Emma Tammi's supernatural Great Plains horror THE WIND expertly captures the austere isolation of life on the prairie in 19th Century America through the eyes of frontierswoman Lizzy Macklin (Caitlin Gerard). A key character in THE WIND is the haunting and often dissonant score from Ben Lovett (THE RITUAL). Using a bass flute, a traditional Swedish keyed violin called a NYCkelharpa, a handmade door bell, sound design, and non-traditional manipulation of orchestral music, Lovett brilliantly portrays the ominous sense of evil that permeates the sparse frontier. The mysteries of the wind are always pervasive on Lovett's score, which breathes a ferocious sense of foreboding into Tammi's film. Each blast of the monstrous bass flute conjures the unforgiving demons said to haunt the plains. The bend of the bow on the often histrionic strings strikes an existentially eerie air. The percussion slaps us awake from our nightmares while simultaneously creating new ones. "The film and Lovett's score show how isolation could be the greatest horror of all. The holes in human connection on the plains leave room for malevolent entities to fill in the gaps. Or maybe it's just the wind. " (Aaron Vehling, Vehlinggo. Com)
Emma Tammi's supernatural Great Plains horror THE WIND expertly captures the austere isolation of life on the prairie in 19th Century America through the eyes of frontierswoman Lizzy Macklin (Caitlin Gerard). A key character in THE WIND is the haunting and often dissonant score from Ben Lovett (THE RITUAL). Using a bass flute, a traditional Swedish keyed violin called a NYCkelharpa, a handmade door bell, sound design, and non-traditional manipulation of orchestral music, Lovett brilliantly portrays the ominous sense of evil that permeates the sparse frontier. The mysteries of the wind are always pervasive on Lovett's score, which breathes a ferocious sense of foreboding into Tammi's film. Each blast of the monstrous bass flute conjures the unforgiving demons said to haunt the plains. The bend of the bow on the often histrionic strings strikes an existentially eerie air. The percussion slaps us awake from our nightmares while simultaneously creating new ones. "The film and Lovett's score show how isolation could be the greatest horror of all. The holes in human connection on the plains leave room for malevolent entities to fill in the gaps. Or maybe it's just the wind. " (Aaron Vehling, Vehlinggo. Com)
5053760050292

Details

Format: Vinyl
Label: DEATH WALTZ
Rel. Date: 10/04/2019
UPC: 5053760050292

Wind / O.S.T. (Blue) [Colored Vinyl] [180 Gram]
Artist: Ben Lovett
Format: Vinyl
New: Available 37.98
Wish

Available Formats and Editions

DISC: 1

1. The Wind (1:45)
2. Demons of the Prairie (2:55)
3. Blood on the Table (1:27)
4. New Neighbors (1:51)
5. Bearer of Unhallowed Ground (1:50)
6. We Shall Be Monsters (2:00)
7. Spreading the Word of God (2:52)
8. Diary (2:45)
9. Prince of Pestilence (2:29) 1
10. Faith (2:32) 1
11. Bringer of Jealous Thoughts (3:39) 1
12. Something Is Out There (0:56) 1
13. Keeper of Graves (2:46) 1
14. Across the Prairie (2:57) 1
15. Damner of Souls (1:35) 1
16. There Is Nothing (3:05) 1
17. This Land (3:12)

More Info:

Emma Tammi's supernatural Great Plains horror THE WIND expertly captures the austere isolation of life on the prairie in 19th Century America through the eyes of frontierswoman Lizzy Macklin (Caitlin Gerard). A key character in THE WIND is the haunting and often dissonant score from Ben Lovett (THE RITUAL). Using a bass flute, a traditional Swedish keyed violin called a NYCkelharpa, a handmade door bell, sound design, and non-traditional manipulation of orchestral music, Lovett brilliantly portrays the ominous sense of evil that permeates the sparse frontier. The mysteries of the wind are always pervasive on Lovett's score, which breathes a ferocious sense of foreboding into Tammi's film. Each blast of the monstrous bass flute conjures the unforgiving demons said to haunt the plains. The bend of the bow on the often histrionic strings strikes an existentially eerie air. The percussion slaps us awake from our nightmares while simultaneously creating new ones. "The film and Lovett's score show how isolation could be the greatest horror of all. The holes in human connection on the plains leave room for malevolent entities to fill in the gaps. Or maybe it's just the wind. " (Aaron Vehling, Vehlinggo. Com)

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