Berberian Sound Studio (soundtrack)
| Berberian Sound Studio | ||||
|---|---|---|---|---|
 |
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| Soundtrack album by Broadcast | ||||
| Released | 7 January 2013 | |||
| Length | 56:57 | |||
| Label | Warp | |||
| Broadcast chronology | ||||
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| Professional ratings | |
|---|---|
| Aggregate scores | |
| Source | Rating |
| Metacritic | 75/100 |
| Review scores | |
| Source | Rating |
| Allmusic |   |
| BBC Music | favourable |
| Drowned in Sound | 8/10 |
| Fact |  |
| The Guardian | |
| NME | 8/10 |
| Pitchfork Media | 7.4/10.0 |
| PopMatters | 7/10 |
| Uncut | 9/10 |
Berberian Sound Studio is an original soundtrack album by the British band Broadcast. The album is a soundtrack to Peter Strickland's 2012 horror film Berberian Sound Studio. Recording for the album began after Strickland approached Broadcast members James Cargill and Trish Keenan about providing the music for the soundtrack to an unseen fictional film contained within the main Berberian Sound Studio film; Cargill completed the album following the sudden death of Keenan in 2011. Berberian Sound Studio was released by Warp in January 2013, and marked Broadcast's first new material since 2009's Broadcast and The Focus Group Investigate Witch Cults of the Radio Age.
Berberian Sound Studio director Peter Strickland had previously worked with Broadcast's former keyboard player, Roj Stevens, who had provided input for Stricklands debut film Katalin Varga in 2009. Stevens put Strickland in touch with Broadcast members Trish Keenan and James Cargill and he asked them to provide the music to Il Vortice Equestre – the unseen fictional film that is contained within Berberian Sound Studio. The band's work then expanded to providing the entire soundtrack to Berberian Sound Studio.
Cargill drew inspiration from the Nicola Piovani's score for Le Orme and Luboš Fišer's score to Valerie and Her Week of Wonders. Cargill was also influenced by Czech New Wave film-making and the work of Zdeněk Liška. The album was composed and partly recorded prior to the death of Keenan in 2011, with Cargill then using sounds and dialogue from the film in the soundtrack itself. Cargill's main equipment was a laptop and dictaphone, with other sounds coming from synthesizers, Mellotron, flutes, autoharp and harpsichord. The recording process took place chiefly at Cargill's home.
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