An earthquake from a scientific/geographic perspective is a natural phenomenon caused by shifting tectonic plates. The comic’s artist Neal Adams [Born 1941] has a theory that the Earth is literally growing and gravity is increasing with the size of the planet, hence the ability of large dinosaurs to move about unimpeded by gravitational force, the world in the prehistoric age was smaller. The supposed 'lunatic fringe' have a great many interesting although often completely insane ideas, (not sure who first coined the term 'lunatic fringe' but it has become an establishment consignment for all that is not acceptable to 'reasonable' people).

Pino Donaggio's [Born 1941] first work for film. As the story goes, one of the film's Italian producers Ugo Mariotti spotted Donaggio on a Vaporetto on the Grand Canal in Venice and took it for a "sign", contacted him, reluctant at first because he had no experience in the field, he decided to accept. The London based producers didn't want an inexperienced composer but they were overruled by the films financiers. Not a particularly good pianist by his own admission he plays 'Laura's Theme' on the soundtrack with childlike naivety, Donaggio also plays flute on the love scene, and is an accomplished flautist, the results are stunning

With this music the roller-coaster dips into the carnival below, beyond the disfigured faces behind the masquerade. "I am everyone and no one. Everywhere. Nowhere. Call me... Darkman" Side A - Begins with 'Main Title', darkly ominous kettle drum and horn section augmented by flute flourishes, segues into 'Woe, The Darkman Woe', dark and sweet, makes me think of a whirley-gig smashing through a ceiling and landing in calm waters, softening horns and strings break and the piece ends in harp. 'Rebuilding/Failure', strings dominate and set a tender mood. 'Julie Transforms' is woodwind and ends with bells.

If you are partial to decay and pensive sadness in music then this score for a film set in Jacobean New England is for you, it certainly floats The Mayflower. It was with great delight I received the soundtrack for the psychological horror film 'The Witch' from the postman.

In 'Order, Psyche, Insanity and Chaos' (O. P. I. & C.) we were introduced to the complexities of dualism; indeed we in Klondike believe certain aspects of dualism to be paradox, one that surmounts mere semantic and linguistic concerns, a dualist dilemma. If the atheist (read, those that do not believe in the doctrines of theology) is correct, and death is the ultimate annulment of consciousness, then death is the opposite of life i.e. existence/non-existence, however this would imply the atheist is a dualist (in a biblical sense of radical opposites).

This Reviewer is a very recent newcomer to Jonathan Dennison's Cadabra Records, so it was with some hesitation that I prepared to listen to this record; however I may now advise you to turn the lights down low, as the last glowing embers of the sun set across the crumbling skylines of once great metropolises, and beneath the wormwood dales of ancient eldritch countryside. Place the stylus on your copy of 'The Yellow Sign' long player by Robert W. Chambers and prepare for the creeping horror cottoned therein. Narrated by Anthony D. P. Mann with incidental music by progressive rock and horror aficionado, Goblin keyboardist, Maurizio Guarini.