A Perfect Place (Original Motion Picture Soundtrack)
The original score for A Perfect Place by the prolific Mike Patton. The film noir tones of Patton's soundtrack (which curiously lasts ten minutes longer than the movie itself) are likable if a bit too reliant on midi approximations of orchestral instruments. The main theme is probably the worst offender on that front, but it's all to be taken in good humour. This is all highly incongruous with Patton's recent output elsewhere: 'A Perfect Twist' sounds like a far less appealing version of Girls Aloud's 'Sound Of The Underground' while the Angelo Badalamenti-style 'Seriously Disturbed' probably isn't all that far away from Ipecac's Nordic soundtrack specialist Kaada. Patton strives for 78rpm style aesthetics elsewhere ('A Dream Of Roses') and then throws together vastly more entertaining noise pieces like 'Car Radio (FM)' a channel-surfing cut-up that's probably more in-keeping with what you'll have come to expect from Patton's more experimental leanings.
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The original score for A Perfect Place by the prolific Mike Patton. The film noir tones of Patton's soundtrack (which curiously lasts ten minutes longer than the movie itself) are likable if a bit too reliant on midi approximations of orchestral instruments. The main theme is probably the worst offender on that front, but it's all to be taken in good humour. This is all highly incongruous with Patton's recent output elsewhere: 'A Perfect Twist' sounds like a far less appealing version of Girls Aloud's 'Sound Of The Underground' while the Angelo Badalamenti-style 'Seriously Disturbed' probably isn't all that far away from Ipecac's Nordic soundtrack specialist Kaada. Patton strives for 78rpm style aesthetics elsewhere ('A Dream Of Roses') and then throws together vastly more entertaining noise pieces like 'Car Radio (FM)' a channel-surfing cut-up that's probably more in-keeping with what you'll have come to expect from Patton's more experimental leanings.
The original score for A Perfect Place by the prolific Mike Patton. The film noir tones of Patton's soundtrack (which curiously lasts ten minutes longer than the movie itself) are likable if a bit too reliant on midi approximations of orchestral instruments. The main theme is probably the worst offender on that front, but it's all to be taken in good humour. This is all highly incongruous with Patton's recent output elsewhere: 'A Perfect Twist' sounds like a far less appealing version of Girls Aloud's 'Sound Of The Underground' while the Angelo Badalamenti-style 'Seriously Disturbed' probably isn't all that far away from Ipecac's Nordic soundtrack specialist Kaada. Patton strives for 78rpm style aesthetics elsewhere ('A Dream Of Roses') and then throws together vastly more entertaining noise pieces like 'Car Radio (FM)' a channel-surfing cut-up that's probably more in-keeping with what you'll have come to expect from Patton's more experimental leanings.
The original score for A Perfect Place by the prolific Mike Patton. The film noir tones of Patton's soundtrack (which curiously lasts ten minutes longer than the movie itself) are likable if a bit too reliant on midi approximations of orchestral instruments. The main theme is probably the worst offender on that front, but it's all to be taken in good humour. This is all highly incongruous with Patton's recent output elsewhere: 'A Perfect Twist' sounds like a far less appealing version of Girls Aloud's 'Sound Of The Underground' while the Angelo Badalamenti-style 'Seriously Disturbed' probably isn't all that far away from Ipecac's Nordic soundtrack specialist Kaada. Patton strives for 78rpm style aesthetics elsewhere ('A Dream Of Roses') and then throws together vastly more entertaining noise pieces like 'Car Radio (FM)' a channel-surfing cut-up that's probably more in-keeping with what you'll have come to expect from Patton's more experimental leanings.
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The original score for A Perfect Place by the prolific Mike Patton. The film noir tones of Patton's soundtrack (which curiously lasts ten minutes longer than the movie itself) are likable if a bit too reliant on midi approximations of orchestral instruments. The main theme is probably the worst offender on that front, but it's all to be taken in good humour. This is all highly incongruous with Patton's recent output elsewhere: 'A Perfect Twist' sounds like a far less appealing version of Girls Aloud's 'Sound Of The Underground' while the Angelo Badalamenti-style 'Seriously Disturbed' probably isn't all that far away from Ipecac's Nordic soundtrack specialist Kaada. Patton strives for 78rpm style aesthetics elsewhere ('A Dream Of Roses') and then throws together vastly more entertaining noise pieces like 'Car Radio (FM)' a channel-surfing cut-up that's probably more in-keeping with what you'll have come to expect from Patton's more experimental leanings.