ソルトン・シー

1. Perpetual Night Party
2. Tweaker Crash
3. Undress Revised
4. First Wife
5. IFORGIV
6. Glock Semi-Automatic
7. Gun Cemetery
8. Queen Elizabeth
9. School Teacher
10. Palmdale Monty
11. Night Vision
12. Salton Sea
13. One Red Hair
14. Dead Bobby
15. Saeta
16. Colombian Necktie
17. Badger
18. Undress Original
19. Hole In The Head
20. Last Wife
21. Gutshot
22. Linoleum/Walk To Black
23. Learn To Yodel

発売日：2002年4月30日(火)
レーベル：Varese Sarabande

レビュー (Amazon)
This dank-as-style contemporary film noir features most of the genre's familiar ingredients: murder, creepy characters, narrative flashbacks, an identity crisis or two, and a compelling if twisted subculture, in this case the scaly underbelly of the L.A. some speed freaks call home. While the genre has generally relied on dark jazz shadings--or, in the case of David Lynch and Angelo Badalamenti, a hodgepodge of hellish synthscapes and nostalgic irony gone sour--the presence of Thomas Newman here guarantees something more expansive than clich駸, and the young veteran delivers again. Newman's odd, percussion-reliant tack may occasionally be familiar here, but the score's unusually large ensemble allows him a wide timbral palate. He wastes no time infusing the score with jarring industrial rhythms, indistinct ethnic modalities that seem invented out whole cloth, some of Erin Brockovich's spare, Fender Rhodes-driven acid jazz shadings, and great, eerie dollops of the ominous, electro-acoustic soundscapes that have defined so many of his scores, yet without ever descending into caricature. Newman mixes it all into a hypnotic sonic cocktail that's as nervy as it is unsettling, one that zigs when you're sure it will zag, offering up some strangely reassuring musical comfort in a world of moral indifference and dramatic detachment. -褒erry McCulley

発売日：2002年12月2日(月)
レーベル：Varese Sarabande

レビュー (Amazon)
This dank-as-style contemporary film noir features most of the genre's familiar ingredients: murder, creepy characters, narrative flashbacks, an identity crisis or two, and a compelling if twisted subculture, in this case the scaly underbelly of the Los Angeles some speed freaks call home. While the genre has generally relied on dark jazz shadings--or, in the case of David Lynch and Angelo Badalamenti, a hotchpotch of hellish synthscapes and nostalgic irony gone sour--the presence of Thomas Newman here guarantees something more expansive than cliches, and the young veteran delivers again. Newman's odd, percussion-reliant tack may occasionally be familiar here, but the score's unusually large ensemble allows him a wide timbral palate. He wastes no time infusing the score with jarring industrial rhythms, indistinct ethnic modalities that seem invented out whole cloth, some of Erin Brockovich's spare, Fender Rhodes-driven acid jazz shadings, and great, eerie dollops of the ominous, electro-acoustic soundscapes that have defined so many of his scores, yet without ever descending into caricature. Newman mixes it all into a hypnotic sonic cocktail that's as nervy as it is unsettling, one that zigs when you're sure it will zag, offering up some strangely reassuring musical comfort in a world of moral indifference and dramatic detachment.--Jerry McCulley