Home Jodorowsky's Dune Original Motion Picture Soundtrack
Jodorowsky's Dune Original Motion Picture Soundtrack
- Liner notes by composer Kurt Stenzel
- Original artwork by Nick Stewart Hoyle
- 2xLP housed in a gatefold jacket
This is the soundtrack to the story about the greatest film that never was.
Jodorowsky’s Dune tells the tale of cult filmmaker Alejandro Jodorowsky’s unsuccessful attempt to adapt Frank Herbert’s classic sci-fi novel, Dune, to the big screen. Composer Kurt Stenzel gives life to a retro-futuristic universe as fantastic as Jodorowsky’s own vision for his Dune–a film whose A-list cast would have included Salvador Dalí, Orson Welles, and Mick Jagger in starring roles and music by psychedelic prog-rockers Pink Floyd.
Building upon director Frank Pavich’s idea for a score with a “Tangerine Dream-type feel,” Stenzel lays out a cosmic arsenal of analog synthesizers that would make any collector green at the gills: among other gems are a rare Moog Source, CZ-101s, and a Roland Juno 6, as well as unorthodox instruments like a toy Concertmate organ and a Nintendo DS. “I also played guitar and did vocals,” says Stenzel, “some chanting… and some screaming, which comes naturally to me.” The score also features narration by Jodorowsky himself. As Stenzel notes, “Jodo’s voice is actually the soundtrack’s main musical instrument–listening to him was almost like hypnosis, like going to the guru every night.”
This highly-anticipated soundtrack LP was sequenced and mixed by Stenzel with the listener in mind and flows through a “four-sides” LP approach. “I wanted it to play like the records I grew up with, where every side was a journey.”
I started working on the score to JODOROWSKY’S DUNE in 2011. Frank Pavich and I have known each other for many years–we grew up in the same part of Queens.
As a kid, he bought a demo tape of my hardcore band at a local record store. Years later, he called me out of the blue with this wild tale.
I’m a huge fan of Jodorowsky, but I’d never heard the backstory on Dune. Frank told me about the documentary and described the kind of soundtrack he was after.
It wasn’t even a question… It was a slow process because, at one point, the entire film was reimagined, and they went in a different direction.
I already had a lot of library music from many years of strange experiments.
When Frank started to ask for certain ideas, I’d pull something from the library to use as a placeholder, and sometimes that would become the keeper:
“Let’s use that; it really has the feel.” Listening to Jodo’s narration–his voice is actually the main musical instrument on the soundtrack–
was almost like hypnosis, like going to the guru every night. I was able to express a lot just by putting little nuances underneath his words and channeling
whatever music I felt like doing, and Frank’s team edited it and got it to fit. It was a lucky and genuine collaboration, very heartfelt and easy.