Archive for the ‘film scores’ Category

Travelers of Tyme present: “DC Metro” a new single for $1

January 25, 2011
  • This single that is a tribute to the Washington D.C. metro supports the efforts of the Travelers to create a full-length and go boldly where no band has gone before. Available in most elite formats from $1→WhatYouChooseToGive! 

    Originally entered into the Washington Post Metro-Music contest. The B-side got 2nd place and attributed oddly to John Yaya! ( Keeping the mystery alive in 2011!

    DOWNLOAD CONTAINS: Desktop backgrounds of cover art to adorn your computational device!

Picture it: a lonesome subterranean train platform. A balding man in a rumpled black suit stands, waiting, anxiously checking his watch, too often. He rocks on his heels. His train is late, so very late. And what is his final destination? Not one of us can answer that with any certainty, can we? So we might as well be patient. (Just don’t tell that to the Waiting Man. Our secret…) 

An empty train arrives – but it’s not the Waiting Man’s train. As the doors open, they unfold in slow motion as a beautiful brunette in a crisp pant suit emerges like a swan from a swirling gray mist. She seems not to walk but to hover, gliding across the platform, a gorgeous spectre existing beyond Tyme and space. With a wink and a slight smile to the Waiting Man, she mounts the escalator and is carried into an unknown fog above. What is her final destination? Who can say? Perhaps she has already arrived!

As for the Waiting Man, his train is still running late. And it always will be.


▲ ▲ ▲

The Travelers of Tyme present “Misty Businesswoman” b/w “Last Train to Limbo,” 2 songs constructed using sound samples of the Washington DC Metrorail. Whether you are waiting, in transit, or have already arrived at your destination, this music is specially designed to enhance your travel experience.

Thank you for spending six minutes and fifty-five seconds with us. We hope that you enjoy the rest of your Tyme in this Universe. It is a pleasant one.


Professor John Yaya and Doctor Klem
The Travelers of Tyme

Countdown to Jukebox of the Dead IX : “Scarface (Push It to the Limit)”

October 7, 2008

Welcome back to the new, improved Detholz! Mp3 Blog, Mark II!  I’m no longer going to list episodes in Roman numerals– the math was starting to get too challenging for my pea-brain.

Thanks to all of you who have taken up the gauntlet of the DETHOLZ! BLOG ROLL-UP! (see below for rules) You will be the first to receive piping hot advance copies of Detholz! second album of deconstructed pop songs direct from the dentist’s office : Jukebox of the Dead II : You : The Power of You.

Three cheers to those of you who dove immediately into the fray, swords swinging!  Here are the links to our winners’ blogs thus far:

The Roll-Up is far from over, however.  Seize this opportunity to gird up your blog battle-ax and take your place among the greats in Detholz! Cyber-Valhalla — see the Blogroll to the right for these newly added champions!

As we progress into the second week of the Countdown to Jukebox of the Dead IX (if you’re new, see previous post for explanation), I give you the heart and soul of this year’s show :


Penned by the Italian master of 80’s montage music, Giorgio Moroder, and originally performed by one-hit wonder, Paul Engemann, for the Brian DePalma classic, Scarface, it is my personal favorite in the “80’s montage” genre. In fact, the entire score to Scarface is, in my estimation, the quintessential 80’s synth score.

(I should say Engemann was a TWO-hit wonder : he scored a Top Ten hit with the single “Room to Move” from the Dan Aykroyd movie My Stepmother Is an Alien.)

This year’s Halloween show will hinge upon an unholy obsession with physical fitness, and I thought this song captured some of the melancholy associated with bad body image. It was arranged in a pretty straightforward way, though in rehearsal we have decided to reorchestrate it somewhat…. I won’t spoil the surprise, however!

QUESTION: What is your favorite movie montage song? Doesn’t have to be 80’s. Send me a comment below and I’ll consider adding your favorite to the list of new Detholz! covers this year! Help, folks, I need song ideas!

Tune in next week for next installment of the Covers Countdown! See below for details on the Halloween Blog Roll-Up:


To receive an advance copy of You: the Power of You, simply follow these steps:

1. Get a blog.  If you have one, skip this step.  Ha.

2. Write a Detholz!-related blog.  Whether it’s about a show, a song, or how much you want to see Karl Doerfer (DH! guitarist) prance around in a Laura Bush costume, any and all is fair game as long as it’s Detholz!-related.

3. Put the following text somewhere in your post:

Jukebox of the Dead IX
“Detholz! FLEX!”
w/special guests Aleks and the Drummer & Hood Internet
Friday, October 31, 2008
Empty Bottle
1035 N Western Avenue
Chicago, IL
Buy tickets at

3. Post a link to the Detholz! Mp3 Blog in your blog roll.

4. Send the link to misterb at detholz dot com.

If you carefully follow these steps to the letter, here’s what you get:

1. An advance copy of “You: the Power of You” in its entirety

2. One other downloadable Detholz! record of your choosing

3. A link to your blog posted on the Detholz! blogroll

4. The satisfaction that only BLOG can provide

Attack of the Synthestra 2 – “Willie Steals a Horse”

April 9, 2008

Note: A close Detholz! confidante (and former Detholz! bookie), Lena, needs your help in an excellent cause. After having her spirit broken by the VORTECS Corporation, the business arm of Detholz!, (just kidding) Lena decided to go into nursing and has worked at a hospital for the past year. Utilizing her training, she will be traveling to Nepal this Fall to volunteer and assist needy orphan children there (no kidding). She needs to raise $5,000 for her trip. Visit this link and donate, would you?

Any little bit you can spare will help immensely– no gift is too small!  Help Lena help orphans in need!  Thanks.  -Detholz! and the Maplewood Continuum

Welcome to the Detholz! Mp3 Blog, Episode XXXIV!

This week, we continue with our bloody orchestral onslaught of General MIDI madness with:

ATTACK OF THE SYNTHESTRA Part 2 : “Willie Steals A Horse”

For an introduction on this month’s Attack, check the last post.


This week, the vampire character we introduced last week is reminiscing about his misspent youth on Maxwell Street in Chicago, remembering an afternoon when he earned his nickname. On a dare, he creeps up on a fruit vendor and steals his horse, after which he removes the testicles and sells them to a restaurant in Chinatown (his nickname is “Potatoes,” har har). The scene depicted here is Willie sneaking up on the vendor, then untying and making off with his horse.


A lot of the ideas from this orchestration come from critical listening to Bernard Herrmann’s score for “The Trouble With Harry.” There’s a lot of call-and-response across the orchestra, which is a great trick. You can repeat the same phrase over and over and it takes on an entirely different character if played by different instrument families in different registers.

The core of the composition is a series of intervals– a major third and a tritone. I take a lot of liberty with the intervallic series, inverting it in a few instances, mixing it up in others. The most blatantly obvious examples can be heard in the quiet middle section of the piece– first in the woodwinds, then in the lower instruments as the piece revs up towards the end.

I purposely chose a brighter, “happier” scenario this week for a challenge. As most of you know, my default setting when writing music is either “Fire and Brimstone” or “Gloom ‘N Doom,” so I decided to take a trip to the Happy Store and see what happened.

The practice and obsessive listening is paying off– I’m finding it’s easier to make good choices vis a vis instrument combinations. One of the most difficult aspects of orchestration is balance– take your run-of-the-mill C7 chord, for example.


Which notes go where across the orchestra? What notes are doubled? By which instruments?

In my reading about this, I’ve discovered the 1357 rule. This means, in general, you want to give the most weight to the first note in the chord (otherwise known as the “root.”) In this case, C.

C = 1

So, given your average orchestra, you’d put C’s in the bass instruments (like the string basses, cellos, tuba, bassoons and bass clarinets) and in the primary melodic instruments (1st violins, trumpets, horns, flutes and oboes).

E = 3

This is the third of the chord– what gives the chord its character, major or minor, so it’s second in the pecking order. I would probably assign it to the 2nd violins, 2nd/3rd horns, and 1st clarinet)

And so forth and so on. You plug in the rest of the notes according to the 1357 principle until you’ve got a balanced-sounding chord across the orchestra. If it sounds complicated, that’s because… well… it is! I’ve got a lot more practice ahead of me before I master writing balanced orchestral scores.

So there you have it. Tune in next week for the next wave of Attack of the Synthestra, Part 3: The Rape of General MIDI!