Ost Air

This master release groups versions of the sound installation created for the David Lynch exhibition "The Air Is On Fire" held at Fondation Cartier Pour L'Art Contemporain, Paris, in 2007.
Part of what makes it so cinematic is the way it balances the narrative and the abstract, much like Lynch’s films. There are clear steps and turns, obvious moves forward and significant retreats. But there are also moments of pure texture, in which creating an indefinite feeling is more important than painting a specific picture. There are points in between, too, and those are the most fascinating: a section that sounds like a slowed-down show tune underwater, a rumble that could either be the echo of a cave or the ghosts of human voices, a dramatic turn that’s like a symphonic string section shot into space…

This master release groups versions of the sound installation created for the David Lynch exhibition "The Air Is On Fire" held at Fondation Cartier Pour L'Art Contemporain, Paris, in 2007.
Part of what makes it so cinematic is the way it balances the narrative and the abstract, much like Lynch’s films. There are clear steps and turns, obvious moves forward and significant retreats. But there are also moments of pure texture, in which creating an indefinite feeling is more important than painting a specific picture. There are points in between, too, and those are the most fascinating: a section that sounds like a slowed-down show tune underwater, a rumble that could either be the echo of a cave or the ghosts of human voices, a dramatic turn that’s like a symphonic string section shot into space…

This master release groups versions of the sound installation created for the David Lynch exhibition "The Air Is On Fire" held at Fondation Cartier Pour L'Art Contemporain, Paris, in 2007.
Part of what makes it so cinematic is the way it balances the narrative and the abstract, much like Lynch’s films. There are clear steps and turns, obvious moves forward and significant retreats. But there are also moments of pure texture, in which creating an indefinite feeling is more important than painting a specific picture. There are points in between, too, and those are the most fascinating: a section that sounds like a slowed-down show tune underwater, a rumble that could either be the echo of a cave or the ghosts of human voices, a dramatic turn that’s like a symphonic string section shot into space…

La-La Land Records and Universal Pictures proudly present the third title in the acclaimed Universal Pictures Film Music Heritage Collection – the world premiere release of the scores to the big-screen airborne thrillers AIRPORT ’77, music by John Cacavas (KOJAK, AIRPORT ’75, HORROR EXPRESS) and THE CONCORDE… AIRPORT ’79, music by Lalo Schifrin (RUSH HOUR, SUDDEN IMPACT, DIRTY HARRY, MISSION: IMPOSSIBLE). Never before officially available in any format, both of these prime ‘70s era thriller scores brim with big orchestral thrills, drama and suspense, courtesy of two composers flexing powerful musical muscle. Produced, mixed, mastered and edited by Mike Matessino from studio vault elements, this special release is limited to 3000 units and features exclusive, in-depth liner notes by writer Jeff Bond and high-flying art design by Dan Goldwasser.