Top 5 All-Time Film Scores w/ Tempel


We’re talking movie soundtracks with Rich from Tempel on this week’s Friday Guest List.

Last time I spoke to the instrumental duo back in mid-2015, they had just released the amazing follow-up to what is possibly my favourite debut album of all time. That majestic second album went on to top several end of year lists around the place, and remains a must have for fans of instrumental metal. Today we get to hear from the band’s drummer and resident film buff Rich, who fills us in on his all-time favourite movie soundtracks. Put on your headphones and grab the remote, then throw the remote back on the table. You didn’t need that, you idiot.

So it’s been a couple of years since we last caught up with you guys, what’s new?

Writing for the new album is in the very early stages. Unfortunately, I think this one is gonna take quite a while so I hope everyone can be real patient with us. We want to make sure we chart a new path and do some things we haven’t done in the past and ensuring that it’s better than the previous albums as well. Other than that, we’re just enjoying our lives, working our jobs, and spending time with our families.

Ryan mentioned in our previous interview that you’re a massive movie buff, does film play any sort of role in inspiring your music in Tempel?

It probably does subconsciously. We don’t really think about making certain songs sound like specific movies or anything like that, but I think that stuff always creeps in without you knowing it.

As an instrumental band, does the lack of a vocal component to convey theme/story compel you to create a more cinematic style of music?

I think you have to. The riffs have to say something by themselves and essentially every lead and solo has to carry the emotional elements that vocals often do. On top of that, we’ve always been drawn to “epic” music with lots of peaks and valleys. We want every song to be its own separate journey. Many bands go with the “less is more” mentality but when we’re in the studio demoing songs we usually get carried away and always find ways to make the songs even bigger. I don’t suppose that’s gonna change anytime soon.

Very happy to hear that. If you were given the chance, which film/story/fictional work would you like to attempt to score (or re-score)?

Two films come to mind both directed by Michele Saovi: StageFright and The Church. I think we could make a cool ambient score for those with some heavier parts in the right places. Massively underrated films by the way.

Sounds like I’ve got some homework to do. I’ve not seen either of those. So today you’re going to take us through your All-Time Top 5 Film Scores, let’s see what you’ve chosen…

Keith Emerson – Inferno [1980]

Most people would take Goblin’s score for Suspiria score but I’ve always had a preference for the dark and gothic piano score that Keith Emerson provided for Inferno. Inferno is a bit more of a pessimistic and hopeless journey and this score fits the aesthetic perfectly. Probably the best example of the beauty of this score is the scene before Rose gets killed where she is wandering through the apartment.



Gerald Busby – 3 Women [1977]

You don’t normally associate the flute with creating an atmosphere of dread but somehow that’s the case here in Robert Altman’s 1977 masterpiece, 3 Women. There are also the occasional avant-garde sections in this score where I couldn’t even tell you what is being used to create the sounds. In either case, it is a masterful score, and I highly recommend anyone who hasn’t seen the film to do so immediately. It is often compared to Persona and Mulholland Drive, but I find it better than both. Great stuff!


Anton Karas – The Third Man [1949]

Anton Karas’ score for The Third Man is a study in contrast. Listening to this score by itself, it doesn’t exactly scream film noir, but it’s what makes The Third Man unlike any other. The zither was the perfect choice of instrument to give this unique noir set in Vienna a different flavor from it’s American counterparts. The best musical moment here is perhaps the closing shot of Alida Valli walking past Joseph Cotton. I can’t imagine this being any better.



John Carpenter – Prince of Darkness [1987]

John Carpenter made quite a few amazing scores, but this one is my personal favorite. As a film, Prince of Darkness has an incredible momentum that starts with the opening credits and builds continuously all the way to the climax. The score needed to keep this momentum going without becoming monotonous and achieves this perfectly. Hans Zimmer recently attempted something similar with the ticking score to Dunkirk with far inferior results.



Christopher Young – A Nightmare On Elm Street 2: Freddy’s Revenge [1985]

This is probably another unusual pick. Nightmare 2 was one of the first movies I ever owned on VHS when I was a kid and maybe I’ve never gotten over how much it scared me back then, but I’ve always loved the film and the score in particular. It elevates many scenes to be far better than they have any right to be, and makes this one for me the darkest in the franchise.



Honorable Mentions:

  • Bernard Herrmann – Vertigo [1958], Taxi Driver [1976]
  • Max Steiner – King Kong [1933]
  • Maurice Jarre – Lawrence of Arabia [1962]
  • Goblin – Suspiria [1977] and Dawn of the Dead [1978]
  • John Carpenter – Escape From New York [1981] and Halloween [1978]
  • Howard Shore – Videodrome [1983], The Fly [1986], Lord of the Rings Trilogy
  • Gene Moore – Carnival of Souls [1962]
  • John Williams – Jaws [1975], Close Encounters of the Third Kind [1977]

Now you should head off to Tempel’s Facebook page and give them a thumbs up for dropping by and filling your Friday with some awesome soundtracks, also if you are some kind of royal fuck-up that has somehow missed out on getting their music, (a) we can’t be friends, and (b) go and rectify that here. Also, (c) we still can’t be friends. (d) It’s not you, it’s me. (e) Well, it’s me in the sense that I don’t like you. (f) uck you.

Previously On The Friday Guest List

G.M of Barshasketh took us through 5 U.K Bands To Keep Your Eye On

Brendan of Convulsing talked 5 Otherworldly Albums & Lone Wolves.

Tanner of Madrost fried our brains with his Top 5 Sci-Fi Albums

K.T of Phylactery banged out his Top 5 Neck-Snapping Tracks.


Nick of Dumbsaint blew our ears out with his Top 5 Noise releases.

Reuben of Cadaveric Fumes hit us with his Top 5 New French Live Acts.

Contaminated blasted us with their Top 5 Underrated Nasty Death Metal Releases.

Eternal Champion slayed us with their Top 5 Sword-Wielding Anthems.

Saturndust took us into orbit with their Top 5 Spaaaced-out Albums.

Hideous Divinity took us to the movies with their Top 5 Album-Inspiring Films.


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  • Howard Dean

    Totally unoriginal, but my all-time favorite film score is Ennio Morricone’s The Good, The Bad and the Ugly. Love this movie, and the music is just perfect. His other Italian western scores are also superb. Talented dude.

    • Señor Jefe El Rossover


      • Howard Dean

        Still gives me chills every time I watch it/listen to it.

        • Señor Jefe El Rossover

          The score pushes the already amazing film over the top for me. His work on Fistful of Dollars and A Few Dollars more are awesome as well, but he struck gold (the ecstasy of) with Good, Bad and Ugly

    • Brutalist_Receptacle

      Still a better Vietnam era film than any film about the Vietnam war. All three in the standoff are us (we Americans): deeply flawed humans, unique individualists obsessed with money and justice, and powerful and corruptible.

      • Howard Dean

        I prefer to think of it as a story of three bad hombres trying to outmaneuver each other to reach hidden treasures during the Civil War, but I guess that explanation works, too.

        • Brutalist_Receptacle

          Jaws is a Vietnam film too. As well as an early slasher flick.

          • Howard Dean

            Wait, so was Quint supposed to be Nixon? Or was the shark? And was Roy Scheider’s character the physical embodiment of the Tet Offensive?

          • Brutalist_Receptacle

            The sea is the jungle, the shark the guerrilla enemy. Quint talking about WWII (USS Indianapolis, the Good War) in contrast to Nam/shark. How do we recapture our innocence after Nam // Watergate? Corrupt capitalist mayor won’t close the beach. Win a war against a nameless, invisible enemy. Brody as VN vet, perched like a sniper with his M1 war surplus rifle; the last thing vets wanted to do was pick up a rifle again. Dreyfuss the idealistic youth-counterculture. And just compare Spielberg’s closing shot of the shoreline with The Green Beret‘s final scene. He basically lifted the closing shot angle, distance, and everything. shot where John Wayne walks with the Vietnamese kid. If that last scene / shot doesn’t do it…

    • ME GORAK™✓ᶜᵃᵛᵉᵐᵃⁿ
    • Lord of Bork

      Shit’ll send chills down your spine

  • Señor Jefe El Rossover

    Nice little interview and a solid list!

    For me:
    Conan the Barbarian
    The Man With No Name Trilogy
    Planet of the Apes
    Pick any Carpenter score

    • Señor Jefe El Rossover

      Those are what came to mind immediately, if I thought more it’d probably change a little bit. Though maybe not.

  • Here are a bunch of goods:

    Interview with the Vampire
    Vanishing Waves
    Dracula (Coppola)
    Battlestar Galactica (season 4)
    The Leftovers (season 1)
    Twin Peaks (season 1)

    • Señor Jefe El Rossover


  • Janitor Jim Duggan

    This is a good list. I’d add the soundtrack to McCabe and Mrs. Miller as the usage of Leonard Cohen songs in the movie was amazing.

  • Dubby Fresh

    I quite enjoy John Carpenter and Ennio Morricone’s soundtrack for The Thing, but I figure that’s pretty low-hanging fruit around this place. So, two that I enjoy: Jamin Winans’ score for Ink, and Johnny Greenwood’s soundtrack for There Will Be Blood.

  • KJM, Blood Farmer

    Seeing John Carpenter in November! Aw yeah.

  • themaleshoegaze

    Third Man zither is total awesomeness, indeed, but it has so many things that work so well, topped off by Welles’ stellar Harry Lime. Great, great, great. Maybe Botanist sees fit to do some Fantomas-ian appropriation of the score once, since Zither and Hammered Dulcimer are kind of cousins…

    Have the notion that Herrmann’s Vertigo score should have made the top 5. It works so incredibly well with all the dread, sombre atmosphere, distress. Metal af, actually. Come to think of it, Taxi Driver score does that pretty much equally well.

    Own addition: Brazil soundtrack, more eclectic, but works very well.

  • Señor Jefe El Rossover

    Holy shit, I forgot Blade Runner. WHAT THE HELL IS WRONG WITH ME??!?!

  • Elizabeth Short

    Okay, I’ll just pick the easiest, lowest hanging fruit, since apparently everyone else still has a shred of self-respect…Requiem For a Dream. The book was pretty crushing and the movie on its own would’ve been a big frown, but Clint Mansell mopped the floor with that thing. Do not watch that thing at 4 in the morning on a bender.

    • Howard Dean

      Ass 2 ass.

      Felt like I had to scrub myself with bleach after watching this movie.

    • meat

      His OST for The Fountain is a favorite of mine, not nearly as jarring though.

  • JWG
  • PostBlackenedWhaleGaze

    There are so many hidden gems music wise in the Italian horror films of the 70’s, of which like most people I was first turned onto by listening to Goblin.

    Also as a side note, I blindly bought that Tempel album on vinyl when it came out purely for the cover art, and “sludge” tag. And what an amazing purchase it was. Still listen to it every few weeks from beginning to end. Truly a masterpiece of not just heavy music, but music in general. Very excited for the followup.

  • sweetooth0

    Favorite movie scores I can think of off the top of my head:

    Conan the Barbarian
    Star Wars (original trilogy)
    Blade Runner
    Zombie (Lucio Fulci)
    Terminator 1/2

    Tron Legacy
    The Social Network

    anything Goblin, Morricone, Frizzi, etc

  • frozengoatsheadupanunsarse

    Inferno’s score would be one of my tops as well. But the two I always like to big up are Psychomania (John Cameron) and Shiver of the Vampires (Acanthus). Essentials of the weirder side of early 70’s horror, scores (psych-y, funky, rocky, proggy etc.) perfectly fitted.