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Stoker [+digital booklet]

Stoker [+digital booklet]

February 26, 2013

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Digital Booklet: Stoker
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Product Details

  • Original Release Date: February 26, 2013
  • Release Date: February 26, 2013
  • Label: Milan Records
  • Copyright: 2013 Twentieth Century Fox Film Corporation Under Exclusive License To Milan Entertainment, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 53:45
  • Genres:
  • ASIN: B00BEBI1TG
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Best Sellers Rank: #91,482 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

4.8 out of 5 stars
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See all 9 customer reviews
A beautiful vinyl with an equally beautiful score.
Sarah
Love this sound track so much that i find myself playing it over and over as i drive to clear my mind and relax.
Fernanda Silveira
If you live in LA or New York, check your calendars for Mansell's upcoming live performances in April!
Headphone Commute

Most Helpful Customer Reviews

5 of 5 people found the following review helpful By Headphone Commute on May 12, 2013
Format: Audio CD
Last weekend I went to see a play. I really enjoyed the theater outing, but something throughout the performance kept bothering me. I didn't feel like I was part of the story, and instead remained an outside observer throughout the show. It was an uneasy feeling of eavesdropping, of witnessing something I was not supposed to see. By the second half I finally realized what it was. There was absolutely no music with this play. It was an act among the people who conveyed emotion with words and actions. And it was missing all of my expected cues. With soundtracks by Clint Mansell it's a completely opposite experience. I could be walking on the street, listening to his latest film score in my headphones, and suddenly my heartbeat would skip, my lungs would swell up, and my mind would be filled with pure emotion. On more than one occasion I would forget that music is the responsible trigger and start thinking thoughts that go along with sound. The up-beat racing thoughts. The tension driven turmoil thoughts. The stress relieving sighing thoughts. They are all there in Mansell's music.

Clint Mansell is no stranger to the sound behind the screen. The composer has been working with Darren Aronofsky since the underground classic Pi (1997), followed by a cult hit Requiem for a Dream (2000), The Fountain (2006), [nominated for Best Original Score at the Golden Globe Awards], The Wrestler (2008), Moon (2009), Black Swan (2010) [nominated for Best Score Soundtrack for Visual Media at the 2012 Grammy Awards], and many others. His latest soundtrack is for a film by Park Chan-wook, a South Korean director and screen writer most known for The Vengeance Trilogy (Sympathy for Mr. Vengeance, Oldboy, and Sympathy for Lady Vengeance).
Read more ›
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4 of 4 people found the following review helpful By Teela on June 20, 2013
Format: MP3 Music Verified Purchase
delightfully simplistic with an undertone of something ominous throughout - which fits perfectly. And that piano duet is absolutely gorgeous and eerie at the same time.
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3 of 3 people found the following review helpful By Sarah on March 20, 2013
Format: Vinyl Verified Purchase
A beautiful vinyl with an equally beautiful score. I've been a Mansell fan for over a decade and he never disappoints.
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3 of 3 people found the following review helpful By Bree on August 31, 2013
Format: Audio CD Verified Purchase
I am not musically inclined enough to even dare review this album, but I do know that I love it. It is so beautiful. In Full Bloom is stunning perfection.
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Format: Audio CD
Clint Mansell has a strong record for providing atmospheric music for films that enhances and never gets in the way of the story. And this is certainly the case for the film by Park Chan-wook, STOKER. Mansell's music is basically very quiet but there is enough experimentation in the musical sound he creates to underlying the suspenseful family disintegration the story supports.

Mansell composes not only for the expected orchestral moments and isolated piano sequences, but he also plays with our ears by stroking the strings of the piano wires to augment the fantasy and bewilderment of the characters' fragile psyches. He treats us to some inclusion of music by Philip Glass (for those who loved Glass' score for THE HOURS, this news will alert to some very fine writing). At several instances he includes phrases from Verdi's opera Il Trovatore (here Viorica Cortez sings `Stride la Vampa' from a 1975 recording) and a whistled echo of that theme to heighten tension. There are also moments of intrusions by popular music but they seem appropriate.

One recurring problem with films these days is that despite how somber and serious a film is and how touched the audience feels at the end, someone (I can't imagine it is Clint Mansell here) opts to role the credits of the film to some annoying hip hop or rap or edgy contemporary popular music that has nothing to do with the story or the film's moody musical score. Reason unknown. Grady Harp, June 13
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