The end is nigh…of summer, I mean. If you tuned in to part one of this series, you will have been introduced to a handful of scores picked by yours truly as the excitement of summer was just on the horizon. Now, for part two, I’m turning my attention to music that suits the mood as summer sets in the rear view.
Featuring sounds that evoke picturesque vistas, melancholic moments, and late nights wishing the days would last just a little longer, the soundtracks below encompass what I’ve been jamming as this season slowly fades away. Without further ado, please enjoy these soundtracks curated to send your summer out on a high note.
Nella Misura In Cui by Augusto Martelli (1978)
Similar to the final soundtrack on my first list, the music of Nella Misura In Cui is far more engrossing than the film it was composed for. Not just in terms of quality, but in its ability to evoke even more powerful images of tropical locales and sweat-soaked summer days than what’s captured on the actual film stock. The music, by notable Italian composer Augusto Martelli for director Piero Vivarelli’s erotic drama, is equal parts exotic and funky. The laid-back tropical vibe of “The Joint” (the soundtrack’s signature cue) gives a tangible sense of sand between my toes, while the disco-funk jam “Joining Together” places me in the sweatiest island club imaginable. Neither of which are bad ways to imagine spending the last moments of summer.
Paranoia (Orgasmo) by Piero Umiliani (1969)
From one Italian library music legend to another, I’m excited to include an entry from one of my favorite composers. And what a doozy, as his work on this Umberto Lenzi directed erotic-giallo marks, in my opinion, a high point for the cinematic lounge genre. Prior to this score, I had really only been exposed to lounge music through Morricone’s gialli scores, which tend to include one or two groovy bossa nova cues in juxtaposition to tense, dissonant jazz. But with Paranoia, I discovered a whole LP of laid-back sounds to luxuriate in! As the sultry voice of Lydia MacDonald sings on the first cue, “the stage was set” for an Umiliani-obsession to blossom. Whether you’re a longtime fan or a newcomer to the genre as I once was, front to back Paranoia is full of easy-listening essentials: smooth bass lines, subtle strings, humming organs, and tasteful horns. It’s all killer, no filler, as they say. Since discovering this soundtrack, I find it hard to pour my Sunday morning coffee or sip from a snifter watching the sun set without it playing.
Too Old to Die Young by Cliff Martinez (2019)
To celebrate the long-standing cinematic connection between dark, moody synths and neon-soaked summer nights, I wanted to include a soundtrack that captured this vibe, but outside the obvious choices like Thief or Drive. Enter the criminally unseen and unheard Too Old to Die Young. Like the aforementioned works by Tangerine Dream and Martinez himself, Too Old to Die Young’sscore (which comes in at a manageable hour and 10-ish minutes, compared to the series’s notoriously hefty runtime) masterfully evokes the illicit appeal of a city after dark, where synths shimmer like lights reflected in darkened windows and churning bass lines make you want to jump in the car and drive the night away. But beneath the shiny surface lies an apocalyptic undercurrent, found in Martinez’s sinister atmospheres and harrowing percussion and strings. A soundscape that suggests a city on the verge of exploding. It’s a feeling that hits home as I look at the calendar and realize that although the summer still feels young, it’s in fact about to be dead and gone.
Zombie: The Composer’s Cut by Fabio Frizzi (2023)
Speaking of apocalypse, there may be no composer who’s captured the sonic essence of end times better than Fabio Frizzi—particularly in his work with Italian gorefather, Lucio Fulci. Of all the duo’s monumental collaborations, 1979’s Zombie (aka Zombi 2 or Zombie Flesh Eaters, depending on where you are in the world) remains both a fan and personal favorite. Now, in 2023, us cinematic audiophiles have been treated to a new revival of this iconic score, in the form of what Frizzi calls his “composer’s cut”—a reimagining and re-recording of his original music, with the intention of playing the score live for audiences around the globe. Following in the footsteps of his already successful composer’s cut for The Beyond, Zombie: The Composer’s Cut carefully respects the original material, while expanding upon it with new instruments, added musical motifs, and an overall more expansive sound. Take for example, the score’s signature tribal drum-focused cues. While the drums still effortlessly transport me to the paradise-turned-hell of Matool, where much of the film is set, the addition of cello to the previously sparse instrumentation imbues the music with a new sense of melancholy, one that’s perfectly suited for a losing battle against the living dead. With a stunning sharpness of sound (eyeballs everywhere, watch out!), this score feels fresher than ever and has been a staple of my summer rotation—and certain to be resurrected onto my record player again come October.
Master Gardener by Dev Hynes (2023) (Review)
Bringing us home, how about another score from this year? I know, totally out of character, but c’mon the last one was technically from 1979. Not only is Master Gardener one of my favorite things I’ve watched all year, but its Dev Hynes (of Blood Orange fame) penned score has dug serious roots into me since first hearing it over Paul Schrader’s bittersweet reformed-Neo-Nazi-meets-mixed-race-almost-underage-girl love story. From the opening cue—set atop images of various flowers blooming and unfurling and featuring electronically modulated (if not fully created) bird calls, organ-like synths, and woozy atmospherics—Hynes carries me away into a lush sonic landscape. From there, his score serves Schrader’s story faithfully, with equal moments of beauty and horror throughout its runtime, until we arrive at the jaw-dropping finale, a rendition of the S.G. Goodman song “Space and Time” performed by Mereba. Each time I hear her croon “I never wanna leave this world without saying I love you,” I slip a little further into a blissful melancholy, the kind that reminds you that feeling sad is only possible because of the good memories you’ve made and will miss dearly. Whether this year or any in the future, if summer were a movie, this is what I would play over its credits.
And on the note of credits, with that I’ve come to the end of my list. I hope you enjoyed the read and possibly found some new music to enjoy as you send summer on its way. As always, it’s a pleasure to share my musings with you and I welcome any continued conversation over on my socials or in the comments. I’m sure I’ll see you all again soon, as Halloween (and plenty of horror soundtracks to spin) is just around the corner.
Author’s note: If you would love to read more about any of the soundtracks listed, let me know by sending me a message on Instagram or Twitter. I’d happily look into writing more in-depth on any of the incredible music curated here.
About the Author: Hey, I’m Sam. I like violent movies with synth scores and listening to library music on the beach. My perfect idea for a date is taking a trip to 1970s Italy where I can stumble into a stylish murder mystery involving a black-gloved killer featuring music by Ennio Morricone. I live in Vancouver, B.C. and think too hard about what I write on my Letterboxd. Twitter: @mondosammi
I just spent my lazy Friday afternoon, listening to Paranoia. Thank you, Sam!