Pet Sematary (Deluxe Edition)
1989/2013 (LaLaLand Records)
31 tracks, TRT: 1:09:37, 320 MP3
https://mega.co.nz/#!gsUUULpI!YiHFb-Vld_pgq2djFAtA7YPFidYNr0L0qk8nq7UJWQk
Track Listing:
Note: After long-last, Elliot Goldenthal’s expanded score to 1989’s cult classic, Pet Sematary, is finally here courtesy of LaLaLand Records. This Halloween season is shaping up to be something special as far as music is concerned and I can only wait patiently as Halloween draws nearer to a close to see how much more awesome it can get.
My notes for this will be relatively short. Not a lot to report this go around. To start, all of the contents from the LLLR album are included here with no excisions or sound modifications of any kind.
The material included was a treat in itself and overall, I was very impressed with the music as an expanded whole. Yeah, the official album had all the best cuts but that’s not to downplay the extra material included here. I was, however, bummed to discover that "The Return Game (Jud and Gage)" album version of the cue was not included so I incorporated that into the bonus material expanding from tracks 20-31. I did have to make some volume modifications to that cue to sound as consistent with the LLLR mixing as possible but I utilized a FLAC source so no extra transcoding other than the FLAC to MP3 save was involved.
The bonus material was not in a disagreeable order but being the OCD Nazi I am about bonus material cues being in as chronological an order as possible, I switched tracks to their appropriate chronological order to complement the extra cue.
I did notice that AFTER I uploaded the archive that it does sound awkward having the "Return Game II (Louis and Gage)" album cue be the closer to the album so I re-arranged the alternate source track for "Piped-In Death" as the closer instead. I’m sure this won’t be my final playlist order so feel free to make the necessary modifications that suit you. An updated track list is included in the track listing above.
I know I’m going to get asked about this so I’m going to address it right here and now: Like both official albums before this fan edit, I didn’t feel that the Ramones song by the same name matched the overall tone of this album so it is not included in this archive BUT I have provided a link below where you can download it in MP3 bitrates ranging from 128kbps to 320kbps so that you may make you own custom edit tailor suited to your listening preferences. Here is that link: Pet Sematary Mp3 Download (http://mp3skull.com/mp3/pet_sematary.html).
Before anyone asks, I’m NOT going to upload in FLAC and should someone wish to do it themselves with their own physical copy, I would hope you would do so AFTER the 2,000 copies are sold out. I’ll say right out that it’s not an album that you will listen to day-in and day-out because in that case you’d be just as insane as me if not more insane. Like the source material, it’s not very easy listening. You won’t want to lounge with this playing on your MP3 player unless you’re like me and love a little scary mood music during a relevant horror story. The point is this is a special album in that it’s our beloved Elliot Goldenthal in his prime and he delivers this horror score with an entirely original finesse that I don’t think is utilized correctly often enough in today’s horror films. Insidious comes to mind. Insidious was a powerhouse of a score ranging from low dissonant sound design to in-your-face antique horror writing. No appearance of a title sequence has hit me quite like Insidious did. This score however doesn’t entirely let you on right off-the-bat that something is amiss. It’s melancholic in a way that slowly builds until it literally explodes into musical chaos before taking a breather and doing it all over again but bigger, better and more emotionally. I admit the cue where Gage gets the shot and cries like I imagine a real child in pain would and it’s heartbreaking. Interestingly enough, I utilized that particular cue during the emotional finale of one of my first films and despite the film being atrociously bad as far as editing went, it reminds me that although I may not realize it, this score has been with me for pretty much my whole life. It influenced my musical tastes in HIGH SCHOOL (the place where most people go to be popular, I’m the type that went to the football games and such to hear the band or see my odd (or maybe I was the odd one, that was the odd thing about our group) group of friends then bide my time until the game is over so I can leave and in my off time, cuddle up with a good book and some moody music without giving two shits in the world what anyone thinks about it) and as evidenced in one of my recent musical projects "Symphony No. 4: Murder on the Night Plains Vol. 1" movement 2, Goldenthal’s Pet Sematary sneaks in letting the audience know that shit’s about to get a whole lot worse.
As a side note, I’ve announced it quite a few times but "Symphony No. 5: Murder on the Night Plains Vol. 2" will be going viral in 6 days. Just in time for the holidays. My goal with this album is to further integrate Blood Wings Sinfonia into your Halloween traditions while expanding your musical horizons and giving you a nice mental cleanse from the shitstorm of bullshit that’s going on in our small world. Right from the get-go, I aim to evoke a magical Halloween vibe that’s unlike any project I’ve done before. I incorporate a lot more reflective moments amongst the balls-to-the-wall action pieces because I’ve learned that my favorite part of listening to music (especially now with vinyl) is that in a proper playlist order, the brief/extended moments of reflective music before the action takes over again can really bring everything together in the end if done right. Not to sound like a cocky bastard (which I won’t deny that I am) but I’ve always been one who has been extremely critical of any media projects I’ve done and with each Blood Wings Sinfonia project, I really think I’m on the right path but the lack of feedback is disheartening. It’s been an amazing development over the years and I say with full confidence that Symphony No. 5 will simply blow you away and then some. Since those projects consist of a compilation of existing sources versus my own original material, it’s best to familiarize yourself with the sounds and structures now because one day, it’ll be my music scoring that movie that scared you to thinking for a week. It’ll be that vinyl that no one can stop talking about. Perhaps right now, my expectations are a little fantastical and I’m delusional for thinking that this can possibly happen with the economy being what it is, the U.S. national decline in taste with Hans Zimmer being the top contender in listener’s interest right now and to top it all off, my lack of formal musical training with an instrument of any kind. For all I know, I could be the next Portsmouth Sinfonia BUT we have to start somewhere. I understand rhythm and how it makes me feel but as far as musically converting my own emotions into notes, I’m not one inclined to "see the music" as a quote I once heard goes. I see and hear beats with some form of repetitious musical structure and I can pick out what instrument is playing in my head but as far as turning those mental rhythms into actual music to where I can understand the emotion behind it, that’s where I struggle. I feel so many emotions and the only three (or four, if you insist on being technical) I understand are fear, sadness/melancholy and anger with little sprinkles of happiness. The emotion behind a piece of music changes with each listen. Where I once heard happiness, I now hear an overlying sense of happiness but an underlying sense of dread that towards the end makes me forget the happiness. That’s really helped me with my music projects in transmitting my personal fears into compositions that can perhaps allow you to face your own fears and see that despite the doom and gloom, not everything has to end up with a bang. I’ve matured as an artist and while I can still technically be called a "hack", that’s all likely to change. There’s still a bit of growing up left to do.
To conclude, if anyone has a high-res cover album for this feel free to please post it.
Enjoy!
UPDATE:Sorry for the track title cutoffs in the screenshot. Here’s the link to LLLR’s site for full titles: LA LA LAND RECORDS, Pet Sematary – Elliot Goldenthal – Limited Edition (http://www.lalalandrecords.com/PetSematary.html)
:rdj:
oh im sure theslap will just so happen to coincidentally upload a version in fact im counting on it shouldnt be long
🙂
Thanks cody for a renewed ticket to the graveyard ! Now let the spines shiver…
(F**k my provider…)
(F**k my provider…)
There are usually always ways around this kind of stuff :
you can try some of the stuff listed here (foreign proxies, anonymous sufing relay sites) :
9 Alternative Ways To Access Blocked Sites (http://www.hongkiat.com/blog/9-alternative-ways-to-access-blocked-sites/)
Anyway, this new release tops them all. The strings section, now as clear as ever, is really spooky…
HAve you tried jdownloader? I had problems with Mega but jdownloader works like a charm
3 days later….still nothing.
this one does not appears on the la-la land tracklisting…
and the longer track (1-23 Piped-In Death "alternate source")
according to la-la land this track should be 1:06 long but your version is 2:11.
you also mixed the order of tracks 20 to 30 but that’s ok.
Anyway thanks for this great share !!!
Thank you my friend for hi-res cover!! Happy Halloween!! 😉
this one does not appears on the la-la land tracklisting…
and the longer track (1-23 Piped-In Death "alternate source")
according to la-la land this track should be 1:06 long but your version is 2:11.
you also mixed the order of tracks 20 to 30 but that’s ok.
Anyway thanks for this great share !!!
The bonus track 1-28 is the album version of The Return Game (Jud and Gage). It has some alternate mixing from the LLLR film version but was left off of the new album. I included it and re-sequenced all the bonus material.
As for track 1-31 (your 1-23), it’s longer because LLLR hid an easter egg at the end.
———- Post added at 09:53 AM ———- Previous post was at 09:34 AM ———-
I made some slight modifications from LLLR’s version of The Return Game (Jud and Gage). Starting at 4:06-4:10, the rising strings section was originally supposed to end and then the attack strings came in but the way LLL did it is they didn’t let the rising strings end therefore the attack strings prematurely interrupt it at the end of that section. I supplemented the expansion I needed with the Varese album but rest assured that it was only maybe 5 seconds total. The result is seamless.
Here’s the link: https://mega.co.nz/#!Not3QJSD!YcBmsjzy4a5CZWS3or9KPX_a2m5PGoZ8fy2Dx5z wpFk.
I know I have been bitching and moaning about rare scores being brought back in ways we never dreamed possible, supervised personally by the composers involved but when I hear some of these editing choices, it really baffles me. For the most part, this set is exactly what I expected and then some, give or take some minor grievances.
Enjoy!
I know I have been bitching and moaning about rare scores being brought back in ways we never dreamed possible, supervised personally by the composers involved but when I hear some of these editing choices, it really baffles me.
I guess the explanation is that this is how the cue is heard in the film (I just checked). They chose to present the film version. There’s even the possibility that it was always meant to be heard that way and that this is one of the instances where Goldenthal wasn’t happy with the original album. Who knows?
