the terminator theme (extended version) download THE TERMINATOR (ORIGINAL MOTION PICTURE SOUNDTRACK) (2XLP + DIGITAL ALBUM) Today is the birthday of the legendary Brad Fiedel and the latest re-issue of his first Terminator motion score is coming out soon on vinyl/digital combo and on looks alone; this is without doubt a must own for the fans and hardcore collectors. Directed by James Cameron and starring Arnold Schwarzenegger in the role of a cyborg assassin sent back in time to kill Sarah Connor, THE TERMINATOR is one of the most acclaimed science fiction films in cinema history. The music is an essential part of this production. Everyone remembers the thrill of hearing Brad Fiedel’s main title theme for the first time. Milan Records has partnered with composer Fiedel to bring back this amazing soundtrack the way he always wanted the music to be presented to the public. This release of THE TERMINATOR has been mixed and mastered from the original tapes by Brad Fiedel himself in his studio. Milan Records. Summary: A film by James Cameron – Original music by Brad Fiedel. Following on the success of the ROBOCOP reissue; Nicolas Winding Refn and Milan Records are proud to present the vinyl reissue of the original score to The Terminator supervised and mixed by composer Brad Fiedel himself! Mastered for vinyl. Double colored 180gm LP housed in a tip-on gatefold jacket. Download provided at checkout. Original artwork by All City Media. * Description previously stated there is a download card included. There is NOT a download card included with this LP. Brad has overseen the 2015 mix and production and it will be exciting to see the differences in comparison to the original. The physical presentation of the discs/sleeve are again swish, retro and fit into the world of ‘The Terminator’ perfectly. Our favorite Terminator movie continues to be done justice and continues to be triumphant in maintaining a sense of quality that reminds you why it’s still cool to be a fan of Terminator; regardless of the fact the actual majority of the franchise is a steaming pile of excrement which has become so mainstream and lacking in everything that made the original great. Nicolas Winding Refn and his relentless obsession with vinyl has done ‘The Terminator’ Fans proud and it is also worth mentioning that he directed the excellent ‘Bronson’ and ‘Drive’… A bloody violent NC-17 Rated back to basics Terminator movie starring Linda Hamilton and Arnold Schwarzenegger directed by NWR just might be the thing to get us interested in Terminator again and it isn’t the first time the thought has crossed our minds either. Get your credit cards ready and wish Brad a happy birthday by pre-ordering today! MOVIE MUSIC UK. The Terminator is one of the most acclaimed and important science fiction action movies ever made. Written and directed by James Cameron – then a fresh-faced 29-year-old making his mainstream debut after spending his apprenticeship working with Roger Corman’s New World Pictures – it took inspiration from the classic genre writings of people like Harland Ellison, and told the story of a young woman named Sarah Connor, who when the film begins is living a mundane life in suburban America in 1984. Connor’s world is turned upside down when a Terminator, an unstoppable human/robot cyborg assassin, is sent back in time from the year 2029 to murder her. She is saved by Kyle Reese, who explains that he was also sent back in time on the orders of John Connor, the leader of a group of resistance fighters on the brink of victory against the machine army that took over the world following a nuclear holocaust, and who is Sarah’s future son. The Terminator’s mission is to kill Sarah before John is born; Kyle’s mission is to protect her. The film was a massive success at the box office, reaping in almost $80 million from its paltry $6.5 million budget, and made stars of its young cast, which included Linda Hamilton, Michael Biehn, and Arnold Schwarzenegger, whose career was subsequently launched into the cinematic stratosphere. The score for The Terminator was by Brad Fiedel, a 33-year-old pioneering electronic composer and performer from New York who worked as a keyboardist for pop duo Hall & Oates before making the switch into composing for film in the late 1970s. The Terminator was Fiedel’s first significant motion picture assignment, and remains his most important and memorable contribution to film music history. Fiedel’s score is almost entirely electronic, and was extremely complicated and progressive for its time, making use of a vast array of different synthesizers, drum machines and sampled sounds to drive the narrative home. Such were the technical limitations in 1984, Fiedel had to mix-and-match is different electronic instruments and manually layer them during the post-recording mixing process to get the depth and counterpoint he desired, an incredibly laborious and time-intensive process, but which worked remarkably well in the final context of the film. The film’s famous musical identity, “Theme from The Terminator,” is technically a march, a repeated six-note theme which plays against an oddly- metered incessant metallic percussion ostinato and a heartbeat-like pulse. The melodic theme represents Sarah and, eventually, her relationship with Kyle, the human element at the core of the film, and brings out the warmth and emotion that defines them. The metallic counterpoint represents The Terminator: merciless, cold, relentless, unyielding. Fiedel created the powerful “clank” sound by hitting a heavy cast iron frying pan with a hammer, and recording it with a simple microphone, an unsophisticated but incredibly effective device. Meanwhile, the heartbeat pulse which underpins it all is a secondary motif, also associated with the Terminator, which acknowledges the fact that there is flesh and organic material covering his alloy endoskeleton. The pulse often appears on its own during the fabric of the score, subliminally alerting the audience to the Terminator’s malevolent presence, and mimicking the rising sense of panic his appearance inevitably causes in others. It’s probably not a coincidence that, in its fullest form, the main Terminator ostinato is also six notes, another subliminal connection between Sarah and the Terminator, ruminating on their inextricably linked fates. Fiedel restates his main thematic ideas in full in the “Main Title,” but then refrains from over-using Sarah’s theme afterwards, choosing only to feature it at moments of extreme emotional poignancy. Instead, for most of the score, Fiedel concentrates mainly on more abstract ideas. The Heartbeat motif is offset by odd, sort-of-choral textures and grinding metallic samples in “The Terminator’s Arrival,” possibly identifying him as an angel of death of sorts. Its performance in “Tech Noir” contrasts chillingly with the scene of young Los Angeles punks dancing to the latest hit, while the killing machine relentlessly stalks the dance floor scanning for his victim. Later, in “Arm & Eye Surgery,” it combines with eerie industrial scraping effects, further illustrating the Terminator’s inhumanity. The action music tends to be frantic and chaotic; layer upon layer of bubbling, pulsing rhythms which blend together to create a sense of panic and confusion. Cues like “Reese Chased,” “Alley Chase,” and the “Garage Chase” sound unfocused and all-over-the-place, but in the context of the film are perfect: the Terminator’s presence is so inexplicable, so confusing to those who shoot him 30 times and see that he doesn’t die, and he is so unerringly deadly with his own weaponry, that the lack of focus and understanding from the human point of view is entirely appropriate. A deconstructed version of the main melodic theme features in the brief “Sarah in the Bar,” but it doesn’t appear again until “Police Station/Escape from Police Station,” where watery, dream-like variations of all three central ideas, offset by electric guitar chords and the bubbling action sequence rhythm, accompany the scene where the Terminator, fulfilling his promise to ‘be back’, massacres an entire LAPD office while searching for his quarry. There are two brief moments of warmth and happiness: “Sarah on Her Motorbike,” a sunny, jazzy piece that represents one of the last moments of carefree calm in Sarah’s life; and “Conversations by the Window/Love Scene,” an introspective acoustic piano variation accompanying the moment of tenderness between Sarah and Kyle before their final battle for survival begins. The extended finale, from “Tunnel Chase” through to “Reese’s Death/Terminator Sits Up/You’re Terminated!”, restates most of the main ideas of the score in extended form: the hyperactive action material, the incessant heartbeat pulse, the sinister metallic clanking, Sarah’s theme. “Death By Fire/Terminator Gets Up” contains the most ominous performance of the Terminator pulse, re-emerging into horrific life just when we think – and the music misdirects us into thinking – that Sarah and Kyle have won. By the time the conclusive “Sarah’s Destiny/The Coming Storm” kicks in, with its wistful piano performance of Sarah’s theme, the sense of relief in the face of the onslaught is palpable, while the end credits version of the main theme, subtitled the “August 29th, 1997, Judgement Day Remix”, brings the album to an appropriate close. The original release of the Terminator soundtrack on LP contained just six tracks of Fiedel’s score, alongside five songs featured in the movie by artists such as Trianglz, 16MM, and Linn Van Hek, many of which can be heard in the ‘Tech Hoir’ nightclub sequence. I did get a little chuckle out of the fact that Linn Van Hek’s “Intimacy” was co-written by Joe Dolce, who had a smash hit of his own in 1980 with the comedy pop song “Shaddap You Face”, although it’s likely that British people of my generation will be only ones who find this funny.