Wonderful release out today on Buried Treasure. I had the pleasure of writing a short essay for the CD sleevenotes too.

The soundtrack to one of my favourite films, The Shout. Finally released 47 years later on Buried Treasure. Includes fetching Alan Bates badge, which I shall sport for the winter season. Plus an essay in the sleeve notes, what I wrote myself. #theshout #soundtracks #filmsound #electronicmusic

yes, this is what I suggest in my sleevenotes to The Shout, ost, available to order from Friday on Buried Treasure. Nothing to do with Lulu.

Rupert Hine's visceral sound design still makes you shudder www.bfi.org.uk/features/40-...

It's coming... includes a short essay by yours truly in the sleevenotes. Be careful what you wish for.

Anyone in Cumbria area, Suzy Mangion will be at Full of Noises on Saturday night, screening/playing The Music of Uncertain Lives and having a talk with the audience too.

MY BEAUTIFUL LAUNDRETTE 9/9 #filmsound 📽️Watery laundry sounds become music to the ears, a waltz whirls with the washing, and for a moment or two everything shimmers in a twin-tub electric ballroom.

MY BEAUTIFUL LAUNDRETTE 8/9 #filmsound 📽️It’s all idealised and precarious. The piped-music is part of an entrepreneurial fantasy, one that primps the winter-grey suburban streets, the grim realities of racism, of inequality, lost opportunity and unhappy families.

MY BEAUTIFUL LAUNDRETTE 7/9 📽️But it’s a fragile fantasy, built on mirrors and tricks. Jaffrey’s Thatcherite Pakistani businessman publicly dances with his fur-coated white mistress, unaware his nephew Omar is screwing ex-National Front Johnny (Day-Lewis) in the back room behind a one-way mirror.

MY BEAUTIFUL LAUNDRETTE 6/9 #filmsound 📽️At the grand opening, music drifts out from speakers into the now mirrored, muralled and neon-signed laundrette, transfigured into an improbable ballroom where Saeed Jaffrey and Shirley Anne Field dance to the synthified muzak of Waldteufel’s Skater’s Waltz.

MY BEAUTIFUL LAUNDRETTE 5/9 📽️ This transformation of washing machine music mirrors the film's dreams, and ironies. It focuses on Omar’s transformation of a rundown laundrette into ‘Powders’ - a palace of dreams, of neon fantasies, built on immigrant determination in Thatcher’s Britain.

MY BEAUTIFUL LAUNDRETTE 4/9 #filmsound 📽️ It is transformative music, taking everyday sounds and turning them into a score, using some of the alchemy more commonly associated with the BBC Radiophonic Workshop style.

MY BEAUTIFUL LAUNDRETTE 3/9 This memorable motif uses bubble noises, synths & sounds to create a general impression of washing machines that don’t actually sound like real washing machines, or even sound library recordings of them. They are a musical, dream version of washing machines. #filmsound 📽️

MY BEAUTIFUL LAUNDRETTE 2/9 I think of this motif as the film’s ‘theme’ tune. The score was composed & produced by the team of Stanley Myers & a young Hans Zimmer, under the pseudonym Ludus Tonalis. The actual full ‘theme’ version, of which this snippet is only a part, isn’t too interesting.

MY BEAUTIFUL LAUNDRETTE (Frears, 1985) An unusual film from the heyday of Film on Four, immersed in realism, that uses certain elements to escape those trappings. The bubble & electric whirl, swish swoosh of washing machines comprises an important musical motif. 1/9 #filmsound 📽️

Happy Delia Derbyshire Day! On this day Dr. Who was broadcast on the BBC for the first time, and a theme like no other was first transmitted into homes and hearts, written by Ron Grainer, but transformed (arranged doesn't really cut it) but Derbyshire at the Radiophonic Workshop.

tomorrow, 2-4pm, Manchester Central Library. FREE. Suzy Mangion as part of @deliaderbyshireday.bsky.social

Suzy Mangion has a new piece this weekend to celebrate Delia Derbyshire Day. All about randomness. @deliaderbyshireday.bsky.social

Despite the name Film in the Other Room, I'm interested in more than just films. TV, videos, art.Anything that catches my attention audio-visually. More one for curios & history than a music-for-the-movies sort of mind. I have huge affection for the Near and Far aesthetic, and I know I'm not alone.

This episode of the Delia Derbyshire Day Podcast has Suzy Mangion and David Vorhaus (of White Noise fame) talking about all things Delia Derbyshire. @delia.bsky.social

"We all had the same sinking feeling. John Williams, The Lord of the Rings, Hans Zimmer, more John Williams, Chariots of Fire, yet more John Williams. We’ve got Classic FM for that soft-soap stuff, thank you very much. Yet Sweet defied us all, combining a cineaste’s enthusiasm with academic depth."

Just finished the second episode of this. If you loved Neil's BBC4 documentaries then you'll love these. Like those he takes songs apart to show you how they work and what they are doing. Fascinating to a music dope like me. It all happens alongside some very enjoyable chats with guests.

really sad to hear this. I have very low expectations for Edith Bowman taking the slot. Her taste & shows really don't sit well with mine. Much more in the dramatic "movie music" mode beloved by many but little loved by me.

The Man Ray show at the Metropolitan Museum is absolutely essential, and huge (the only show of exclusively his work I've ever seen?). He was decades ahead of his time in so many areas, especially his films, which experimental filmmakers were copping ideas from 40 years later, and still are today.

Great new podcast [and I'll be in episode 2]

thrilling new release from @buriedtreasure.bsky.social - the OST of THE SHOUT, after all these years. I've contributed a short essay to the sleevenotes, as a professional film listener. Can't wait to set this on the turntable. Don't forget to put wax in your ears!

pet hate (I have so many)... new 'official' trailers for re-released classics where some noggin decides to 'update' with a new, 'contemporary sounding' soundtrack, usually discarding the influential, important, and often bloody good or classic, original soundtrack that is so important.

on Bandcamp Friday it's nice to treat myself to a good soundtrack. Today it's Mark Jenkin's mesmerising drone score to his own film BAIT. One of the most interesting filmmakers working the UK for absolutely years, bold and creative and doing their own thing. @invadarecords.bsky.social

I wonder, what is best way to view a film to benefits the filmmakers the most? I little understand the economics of how the money filters through and to whom, but have experience about how it works in the music industry. Cinema viewing? Pay per view stream? DVD?Or does it make any difference at all?

📣Artists announcement! Suzy Mangion & Andrea Pazos are our artists for DD Day 2025 Commission 2 (of 3) 🎥🎵 ‌ We are so looking forward to what Delia inspires this time! 🤓 ‌ With thanks to support from National Lottery Heritage Fund and @thejohnrylands.bsky.social

Big - exciting - news - watch this space. So highly recommended.

Electronic sounds were by Rupert Hine, including the shout itself. Like Odysseus braving the Sirens, Hurt puts wax in his ears to hear what he craves. The processed roar combines with imposing visuals - Bates’s physical weight, dead sheep rolling down, wind sweeping and Hurt’s visible shock. 📽️🎥

But the most central music in THE SHOUT comes from Anthony’s musique concrète studio. This is one of the most truthful onscreen depictions of a composer’s studio I’ve seen. Part Radiophonic Workshop part holiday home, it’s a creative space of reel-to-reel, delays and reverbs, scribbled notes. 📽️ 🎥

Synthesiser music was composed by Tony Banks & Mike Rutherford, founding members of Genesis, but don’t let that put you off - it’s a suitably dreamlike, eerie score, carefully placed at key moments, and in line with film synth music of the period from the likes of Brian Eno or Tangerine Dream. 📽️

Even before the horror-magic of the pivotal sounds (the shout, the scraping of bone, the close-up voice) we are in a pitch perfect audio world of heavy warmth, cricket, threatening thunder, woodpigeons, cows mooing, voices murmuring. Gorgeously rich voices - Alan Bates, Tim Curry, Robert Stephens.

Resolutely dreamlike in tone and plot, it rewards the viewer with wonderful unresolved feelings. Sound is used & edited with utmost care from the uncanny opening sequence onwards, surely one of the most effective evocations of an onscreen nightmare. It’s UK sound team was second-to-none.

THE SHOUT (Skolimowsky, 1978) I never tire of this extraordinary film - electronic composer Anthony (John Hurt) encounters a sinister wanderer (Alan Bates) and follows the risk of his fascination with sound to hear a shout that supposedly kills people. It is in an elite of great films about sound.

Adored this Walter Murch episode. Wonderful. All the favs, even the sound of the Wheelers. @drmatthewsweet.bsky.social @bbcradio3bot.bsky.social 📽️ #filmsound #cinema #film #soundofcinema

I’ll be posting about the extraordinary work of Karel Zeman when I take a look-listen to THE FABULOUS BARON MUNCHAUSEN

An episode of SOUND OF CINEMA that looks at my Mastermind specialist subject - and well made too by @drmatthewsweet.bsky.social

Delighted to get this new book for my birthday… by the legendary Walter Murch, the ‘godfather of sound design’, and director of RETURN TO OZ! Great mix of studio specifics and general film thought. 📽️🎞️🎬 #filmsound #cinema #waltermurch

In Blow-Up, Jeff Beck throws away the head of his guitar; outside the club, it is thrown away again. ‘So it is with Thomas’ experience,’ says Juli Kearns @idyllopus.bsky.social, ‘which has left him with a token that no one else can decipher, its meaning lost upon others, a useless artifact.’

Antonioni used a large sound dept for the time. 9 people, some of whom worked on other sonically masterful films such as 2001, THE MAN WHO FELL TO EARTH, LA DOLCE VITA, & THE ELEPHANT MAN. And not forgetting THAT soundtrack, by the one & only Herbert (sic) Hancock. (BLOW UP 5/5) #filmsound 📽️

London has rarely felt so real on film, yet so different to how it actually is. In this incredible, outsider’s evocation the city isn’t as noisy as it truly is, and we hear & see more detail than usual. It’s a London that doesn’t roar, rendered mysterious & audible. (BLOW UP 4/5) #filmsound 📽️

Then there’s the park, the heart of the mystery. Field recordists will recognise sounds blanketing these scenes: constant rustle, white noise of trees in light wind, swooshing, with occasional birdsong. When Hemmings blows up photos he’s taken there, the sounds return. ( BLOW UP 3/5) #filmsound 📽️

It's all about the details. What is seen & scrutinised, but also heard. Records & radios. Trickling water in a darkroom during long developing sessions. Accentuated camera shutter clicks with each photo taken. Tennis balls gently thwacked, sound carrying across a deserted park. (2/5) #filmsound 📽️

For a film so invested in the visual it’s interesting how important sound is in BLOW UP (Antonioni, 1966). As in Antonioni’s preceding & following work, dialogue is not the driver. People talk, but it never flows, or communicates effectively, or renders the right information. (1/5) #filmsound 📽️

“After a guy watched Enys Men in Brighton he told me: 'the sound of your film went through my body, and it damaged my internal organs!'“ Victor Fraga interviews the inventive Cornish director, as he presents his new creation at Karlovy Vary: dmovies.org/2025/07/09/o...

Before David Attenborough and Blue Planet, before even Jacques Cousteau, there was Jean Painlevé. Making extraordinary films about sea life, with extraordinary soundtracks. He made 2 shorts about sea urchins, in 1929 & 1954, but the second OURSINS was scored with what he called “organised noise”📽️1/4

Not an audio post, but a mental game I play out of curiosity. After watching a film, I like to flip the genders of every single role, to see where it would go. I always find this eye-opening and surprising. Most films I watch don't pass the BECHDEL TEST. I call this one the MANGION REVERSAL. 📽️1/2