Inseminoid (Horrorplanet) Original Motion Picture Soundtrack RSD Black Friday 2021 Vinyl |

$38.47
$34.97

Cast: Barrie Houghton | David Baxt | Dominic Jephcott | Heather Wright | Jennifer Ashley | John Segal | Judy Geeson | Kevin O'Shea | Robert Pugh | Robin Clarke | Rosalind Lloyd | Stephanie Beacham | Steven Grives | Trevor Thomas | Victoria Tennant
Directors: Norman J. Warren
Contributor:
Contributor:
Product Types: Music & Spoken Word Products
Formats: Vinyl
Genres: Cult Cinema | Horror | Monsters | Science Fiction | Soundtracks
Studios: Note for Note
Original Release Date: January 23, 1981
Product Release Date: November 26, 2021
Rating: r

Inseminoid (Horrorplanet) Original Motion Picture Soundtrack RSD Black Friday 2021 Vinyl

John Scott’s score for the 1981 British science fiction horror film INSEMINOID (also known as HORRORPLANET) is now available in a limited RSD Vinyl edition for Black Friday 2021.

INSEMINOID was directed by British filmmaker Norman J. Warren, known primarily for a series of late ’70s-’80s horror films and produced by Richard Gordon, known for a variety of films but specializing in horror movies such as THE HAUNTED STRANGLER, FIEND WITHOUT A FACE. Warren shot the film during May and June 1980, with a £1 million budget, half of which was financed by Hong Kong’s Shaw Brothers (their first investment in a British film).

To compose the film’s score, Warren brought in distinguished orchestral composer John Scott, who by 1981 had composed wide-ranging scores for some 86 films and television series. Scott’s efforts in the genre have included films such as TROG, MARK OF THE DEVIL PART II, THE PEOPLE THAT TIME FORGOT, and the magnificent score for 1980’s time-travel film, THE FINAL COUNTDOWN (along with GREYSTOKE, KING KONG LIVES, THE WICKER TREE amongst the 70 scores subsequent to INSEMINOID).

Warren and Scott had worked together previously on his film, SATAN’S SLAVE. When it came to their next collaboration, INSEMINOID, using even a small orchestra was beyond the budget; leaving electronics as the only viable means. In the process, Scott made use of synthesized rock-and-roll elements (low basso structures, electronic drums, and in particular a recurring, 8-note motif shared between electric guitar and synths, most notably in the main titles and end credits, mixed over a variegated abundance of synthetic substances. As the mixing of the electronic score took shape, enhanced by many hours of multi-tracking and overdubbing, Scott was aided in recording the score by the Pinewood Studios music mixer Otto Snel.