#tarantola

The music draws heavily - and appropriately - from the greats of the era. Goblin (Dawn of the Dead, Deep Red) is the primarily point of influence, as Vercetti Technicolor channels the influential Italian group's moody prog rock stylings. Shades of John Carpenter (Halloween, Escape from New York) and Fabio Frizzi (Zombie, The Beyond) can be heard as well.

The album begins with a one-two punch of "Tarantola!" and "Tarantola! (Reprise)." The former is a rocking track that would easily fit over the opening titles of a classic Italian horror film, while the latter offers a more subdued, creepier version of the theme. An ominous blend of brooding synth and symphonics, "Razor Kill" sounds like John Carpenter scoring a Nightmare on Elm Street sequel. Both the film mix and the extended versions are included.

The B-side kicks off with "Phantom," an extravagant prog rock opus. It's the lengthiest song on the album, clocking in at 8 and a half minutes, but I wouldn't have minded if it was twice as long. "End Titles" is the pulsating synth jam that plays over The Editor's end credits. It’s a highlight that embodies the classic giallo soundtrack spirit, so it's no surprise that it was chosen to close the movie.

What better format to experience a tribute to '70s and '80s horror soundtracks than on vinyl? Lunaris Records has released an exclusive white vinyl variant (limited to 500 copies), with a standard black version available from retailers. Renowned artist Graham Humphreys is responsible for the provocative cover. A fold-out movie poster featuring Humphreys' art, as seen in The Editor, is also included.

Opinions of The Editor aside (I think it's a blast), Vercetti Technicolor's Tarantola is a strong score. Like John Carpenter's recent solo albums, it's easy to imagine a movie in your head for which the music could serve as the soundtrack. Imagery of a black-gloved, razor-wielding killer committing elaborate, grisly murders will wash over any giallo fan as soon as they drop the needle on this record.