Danny Elfman

Danny Elfman delivers Bigger. Messier., an ambitious double-album collection of remixed and reimagined tracks from his highly acclaimed Big Mess album.This sprawling, 23 track collection features tracks reworked by some of the most groundbreaking and subversive artists around today.

Director Sacha Gervasi's 2012 Alfred Hitchcock biopic was less of a proper biography and more of a breakdown of the events leading up to the release of 1959's Psycho. Composer Danny Elfman's elegant score reflects that sense of minutia, offering up a scant 38 minutes of material, much of which clocks in at under a minute. Elfman's signature blend of dread, whimsy, and mischief serves the tone of the story well, and while it may not be as stocked with memorable themes as some of his better-known works, it dutifully conveys the pathos, unpredictability, and humor of its source material.

Composer Danny Elfman's score for director Tim Burton's black-and-white stop-motion tale of a boy and his newly reanimated dog is steeped in the kind of rich, choir-driven, harmlessly macabre innocence that supplied 1990's Edward Scissorhands with the heart it needed to break free of its overly quirky trappings. With nods to the frantic, pinball-like precision of Pee Wee's Big Adventure ("Electricity") and the good-natured malevolence of The Nightmare Before Christmas ("Invisible Fish/Search for Sparky"), Frankenweenie is fun, breathlessly atmospheric, and surprisingly affecting. Employing an effortless mix of menace, heartache, and joy, Elfman has crafted his most sentimental and nuanced score since 2003's Big Fish, and while it may borrow liberally from some of his previous works, it's still a joy to listen to from start to finish.

It is not the easiest task to combine compassion and creepiness into one musical piece, but Danny Elfman has demonstrated, quite elegantly, just how to do it. Edward Scissorhands is quite considerably his masterpiece, instantly recognizable and hauntingly memorable. The concept of a man-made creation, a recluse who has been left with scissors for hands because his inventor died just before attaching natural ones, is certainly strange and possibly laughable. The film may indeed have played as pure farce if not for Elfman's artistry. While many films use soundtrack as the "glue" of the story, or as border, Elfman saturates every bit of Scissorhands so that it is as much his art as it is the director's (Tim Burton)…

Not only is The Nightmare Before Christmas one of the best musicals of the past two decades; it may well be Danny Elfman's masterpiece, successfully integrating his main influences (from Cab Calloway to Nino Rota) into a fantastic whole. The first disc of this reissue features the original soundtrack, its songs still teetering between dark humor and poetic flights of fancy; this so-called kids' music is at least as sophisticated and skilled as anything you're likely to hear on Broadway. The second disc includes demo versions of four songs on which Elfman plays and sings everything, and five new covers of some of Nightmare's best-loved songs. Marilyn Manson successfully applies his spooky Weimar-circus style on "This Is Halloween" while Panic! At the Disco's lushly orchestrated take on the same tune is closer to the original. Fiona Apple's poignant "Sally's Song" is enhanced by very nice string charts, and She Wants Revenge does a disco take on "Kidnap the Sandy Claws." Best perhaps is Fall Out Boy's cover of "What's This?" which sounds like an unexpected cross between the Beach Boys and Queen. A highly recommended set.

Big Mess marks Elfman's first solo collection in more than thirty years, but it's no return to form. Clocking in at 18 tracks, the sprawling, ambitious double album finds the Grammy and Emmy Award-winning composer breaking bold new ground as both a writer and a performer, drawing on a dystopian palette of distorted electric guitars, industrial synthesizers and orchestra in an effort to exorcise the demons brought about by four years of creeping fascism and civil rot.