strong interaction between classical and contemporary music. Born in 1976, Longobardi studied classical music in Italy and New York and went on to earn his doctorate in digital audio restoration in Rome in 2011. Italian composer and pianist Luca Longobardi represents the generation of classically trained musicians who incorporate the language of contemporary electronic music into their pieces, which are furthermore strongly connected to the multimedia arts.

Luca soundtrack