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Tracklist:
01. Lock (02:21)
02. Fall (01:23)
03. Walk (01:07)
04. Sex (00:20)
05. Museum (00:51)
06. Bathroom (04:56)
07. Boxing (01:03)
08. Museum 2 (00:45)
09. Atelier (01:08)
10. Bed-Museum (01:08)
11. Nightmares (01:14)
12. Switch (02:19)
13. Sex (2) (01:08)
14. Redman 1 (00:36)
15. George In Rain (01:21)
16. Redman 2 (00:29)
17. Toilet (01:54)
18. Redman 3 (01:15)
19. Own (02:19)
20. Couch, Set Up, Canvas (01:22)
21. Bed (00:22)
22. NY (01:09)
23. Water drop (01:06)
24. Paint It Blue (01:25)
25. Car Crash (01:18)
26. Suicide (02:10)
27. Monologue (02:22)
28. Love Is The Devil (05:29)
https://mega.co.nz/#!6hpBSLQS!SXwdMGscsD3GHFTOe02Ql2QfKUoiClPft5WTFHl H1aQ
———- Post added at 05:40 PM ———- Previous post was at 05:40 PM ———-
Sakamoto’s unnerving soundtrack for John Marbury’s portrait of British artist Francis Bacon was at least as important as the film’s oft-noted cinematographic dexterity was in capturing the complex psychological landscape of the famous painter. With a palette consisting of little more than chirps, clicks, muted cries and the odd bit of disembodied piano, Sakamoto’s score helped give shape to the raw chaos surrounding both Bacon’s life and the figures depicted in his paintings. Hardly essential, but no less worthwhile for it.
Review by Sean Cooper, Allmusic.com
Due likely to his other careers as a pop artist, producer, classical composer, actor, and fashion model, Ryuichi Sakamoto the film scorer has averaged less than one film a year since his delightfully melodic debut, Merry Christmas, Mr. Lawrence in 1983. But the Academy Award winner (The Last Emperor) has clearly eschewed quantity for quality, and his often-chilling music for Love Is the Devil (the first feature by vidoegrapher John Maybury–a disturbing portrait of artist Francis Bacon and his dark, obsessive relationship with his model/lover, George Dyer) is no exception. Sakamoto has long resisted composing mere musical narration for his film assignments; here he gets inside the characters by using the diverse palette and electronic techniques gleaned from his often cutting-edge pop work. This masterful melange of samples, treated piano, electronics, and white noise plays like a modern horror masterpiece, an eerie techno-concerto that owes more to Sakamoto’s days as a student of electronic music and the avant-garde than to his sunny turn as leader of the Yellow Magic Orchestra. Think Bernard Herrmann displaced by an ocean and half-a-century of technology.
Review by Jerry McCulley, Amazon.com
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