The 4th Floor (Original Motion Picture Soundtrack)

珍（茱莉叶露易丝饰）继承了姑妈的公寓，想尝试独居的滋味，故决定搬离男友奎格（威廉赫特饰）的房子。奎格虽不高兴，但却无法反驳珍的理由。在珍搬入公寓后，她却发现四楼的邻居对她怀有敌意，不只不时向她投掷恶意的纸条，且常用力敲打她的地板。当她的公寓某天布满蟑螂及怪虫时，珍终于忍无可忍，破门而入4楼邻居的家里，但最后却遭人击昏。珍醒来后，没人相信她曾遭受攻击，到底是谁在搞鬼？而目的又为何？这部惊悚的悬疑剧要到最后一分钟，「可怕的恶邻」才会揭晓。 "From the ominous brass swells that open the score to The 4th Floor, we're immediately pulled into Brian Tyler's dark, disturbing musical journey. Using full orchestration and instrumentation ranging from mallet-struck piano strings to the Middle Eastern duduk, the music not only captures the essence of the film, but also truly helps to create it. We feel it in the haunting female voice rising over the other instrumens, etherized, almost child-like - the mysterious "other". In the dark hallways and staircases of the film, this floating melody constantly reminds us of a presence - this "other" is watching. The brilliane of the score lies in that it not only works emotionally, but also is as theoretically intricate as the story it accompanies. As discoveries are made in the plot, the themes and melodies blend - associations are made, sometimes foreshadowing the final revelation of the film, or sometimes leading us astray and heightening the mystery. Melodies grow more complicated, shift in tonality. In a very careful but subtle way, the music develops thematically with the movie. On listening to the score, there is no doubt that this is the work of a truly promising young film composer. One can detect the echoes and influences of many great composers, from Penderecki to Bartok, but in the end the musical journey of The 4th Floor is in a voice that is truly Mr. Tyler's own". - John Klausner, Director, The 4th Floor "As our culture hurtles into the twenty-first century, we are constantly reminded of how jaded we've become once we sit down in a darkened theatre and wait for another dose of the movie-going experience. The digital age has produced in us a heightened awareness of manipulation and unreality; it is practically to surprise anyone these days. This same awareness has, many times, been extended to the craft of film scoring. Yet Brian Tyler's music for The 4th Floor stands out particularly for it's unwillingness to conjure up memory of a previous score simply to justify its own existence. In just two short years in film scoring, Tyler's compositions have gained a cohesiveness and mature edge that many composers spend entire careers refining. The 4th Floor is an excellent example of Tyler's style and, also, a harbinger of greater things to come. The styles of Tyler's compositions for the film range from post-modern "controlled aleatoricism" to more classically-structured melodies, yet they're all unified by the composer's keen dramatic sense. The 4th Floor is a story with otehrworldly, horrifice elements, yet it's a film with an emotional backbone. Such a backbone provides Tyler with the opportunity to lace the scares with real emotional content, and he does not disappoint. Contrast the dynamically overlapping percussion meters of "Portcullis", and the pumped-up "Attack On The Locksmith" with the mournfully beautiful measures of "Alice Voiceover" and the score's main-and-end-title cues. As we watch the craft of filmmaking and film scoring evolve, it is always a pleasure to watch a real talent emerge. Brian Tyler is one of these rare gems, and it is going to be a pleasure to watch his music evolve in the coming years. - Jason Comerford (album liner notes) Orchestra Recorded at Tippecanoe Music. Music Published by Tippecanoe Music Publishing BMI. Special Thanks: Josh Klausner, Boaz Davidson, John Thompsonm, Avi Lerner, Naomi Despres, Cheryl Tiano, Sam Schwartz, Michael Gorfaine, Morley Sobo, Chhristopher Lennertz, Michael Nielsen, Kathy Coleman, Robert Kraft, Doreen Ringer-Ross, Dana Niu, Gene Norman, Marc Smaniotto and Michael Todd. ℗ © 2000 Top Floor Productions, Inc. Manufactured by GNP-Crescendo Record Co.