Lakeshore Records Brings the Scary, Fantasy and Thrillers this Month

HORNS
Music By ROB
 
Ig Perrish (Daniel Radcliffe) is accused for the violent rape and killing of his girlfriend, Merrin Williams (Juno Temple). After a hard night of drinking, Ig awakens, hungover, to find horns growing out of his head; they have the ability to drive people to confess sins and give in to selfish impulses. Ig decides to use this effective tool to discover the circumstances of his girlfriend's death and to seek revenge by finding the true murderer. “The idea for HORNS was to shine a light on the love story. The movie had to start like a sentimental drama, to share Ig's pain and dive slowly with him into hell,” said ROB.  “The concept of growing horns is so weird, I wanted to keep the feeling that everything is (almost) normal, sad but normal, until the horns show up.”
 
NIGHTCRAWLER
Music By James Newton Howard

NIGHTCRAWLER is a pulse-pounding thriller set in the nocturnal underbelly of contemporary Los Angeles. Jake Gyllenhaal stars as Lou Bloom, a driven young man desperate for work who discovers the high-speed world of L.A. crime journalism. Finding a group of freelance camera crews who film crashes, fires, murder and other mayhem, Lou muscles into the cut-throat, dangerous realm of nightcrawling -- where each police siren wail equals a possible windfall and victims are converted into dollars and cents. Aided by Rene Russo as Nina, a veteran of the blood-sport that is local TV news, Lou blurs the line between observer and participant to become the star of his own story.

STONEHEARST ASYLUM
Music By John Debney
 
When young doctor Edward Newgate (Jim Sturgess) arrives at Stonehearst Asylum in search of an apprenticeship, he is warmly welcomed by superintendent Dr. Lamb (Ben Kingsley) and a mesmerizing woman by the name of Eliza Graves (Kate Beckinsale). Edward is intrigued by Lamb's modern methods of treating the insane until a series of unusual events leads him to make a horrifying discovery, exposing Lamb's utopia and pushing Edward to the limits of his conscience. Inspired by a short story from Edgar Allan Poe, STONEHEARST ASYLUM is a tale in which nobody is who or what they appear to be.  “The other main theme was the theme for the psychopathic killer,” Debney continued.  “Brad quite liked the dark and a bit quirky sound of the bass and contra bass Clarinet which was a dark hint at the dark soul of our killer. And yet, it is also darkly humorous. I loved that Brad wanted to express the dark and yet oft times absurd nature of events at the asylum. I thought this a keen and clever idea.”

THE CANAL
Music By Ceiri Torjussen

THE CANAL tells the story of David Williams (Rupert Evans) and his wife, Alice (Hannah Hoekstra), who move into a beautiful period house by the canal with their small child, Billy.  As David begins to suspect that his wife is cheating on him, he also starts to have nightmarish visions of an evil presence he believes inhabits his home.   “I asked him for a score that sounded like no other, that contained unique sounds and textures, that was terrifying, evocative and atmospheric, that would be the heartbeat/ the pulse of the film,” said director, Ivan Kavanagh. “He delivered all of that and more.  I don’t think I’ve heard anything quite like it. It is the perfect score for my film.” Multi award-winning composer Ceiri Torjussen’s (pronounced Kay-Ree) music was described by the Los Angeles Times as a “sudden bolt of creative lightning.”  Welsh-born, but based in Los Angeles, his credits run the gamut of independent films, documentaries, network TV, animation and numerous large-budget studio films.
 
AT THE DEVIL'S DOOR
Music By Ronen Landa

From the producer of THE STRANGERS and the writer/director of THE PACT comes AT THE DEVIL'S DOOR starring Naya Rivera, Ashley Rickards and Catalina Sandino Moreno.  When ambitious young real estate agent Leigh is asked to sell a house with a checkered past, she crosses paths with a disturbed girl whom she learns is the runaway daughter of the couple selling the property. When Leigh tries to intervene and help her, she becomes entangled with a supernatural force that soon pulls Leigh's artist sister Vera into its web — and has sinister plans for both of them. “The score for AT THE DEVIL’S DOOR was blessed with the talents of musicians who worked with me to explore the darkest corners of their instruments,” described Landa.  “I manipulated those recordings in the studio to craft unworldly sounds that became the foundation for the experience.  I found inspiration for our demonic themes in the ancient music and languages of the Silk Road region, and more restrained melodic gestures provide the dramatic counterpoint.

SHARKNADO
Music by Ramin Kousha
  
SHARKNADO stars Ian Ziering and Tara Reid in the Syfy movie-turned phenomenon.  When a freak hurricane swamps Los Angeles, thousands of sharks terrorize the waterlogged populace, and nature's deadliest killer rules sea, land, and air. “There were textural and melodic themes used throughout the films that were established early on the process of scoring and can be heard throughout the score,” described Kousha.  “Melodic elements were not as important as the textural items.  It was more important to create a mood for the film rather then specific characters.”


SHARKNADO 2: THE SECOND ONE 
Music by Chris Ridenhour and Christopher Cano
 
SHARKNADO 2: THE SECOND ONE moves the action to NY where Fin (Ziering) and April (Reid) head to promote the book April has written, How to Survive a Sharknado and Other Unnatural Disasters.  The Sharknado also returns and heads to NY, where Fin’s sister (Kari Wuhrer), her husband (Mark McGrath), and childhood friend Skye (Vivica A. Fox) all have to figure out how to survive.  “I felt that the opening scene on the plane really set the stage for the film,” said Cano.  “The music that Chris Ridenhour wrote for that scene really knocked it out of the park for me as well.  SHARKNADO 2 has a much bigger feel to me, probably because of it being in New York. For my cues I just focused on what seemed right for the sequel.”

“That whole scene is almost a small movie unto itself and had a lot of great tension filled, climactic moments,” agreed Ridenhour.  “The flavor of the film was infectious. I also enjoyed the subway attack music Cano wrote. That was the first big action moment set in NY and set a great pace and frantic energy for the rest of the film.”

 
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Great scores to films that will sure to be on your radar, so join with me and lets get SPOOKED!
Jeremy [Howlin' Wolf]

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