Top 5 All-Time Film Scores w/ Tempel
We’re talking movie soundtracks with Rich from Tempel on this week’s Friday Guest List.
Last time I spoke to the instrumental duo back in mid-2015, they had just released the amazing follow-up to what is possibly my favourite debut album of all time. That majestic second album went on to top several end of year lists around the place, and remains a must have for fans of instrumental metal. Today we get to hear from the band’s drummer and resident film buff Rich, who fills us in on his all-time favourite movie soundtracks. Put on your headphones and grab the remote, then throw the remote back on the table. You didn’t need that, you idiot.
So it’s been a couple of years since we last caught up with you guys, what’s new?
Writing for the new album is in the very early stages. Unfortunately, I think this one is gonna take quite a while so I hope everyone can be real patient with us. We want to make sure we chart a new path and do some things we haven’t done in the past and ensuring that it’s better than the previous albums as well. Other than that, we’re just enjoying our lives, working our jobs, and spending time with our families.
Ryan mentioned in our previous interview that you’re a massive movie buff, does film play any sort of role in inspiring your music in Tempel?
It probably does subconsciously. We don’t really think about making certain songs sound like specific movies or anything like that, but I think that stuff always creeps in without you knowing it.
As an instrumental band, does the lack of a vocal component to convey theme/story compel you to create a more cinematic style of music?
I think you have to. The riffs have to say something by themselves and essentially every lead and solo has to carry the emotional elements that vocals often do. On top of that, we’ve always been drawn to “epic” music with lots of peaks and valleys. We want every song to be its own separate journey. Many bands go with the “less is more” mentality but when we’re in the studio demoing songs we usually get carried away and always find ways to make the songs even bigger. I don’t suppose that’s gonna change anytime soon.
Very happy to hear that. If you were given the chance, which film/story/fictional work would you like to attempt to score (or re-score)?
Two films come to mind both directed by Michele Saovi: StageFright and The Church. I think we could make a cool ambient score for those with some heavier parts in the right places. Massively underrated films by the way.
Sounds like I’ve got some homework to do. I’ve not seen either of those. So today you’re going to take us through your All-Time Top 5 Film Scores, let’s see what you’ve chosen…
Keith Emerson – Inferno 
Most people would take Goblin’s score for Suspiria score but I’ve always had a preference for the dark and gothic piano score that Keith Emerson provided for Inferno. Inferno is a bit more of a pessimistic and hopeless journey and this score fits the aesthetic perfectly. Probably the best example of the beauty of this score is the scene before Rose gets killed where she is wandering through the apartment.
Gerald Busby – 3 Women 
You don’t normally associate the flute with creating an atmosphere of dread but somehow that’s the case here in Robert Altman’s 1977 masterpiece, 3 Women. There are also the occasional avant-garde sections in this score where I couldn’t even tell you what is being used to create the sounds. In either case, it is a masterful score, and I highly recommend anyone who hasn’t seen the film to do so immediately. It is often compared to Persona and Mulholland Drive, but I find it better than both. Great stuff!
Anton Karas – The Third Man 
Anton Karas’ score for The Third Man is a study in contrast. Listening to this score by itself, it doesn’t exactly scream film noir, but it’s what makes The Third Man unlike any other. The zither was the perfect choice of instrument to give this unique noir set in Vienna a different flavor from it’s American counterparts. The best musical moment here is perhaps the closing shot of Alida Valli walking past Joseph Cotton. I can’t imagine this being any better.
John Carpenter – Prince of Darkness 
John Carpenter made quite a few amazing scores, but this one is my personal favorite. As a film, Prince of Darkness has an incredible momentum that starts with the opening credits and builds continuously all the way to the climax. The score needed to keep this momentum going without becoming monotonous and achieves this perfectly. Hans Zimmer recently attempted something similar with the ticking score to Dunkirk with far inferior results.
Christopher Young – A Nightmare On Elm Street 2: Freddy’s Revenge 
This is probably another unusual pick. Nightmare 2 was one of the first movies I ever owned on VHS when I was a kid and maybe I’ve never gotten over how much it scared me back then, but I’ve always loved the film and the score in particular. It elevates many scenes to be far better than they have any right to be, and makes this one for me the darkest in the franchise.
- Bernard Herrmann – Vertigo , Taxi Driver 
- Max Steiner – King Kong 
- Maurice Jarre – Lawrence of Arabia 
- Goblin – Suspiria  and Dawn of the Dead 
- John Carpenter – Escape From New York  and Halloween 
- Howard Shore – Videodrome , The Fly , Lord of the Rings Trilogy
- Gene Moore – Carnival of Souls 
- John Williams – Jaws , Close Encounters of the Third Kind 
Now you should head off to Tempel’s Facebook page and give them a thumbs up for dropping by and filling your Friday with some awesome soundtracks, also if you are some kind of royal fuck-up that has somehow missed out on getting their music, (a) we can’t be friends, and (b) go and rectify that here. Also, (c) we still can’t be friends. (d) It’s not you, it’s me. (e) Well, it’s me in the sense that I don’t like you. (f) uck you.
Previously On The Friday Guest List