Thanks for visiting INTIMATE AUDIO, a site hosted by DALE TURNER  |
A rock singer-songwriter / multi-instrumentalist / film composer, Dale Turner is also an instructor at Hollywood's MUSICIANS INSTITUTE, and author of 50+ instructional books/transcription folios (a fave being Power Plucking - A Rocker's Guide to Acoustic Fingerstyle Guitar). He writes a monthly acoustic guitar column for GUITAR WORLD magazine, and is featured in their "Lick of the Day" app for iPhone/iPad. A Los Angeles resident, Turner is also the former West Coast Editor (1996-2007) of the now defunct GUITAR ONE magazine.
Turner owns/uses an assortment of old, weird, rare, and/or exotic instruments—unique stringed, percussion, and synthesizer "scoring tools." Some of these—including the Charango—are featured in his score for the animated short WEEDS, the first animated short completed within the Filmmakers Co-op at Disney Feature Animation, and one of three "commended" (extra) films included in 2018 Oscar Nominated Shorts - Animation, the theatrical release of five Academy Award nominated animated shorts (Dear Basketball, Garden Party, Lou, Negative Space, and Revolting Rhymes) nominated for the 90th Academy Awards.
GUITAR PLAYER magazine calls Turner's latest CD, MANNERISMS MAGNIFIED: "Smart pop tunes that are crammed with interesting guitar parts and tones ... Like what the Beach Boys might do if they were on an acid trip that was on the verge of getting out of control. Yeah!"
CONTACT Dale Turner, to help fulfill your unusual/quirky, dark/eerie, suspenseful/mysterious, surreal/abstract, provocative, eclectic, sensitive film project's emotional/dramatic needs (IMDB).
~***~
(NOTE: Click photos along the right side of this page to see "live playing" videos of specific instruments.)
|
"NEURASTHENIC" (1:37) - Throbbing dystopian groove collage executed w/organic instruments (Futuristic Thriller, Horror, Sci-Fi, Paranormal, Abstract Animation) |
|
"COGS IN THE MACHINE" (1:12) - Minimalist percussive hand-bowed riffage conjured from industry's inner workings (Abstract Animation, Thriller, Horror) |
|
"SPHERE PAINTING" (1:54) - Orbital orchestral underpinnings (Drama, Romance) |
|
"MINERAL MUSIC" (0:47) - Impactful percussion (Mystery, Thriller) |
|
"OMNI COSMOS" (1:27) - Post-apocalyptic, cosmic/astral opening (Science Fiction, Futuristic Thriller) |
|
"GOTHIC WALTZ" (0:59) - Cobblestone walkways in a European city at night (Detective, Drama) |
|
"RITUAL RUINS" (0:54) - Asian-esque oddity honoring ancient architecture (World, Cultural, Historical, Horror) |
|
"RAIN FOREST WOOD TONES" (2:08) - Fujara (giant overtone bass flute) improvisation (Fantasy, Adventure, Documentary) |
|
"MUSICAL MIST" (0:53) - Reverb-soaked Tamburitza (tiny, mandolin-like instrument) theme ('Intentionally-Underplayed' Epic) |
|
"GLOBAL GARBAGE" (1:12) - Post-apocalyptic landscape dirge (Futuristic Thriller, Sci-Fi, Paranormal) |
|
"III" (0:53) - From Suite for Fretless Classical Guitar (Thriller, Horror) |
|
"IV" (0:34) - From Suite for Fretless Classical Guitar (Mystery, Thriller) |
|
"OPEN ROAD" (0:55) - Unsettling piece partly inspired by Hildur Guðnadóttir's work on THE JOKER, along with Jonny Greenwood's THERE WILL BE BLOOD score. Played on one of my uncommon fiddle-like instruments (Horror) |
|
"SOLITUDE" (0:28) - A short, reflective piece played on some of my fiddle-like instruments (Drama) |
|
"RED RECKONING" (2:10) - A David Lynch / Twin Peaks homage... sort of (Surreal Mystery, Drama) |
|
"NIGHT SPEEDER" (1:45) - Intense, night-time car chase (being hunted) music (Action, Suspense) |
|
"SNOOPER DUPER" (0:36) - Oddball underscore w/minimalist "retro" organ melody, staccato piano, snare drum improvisation and thumping bass drum; detective "snooping around" in the dark (Crime Drama, Comedy, Animation) |
|
"ROBOT BOOGIE" (0:20) - Upbeat, "robot dance" groove with fun, quirky melody (Comedy, Animation) |
|
"ICE SCULPTURE" (1:53) - A piece conjured from images of frozen Swedish and Norwegian landscapes (Experimental, Art Film) |
|
"ANGULAR AESTHETICS" (1:18) - Quirky/orchestral, pizzicato strings cue w/bassoon melody (mock-up), supported by clarinets/flutes; also features portamento violins (Fantasy/Main Title) |
|
"MOURNFUL STRINGS" (1:32) - Somber underscore piece (mock-up) for 14-12-10-8-6 string orchestra (Epic, Drama) |
|
"CHASING HORIZONS" (4:53) - Atmospheric/ethereal piece that evolves over five minutes. Visualize soaring "high above" an ever-changing landscape, towards a distant horizon (Documentary, Adventure, Drama) |
|
"SUNKEN SUNRISE" (1:00) - Ambient/ethereal/atmospheric piano theme of wonderment/longing (Drama, Romance) |
|
"BASS OF OPERATIONS" (0:43) - Super loose, improvised, layered jam of me playing my electrified upright bass. Sloppy but vibe-y! |
|
"THE VOID" (1:31) - Modern jazz in 3/4 with highly chromatic minor-key melody played by elec. gtr. & sax (live excerpt) |
|
"PUMPKIN PATCH" (1:15) - Modern jazz march with jagged/intricate elec. gtr. & sax melody (live excerpt) |
|
"CHRISTENING" (0:44) - "Modern" acoustic guitar piece (open tuning, percussive smacks, slapped harmonics, tapping) written as a "thematic/style sample" for a film heavily incorporating "progressive fingerstyle acoustic guitar" |
|
"WISHING WELL" (0:44) - Playful yet melancholic. Perhaps a tad Fantastic Mr. Fox-inspired (instruments wise). Ukulele w/flutes, marimba, snare drum, string bass & glockenspiel (Animation, End Title) |
|
"BAZAAR DANCE" (1:10) - Jamming with myself during Covid-19 / Coronavirus quarantine—numerous hand-played instruments (Fretted Violin, Glissentar, Frame Drum, Saz, LP Udongo II Udu, etc.), loosely inspired by the "gypsy fiddle" moments in the Hans Zimmer / Lorne Balfe score for Guy Ritchie's SHERLOCK HOLMES (2009), and perhaps some sounds in Alexandre Desplat's ARGO (2012) awesomeness (International Thriller) |
|
"NOISELESS MACHINE" (1:29) - Wrote this stomping guitar riff (+bonus geets) to a trashy drum groove created by my great friend Linus Lau. Did two full songs in one short-ish day... But the recording you are hearing here, the drums aren't the same as the original (not sure why), and Linus later added bass. (This is an edit; actual song is much longer.) Originally a pitch for a film seeking very specific rock-flavored jams (scoring). (Zombie, Road Trip) |
|
"CLEAN SPACE TRIP" (1:18) - Wrote this fun guitar stuff to a percolating drum groove created by my great friend Linus Lau. Did two full songs in one short-ish day... But the recording you are hearing here, the drums aren't the same as the original (not sure why), and Linus later added bass. Full version is much longer, and has a pretty cool guitar solo at the end; this fades out before that. Originally a pitch for a film seeking very specific rock-flavored jams (scoring). (Zombie, Road Trip) |
|
MANNERISMS MAGNIFIED SAMPLER (6:26) - Crossfaded clips of 12 songs from Dale Turner's recent solo album, Mannerisms Magnified |
All works composed, *performed, arranged, *mixed & *mastered by Dale Turner © 2016-2021 Close to the Bone (ASCAP)
*Mannerisms Magnified mastered by Eddy Schreyer (mixed by Robert Wawoe & Dale Turner). "The Void" and "Pumpkin Patch" are live recordings featuring Dale Turner (guitar), Alex Kimmell (drums), Sharon Hirata (saxophone), Joshua Levy (piano), Eric "Bobo" Correa (percussion), and Steve Biondi (bass)
Film music inspirations (in no particular order): Bernard Herrmann, Danny Elfman, Alexandre Desplat, Ennio Morricone, Jerry Goldsmith, Howard Shore, Hans Zimmer, Thomas Newman, Jon Brion, Jonny Greenwood, Trent Reznor & Atticus Ross, Harry Gregson-Williams, Carter Burwell, Marco Beltrami, Mychael Danna, Gustavo Santaolalla, Charlie Clouser, Cliff Martinez, Jóhann Jóhannsson, Hildur Guðnadóttir, Daniel Pemberton, Clint Mansell, Mica Levi, Ben Salisbury & Geoff Barrow...
|
           \                            
|
