The Ninth Gate, Roman Polanski's supernatural thriller about a book that can summon the devil, features an appropriately tense and eerie score by Wojciech Kilar, who also composed the award-winning music for Bram Stoker's Dracula. Sumi Jo's ethereal, operatic vocals grace "The Theme From The Ninth Gate," and the City of Prague Philharmonic and Chorus lend a brooding, Old World feel to pieces like "Corso" and "Bernie Is Dead." Piano and strings contribute to the ghostly, romantic aura of "Liana," while "Plane to Spain," "Chateau Saint Martin," and "The Motorbike" add to the score's continental atmosphere. Suspenseful in its own right, Kilar's music for The Ninth Gate reaffirms his skill as a film composer.

This music is soothing, relaxing and somewhat whimsical. It's perfect for the movie or just to listen to while relaxing. It definitely evokes thoughts of oceanic themes.

It was 1946 and film noir was everywhere, from low budget quickies to major studio releases. Of course, the studios didn’t realize they were making films noir, since that term had just been coined by French film critic Nino Frank. The noirs of 1946 included: The Killers, The Blue Dahlia, The Big Sleep, Gilda, The Postman Always Rings Twice, The Stranger, The Dark Mirror, The Black Angel and The Strange Love of Martha Ivers. The Strange Love of Martha Ivers was an “A” picture from Paramount, produced by Hal B. Wallis. It featured a terrific cast, including Barbara Stanwyck (who’d been in the classic noir Double Indemnity two years prior), Van Heflin, smoky-voiced Lizabeth Scott, Judith Anderson and, in his film debut, a young actor named Kirk Douglas. It’sa terrific picture with wonderful dialogue, elegant direction and great performances – it’s noir, it’s melodrama, and the whole film crackles with electricity. And perfectly capturing every mood, every character and every situation is the classic score by Miklós Rózsa. The music for The Strange Love of Martha Ivers is almost a second cousin to Double Indemnity and The Lost Weekend, filled with the incredible Rózsa sound of that era.

Ludwig van Beethoven's Diabelli Variations, Op. 120 were composed in response to a venture by the Viennese music publisher and composer Anton Diabelli, whose waltz theme provided the basis of the two-volume collection Vaterländischer Künstlerverein. Fifty variations by other composers were published as Book II, while Book I comprised Beethoven's imposing set of 33 variations, universally regarded as one of his greatest achievements of his late period, and arguably his greatest work for piano.

In the film The Vow, bride to be (Rachel McAdams) survives a car crash and wakes from a coma without any memory of her future husband (Channing Tatum). Befitting the not-so-subtle Harlequin novel-inspired setup, the soundtrack begins with Meat Loaf's arena-sized 1993 hit "I'd Do Anything for Love (But I Won't Do That)". What follows is an expertly crafted love letter to 21st century romance, with highlights arriving by way of Swedish siren Lykke Li ("Get Some"), psych-country balladeers Phosphorescent ("Nothing Was Stolen (Love Me Foolishly)"), and majestic, mascara-pop overlords The Cure ("Pictures of You").

moonbooter is an Electronic Music project located in the German Eifel. The man behind the project is Bernd Scholl, not to mix up with the other EM-Musician of the same name. In the 80th and 90th Bernd worked as a DJ, artist and musicproducer for club-orientated music. At the same time he enjoyed as an adolescent the softer Electronic Music…
After a break for some years, Bernd produces his first EM-album "Teralogica" in 2003, which was first released in 2004. The album "devided" and "orbit number 2" followed. With the following DVD-Version of "orbit number 2”, Bernd visualized his passion for NASA and space.