Music from In Between

Music from the edges, from the past and from dreams.

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From Australian industrial band SPK (Sozialistisches Patienten Kollektiv). Their 1982 album Leichenschrei was a high-water mark for industrial music. This track, Genetic Transmission, combines atmospheric industrial textures with a calm, detached spoken-word performance.

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Main title music from Jerry Goldsmith\'s score for 1973's The Don is Dead. Atmospheric orchestral washes punctuated with percussion and brass, undergirded with strange electronic pulses and a touch of electric bass guitar. Lovely.

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The Demise Of Mrs. Baylock, a track from the 1976 film score for The Omen, composed by Jerry Goldsmith. The music is intense and quite fun: Goldsmith-esque gestures and harmonies, but with a choir adding a variety of vocalizations.

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Electroacoustic music by Luciano Berio circa 1959, for tape and female voice reading a text from James Joyce's Ulysses. The composer's skillful manipulation and distortion of the tape recording results in some truly amazing sounds and textures.

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A track from Kollaps, the 1981 album from German band Einstürzende Neubauten. The music is performed on self-made electronics and machinery, found objects and guitar, with lead singer Blixa Bargeld's shouted and screamed vocals. The band's early music has been aptly described as "unremittingly harsh".

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A short, atmospheric track from the score for the 1971 film Klute, composed by Michael Small for piano, microtonal xylophone and female voice. The soundtrack overall encompasses a fairly wide range of musical styles, including pop, jazz and quasi-classical.

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A track from the pioneering film score for the 1956 sci-fi epic Forbidden Planet. Composed by Bebe and Louis Barron, it was the first all-electronic film score, produced using equipment constructed by Louis Barron himself. The sonic result is strange and otherworldly, probably especially for listeners in 1956.

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Scratchy rhythms and more familiar forms mark this track as a musical departure for Krautrock band Cluster, on their 1974 album Zuckerzeit. However, it retains some the group's avantgarde noise style.

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"Schwitzt, meine kinder" (Sweat, my children) is a recurrent refrain in this 1981 synth-punk track from German duo Deutsch Amerikanische Freundschaft (D.A.F.). The duo was part of what came to be called the Neue Deutsche Welle, or New German Wave in the early 1980s.

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Something unexpected from veteran film composer John Williams, from his score for Robert Altman's 1972 psychological horror film Images. Many of the tracks are very avant garde and represent collaboration with the Japanese musician Stomu Yamash´ta, using a variety of percussion and other instruments to represent states of psychological disintegration. Such tracks are in contrast with others that are traditionally classical and Williams-esque, sometimes evoking a sense of naiveté.

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From Norwegian singers Trio Mediaeval and trumpet player Arve Henriksen, O Jesu Dulcissime is a woven contrapuntal tapestry of beautiful female voices, traditional fiddle and modern trumpet. It might seem cliché to describe this music as haunting, but that’s precisely what it is: a memory of a cold-lit day from long ago.

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From King Crimson's 1984 album Three of a Perfect Pair, the song No Warning is a masterwork of unease. An improvised exploration of dissonance and texture performed on electric guitar, guitar synth, Chapman Stick and electronic drums.

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Poème Electronique was composed by Edgard Varèse for the 1958 Brussels World's Fair. It utilizes early electronics, percussion and male and female voices in an organic and free-form style of audio and musical collage.

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Music from the 1970 sci-fi thriller Colossus: The Forbin Project, composed by French composer Michel Colombier. The timely story is about an artificial intelligence that ends up threatening humanity. This cue from the soundtrack, composed entirely for percussion instruments, creates a sense of urgency and insistence, while also being uneven and unpredictable.

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The benedictine abbey Santa Maria de Montserrat (pictured below) is an important pilgrimage site and home to the so-called "Black Madonna", a statue of the Virgin of Montserrat. Songs from 14th century manuscripts pay homage to the Black Madonna, which some believe to work miracles.

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Clytaemnestras Entrance by Arild Andersen Group on Apple Music

Song · 2005 · Duration 3:24

From the album Electra, by the Arild Anderson Group, founded by Norwegian bass player Arild Anderson. The album is a fusion of jazz and world influences, treating broadly on the Greek mythological characters Electra and Clytemnestra. The music is often powerful, though at times also contemplative.

Featured on the album is trumpet player Arve Henriksen, reputed for his soft flute-like tone, though he often produces wailing tones and other non-standard effects.

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Vaudcore is the term used by the band House of Rabbits to describe their music; a mashup of vaudeville and hardcore. It is an apt description. The lyrics on their album Songs of Charivari treat on the dark impulses of desire, passion, frustration and retribution, with song titles such as By the Neck, Grandfather C*ck, Madame Orifices, Trophy Widow and She Drinks from the Golden Fountain. Not exactly for the faint of heart.