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Stoker [Soundtrack]

Clint Mansell Audio CD
4.0 out of 5 stars  See all reviews (3 customer reviews)
Price: 11.74 & FREE Delivery in the UK. Details
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Only 8 left in stock (more on the way).
Dispatched from and sold by Amazon. Gift-wrap available.
Want it Tuesday, 22 April? Choose Express delivery at checkout. Details

Frequently Bought Together

Stoker + Last Night + Moon
Price For All Three: 35.02

Buy the selected items together
  • Last Night 11.79
  • Moon 11.49

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Product details

  • Audio CD (4 Mar 2013)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: CLASSICAL
  • ASIN: B00B5O7NDW
  • Other Editions: Audio CD  |  Vinyl
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 85,017 in Music (See Top 100 in Music)

1. I'm Not Formed By Things That Are Of Myself Alone - Mia Wasikowska
2. Becomes The Color - Emily Wells
3. Happy Birthday (A Death In The Family)
4. Uncle Charlie
5. A Whistling Tune From A Lonely Man - Hudson Thames
6. The Hunter And The Game
7. Blossoming...
8. Summer Wine - Nancy Sinatra & Lee Hazlewood
9. A Family Affair
10. Becoming...
11. Duet - Sugar Vendil And Trevor Gureckis
12. Crawford Institute (Family Secrets)
13. Stride La Vampa (From Il Trovatore) - Viorica Cortez
14. The Hunter Plays The Game
15. In Full Bloom
16. The Hunter Becomes The Game
17. We Are Not Responsible For Who We Come To Be (Free)
18. If I Ever Had A Heart - Emily Wells

Customer Reviews

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Most Helpful Customer Reviews
2 of 2 people found the following review helpful
5.0 out of 5 stars Beautiful 31 Dec 2013
By C
Format:Audio CD
I love this, when I listen to it I a reminded of scenes from the film. It's so dark but beautiful, great to listen to when alone. Beautiful sounds.
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7 of 8 people found the following review helpful
5.0 out of 5 stars Ignore Kelly 28 July 2013
By Papa N
Format:Audio CD
A great film with a beautiful soundtrack. Clint Mansell truly is the master the OST. And spare a thought for poor Kelly who having seen the film thought she was getting a Nancy Sinatra album. Such a shame.
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1 of 41 people found the following review helpful
2.0 out of 5 stars Disappointing 8 April 2013
By kelly
Format:Audio CD|Verified Purchase
I bought this cd as i loved the film and really loved the song summer wine used in it. Unfortunately that this is the best song, as the majority of this album is instrumental. A Tarantino soundtrack this is not!
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.9 out of 5 stars  7 reviews
5 of 5 people found the following review helpful
5.0 out of 5 stars Headphone Commute Review 12 May 2013
By Headphone Commute - Published on Amazon.com
Format:Audio CD
Last weekend I went to see a play. I really enjoyed the theater outing, but something throughout the performance kept bothering me. I didn't feel like I was part of the story, and instead remained an outside observer throughout the show. It was an uneasy feeling of eavesdropping, of witnessing something I was not supposed to see. By the second half I finally realized what it was. There was absolutely no music with this play. It was an act among the people who conveyed emotion with words and actions. And it was missing all of my expected cues. With soundtracks by Clint Mansell it's a completely opposite experience. I could be walking on the street, listening to his latest film score in my headphones, and suddenly my heartbeat would skip, my lungs would swell up, and my mind would be filled with pure emotion. On more than one occasion I would forget that music is the responsible trigger and start thinking thoughts that go along with sound. The up-beat racing thoughts. The tension driven turmoil thoughts. The stress relieving sighing thoughts. They are all there in Mansell's music.

Clint Mansell is no stranger to the sound behind the screen. The composer has been working with Darren Aronofsky since the underground classic Pi (1997), followed by a cult hit Requiem for a Dream (2000), The Fountain (2006), [nominated for Best Original Score at the Golden Globe Awards], The Wrestler (2008), Moon (2009), Black Swan (2010) [nominated for Best Score Soundtrack for Visual Media at the 2012 Grammy Awards], and many others. His latest soundtrack is for a film by Park Chan-wook, a South Korean director and screen writer most known for The Vengeance Trilogy (Sympathy for Mr. Vengeance, Oldboy, and Sympathy for Lady Vengeance). His latest, Stoker, stars Mia Wasikowska, Matthew Goode and Nicole Kidman, and is scheduled to be released on March 1st of 2013. I'm not going to provide the film synopsis here (perhaps you should be able to experience its energy through the soundtrack first), but I'll embed a neat trailer on the making of the International Teaser Poster, which features a trip-hoppy track, titled "Becomes The Color", by Emily Wells.

In addition to providing a score to an unfolding story, Mansell is presented with an opportunity of exploring a common theme. The variations on the main melody throughout the soundtrack allow this composer to showcase all of the above evoked emotion through slight change in tempo, dynamics, and instrumentation. This particular aesthetic of a film score allow the album to exist as one cohesive piece of music, instead of individual tracks. Blending an orchestral ensemble with elements of guitar, piano, percussion and electronica, the music retains its appropriate place in time, as well as total timeliness in a complete and utter void. The release is sprinkled with a few tracks that also appear in the film, including a modern classical piece by Philip Glass, above track by Emily Wells, and a wonderful period piece by Nancy Sinatra and Lee Hazlewood, which gives me a nice jolt and a welcome break in the flow of music, reminding me a bit of a technique Quentin Tarantino employs to honor other cult styles.

Listening to a soundtrack by Clint Mansell prior to seeing the film is a fascinating experience. The foreshadowing images of the film flash forward their dark, sinister, and seductive themes. Actually, let me rephrase that. Watching a movie for which Mansell produced a soundtrack months after listening to his music for hours on end is an incredible feat. As you are observing the scenes unfolding on the screen, a sense of familiarity creeps in the background. A feeling of a déjà vu, a familiar childhood scent in a friend's dusty dwelling, a split second flashback from the present to the past. And all those reactions are evoked after a very intimate relationship with music by Mansell. Something I'm willing to commit to again and again. If you live in LA or New York, check your calendars for Mansell's upcoming live performances in April! You know I already got my tickets!
3 of 3 people found the following review helpful
5.0 out of 5 stars deceptively simple 20 Jun 2013
By Teela - Published on Amazon.com
Verified Purchase
delightfully simplistic with an undertone of something ominous throughout - which fits perfectly. And that piano duet is absolutely gorgeous and eerie at the same time.
3 of 3 people found the following review helpful
5.0 out of 5 stars Wonderful 21 Mar 2013
By Sarah - Published on Amazon.com
Format:Vinyl|Verified Purchase
A beautiful vinyl with an equally beautiful score. I've been a Mansell fan for over a decade and he never disappoints.
2 of 2 people found the following review helpful
5.0 out of 5 stars Beautiful 1 Sep 2013
By Bree - Published on Amazon.com
Format:Audio CD|Verified Purchase
I am not musically inclined enough to even dare review this album, but I do know that I love it. It is so beautiful. In Full Bloom is stunning perfection.
3 of 4 people found the following review helpful
5.0 out of 5 stars A well constructed soundtrack for a wonderfully disturbing film 24 Jun 2013
By Grady Harp - Published on Amazon.com
Format:Audio CD
Clint Mansell has a strong record for providing atmospheric music for films that enhances and never gets in the way of the story. And this is certainly the case for the film by Park Chan-wook, STOKER. Mansell's music is basically very quiet but there is enough experimentation in the musical sound he creates to underlying the suspenseful family disintegration the story supports.

Mansell composes not only for the expected orchestral moments and isolated piano sequences, but he also plays with our ears by stroking the strings of the piano wires to augment the fantasy and bewilderment of the characters' fragile psyches. He treats us to some inclusion of music by Philip Glass (for those who loved Glass' score for THE HOURS, this news will alert to some very fine writing). At several instances he includes phrases from Verdi's opera Il Trovatore (here Viorica Cortez sings `Stride la Vampa' from a 1975 recording) and a whistled echo of that theme to heighten tension. There are also moments of intrusions by popular music but they seem appropriate.

One recurring problem with films these days is that despite how somber and serious a film is and how touched the audience feels at the end, someone (I can't imagine it is Clint Mansell here) opts to role the credits of the film to some annoying hip hop or rap or edgy contemporary popular music that has nothing to do with the story or the film's moody musical score. Reason unknown. Grady Harp, June 13
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