AND: LISTEN TO A HEAVY METAL CARRIE MEDLEY BY THEY MOSTLY COME AT NIGHT
They Mostly Come At Night is a heavy metal band that has worked up a Carrie medley. It was released two days ago as part of an annual compilation, Danse Macabre. The seven-and-a-half-minute track can be listened to and downloaded on the band's Bandcamp page.
Earlier today, the band posted the above pic of Pino Donaggio and Brian De Palma on the band's Instagram page. "We fell for Pino’s work," the band wrote in the Instagram post, "as we toiled away to get our cover of his score for Carrie, for the release of @vikingguitarproductions Danse Macabre VII."
The Carrie medley consists of four parts:
I. Theme from Carrie
II. Bucket of Blood
III. School in Flames
IV. For the Last Time, We'll Pray
Meanwhile, at Ca' Foscari Short Film Festival this past weekend, Donaggio himself spoke about working with De Palma over the years. Here's a Google-assisted translation of a portion of the recap posted at Cinematografo.it:
“Bernard Herrmann had just passed away and Brian was looking for someone to work on Carrie's music (1976): he didn't want any other American musicians and he chose me after seeing Roeg's film,” Donaggio said. However, there are some substantial differences between his musical style and that of the famous composer of the music of many Hitchcock films: "While Herrmann immediately prepared the audience for the tension, I preferred to relax the audience at the beginning and then give the sudden musical hit to make people jump out of their chairs, just like the scene where Carrie's hand comes out of the grave.”
The successful collaboration lasted for eight films and allowed Donaggio to work with many other great directors (among many: Dario Argento, Liliana Cavani, Pupi Avati). "The luck I had in America is due precisely to the type of film that De Palma made, where there was little dialogue and the scenes were mainly accompanied by music, which thus had the opportunity to emerge," added the Maestro, also recounting the working method used during the compositions for De Palma: "For all the films of the early years I wrote the music in Italy and De Palma listened to all the work only later, after I had already composed everything: every time in the evening before I was very anxious, as if I had to take an exam. Luckily it always went well. Now it doesn't work like that anymore. There are demos and auditions. With Passion (2012) and Domino (2019) he already knew what I was writing from the beginning."