REVIEWS

Marriott's writing is nothing less than brilliant
-Phil Elwood, San Francisco Examiner

Marriott's affinity for scoring the film, with a stylistic mix borrowing from German brass bands, cabaret, early jazz and other sources, wedded to the starkly Expressionistic visual imagery of the 1919 "Cabinet", is as near to perfect as any film or music buff could hope for"
-Larry Kelp, Oakland Tribune

He has envisioned sound for a make-believe world of someone else's creation. The feeling with which he imbues his score seems to come from inside the film, not something imposed from the exterior, but a scrupulous rendering and extension of the grotesque vision of the original filmmakers
-Joel Selvin, San Francisco Chronicle

One would think Marriott's music would suffer from an excess of split personalities, but he manages to create a cohesive unmistakable "Club Foot" sound. You could call it a "pastiche" or a "collage", but it's more like what anthropologist Claude Levi-Strauss calls "bricolage", an arrangement of already existing elements which, when you organize them differently, take on new properties. Levi-Strauss says that the artist's "universe of instruments is closed and the rules of his game are always to make do with 'whatever is at hand'." This seems to be Marriott's approach ... I wouldn't rule out Marriott as the only true conqueror of this "new musical frontier", but his recombinations are innovative and the musical styles he uses assume new meaning in juxtaposition and in contrast with each other
-Sarah Cahill, East Bay Express,

Marriott's score is a grand giddy mix of so many genres and tempos that it matches the impressionism and dissonance of the celebrated story of somnambulist murder
-Variety

'The Cabinet of Dr Caligari' (1919) has had the good fortune to receive what every great silent film deserves: a score worthy of it
-Kevin Thomas, Los Angeles Times

Marriott's score offers the audience a rich and tasty sound that encourages you to expect more than music
-Russ Jennings, EAR