Jonas B Ingebretsen.

 

 Where and when were you born?

I was born and raised in Norway, 21 years ago.

 

 

 

 

 

 

 

 

What were your earliest memories of any kind of music?

My earliest memory would be the sound of my Grandpa playing his accordion. At that time he was just making a noise to my very

young ears, but as I grew I began to appreciate his playing more

and more.

Were you always attracted to writing for film or games, or was this something that gradually began to interest

you as your career progressed?

I would say that it came gradually. My original idea of why I started out with music composing was pretty selfish. I wanted to

create music only for my own projects. As my main goal is to tell

Stories through motion pictures. But as my interest grew I really wanted to write for an actual film.

What musical education did you receive?

I have no formal education. I do however have the Internet. I love

reading about orchestrating, arranging and anything that can

Help me improve, really.

So you are self taught?

Yes I suppose I am.

When you are asked to write music for a film, at what stage of the

Proceedings do you prefer to become

Involved, do you like to see a script or do you prefer to come into

The process at the stage where the movie is being edited or rough cut?

Before I start my process I often want to view all available material to me (screenplay, synopsis, plot outline, rough cut, etc) so that I can get a basic idea of the entire film. I then proceed to have conversations with the director and sit with him or her to see where music would best serve the movie, it’s really important to get on the same page with the director; after all he is the one with the vision for the story.

How many times do you like to view the film before you start to write or create the music?

I will go over it a few times myself, playing the piano, writing down ideas and marking time codes where I know the music will

Be necessary to enhance the mood of the scenes. After I’m done, I’ll sit through it again with the director and hear his inputs,

Ideas and so on.

When viewing a movie if the filmmaker has installed a temp track at all and do you find this helpful or maybe a little off putting?

It’s not rare that they place temp music around in the film. In the

end I think It’s useful as it explains very clearly the mood and

Type of sound the director envisions for certain sequences to have. I’ve heard of directors and producers that kind of get used to the temp track after working with it for a while, then they try to force the composer to replicate a temp song,

Which I guess would be a big pain in the butt. Luckily that hasn’t

Happened to me…….. Yet

Your music is very lyrical, it’s romantic, haunting and has an epic sound to it which is almost heroic, to achieve

This you utilize a mix of conventional instrumentation and also electronic etc, on average what percentage of

Each do you use?

Thank you very much! It all depends on what scene, film or album

The soundtrack is for. I love playing around with the idea of

mixing genres such as electronica and orchestral as I love The

Matrix. I do feel however that I haven’t gotten enough playtime

to make more songs of this kind. You can notice that I am using a

lot more synths in my older days than songs from 2011 and

2012.

THE LAST LEGEND is one of your latest albums, this contains themes from a few films I think what is on the

album and did you compile it or oversee what music went onto the compact disc?

My new album “The Last Legend” contains two soundtracks both of which are from animated short films done by Wei Xing “WX Animations”.

Though the two soundtracks on the album are extended versions,

mixed and mastered for listening pleasure. I did every bit on

this album myself, which is something I am very proud of. Even the album art is designed by me.

You can check out the films on the internet,

http://youtu.be/gWtr9PAmbbc?hd=1

http://youtu.be/NnZ8uj0kuXI?hd=1

What composers would you say have inspired you or influenced you?

It’s odd, but I started out making film music, disliking listening to film music! As time went by I also feared that I would start

making music that sounded like some other famous composer’s

music or song, so I tried to stay away from listening to anything. For a

while it worked, but then I started to get really attracted to the sound of Thomas Bergersen, Howard Shore and of course the

Master of them all John Williams.

What in your opinion is the purpose of music in film?

Ever heard the theme in Jaws? When the two notes gets louder in terms of velocity. You just know It’s the shark approaching.

This is why we have music in films. It enriches moments, defines characters, and describes feelings and it helps tell the story.

You have scored films and also games, how does the scoring process differ for these two mediums?

The one major difference would be that games often have only some to none mickey-mousing moments (when the music is

Synchronized perfectly with the action). This allows the composer to have more freedom and it’ll let him focus all of his

attention on just creating awesome music!

What projects are you working on at this moment?

I have just finished my one year production on my new album “The Last Legend”. Which I would ask every reader to check out!

The album features epic adventure soundtracks about heroes and legends. Every minute, every song is filled with intense

emotions that will move your mood in all sorts of ways.

This album tells a tale about a young protagonist who goes out and experience life changing quests and moments that

transforms him from a young boy to a man, a hero. When he finally returns home, the gates of heaven open and he becomes

known as the as The Last Legend.

THE LAST LEGEND (2012)

Spotify: http://open.spotify.com/album/3w9vUpHKqz165zFxNvIESH

Itunes: https://itunes.apple.com/us/artist/jonas-b.-ingebretsen/id373770993

Facebook: https://www.facebook.com/CinematicSoundtracks

I want to thank you John for asking me to do this interview, and to all the readers who willingly or unwillingly read this article,

thank you and check me out on itunes or spotify!

BRUC.

Epic and future classic film scores come along rarely, so when one does arrive it is important that we, as soundtrack collectors, support it and its composer. We must also ensure that our fellow collectors are aware of its existence so they can also appreciate it. BRUC is one such example. This is a score which I would say is already on my top twenty film score list. The reason for this being that it is not only a work of thunderous and epic proportions but also a score which oozes class and boasts a remarkable collection of melodious and haunting compositions courtesy of highly talented Spanish Maestro Xavier Capellas. BRUC is a period piece set in 1808 and centres around a young man Joan who is just 20 years of age who leads a small group of followers and ambushes Napoleon’s Grand Army on the border of France and Spain. Because of the element of surprise, the smaller force inflicts a humiliating defeat upon the superior French force and infuriates and embarrasses Emperor Napoleon who sends his most trusted Captain to track down the young Spaniard. What ensues, is a brutal and relentless manhunt. Capellas’ music is as brutal and unrelenting as the film itself and heightens the already taut and exciting atmosphere of the production. But in saying this, the composer also etches the movie with some of the most haunting and melodious tone poems that I have heard for some time. Again and again you will listen to this score and on each occasion will find something new and fresh within it. This is a score which has many faces – sensitive, emotive, savage and powerful. It is performed in the main by a large orchestra (The Kiev Symphony) which is supported by the use of featured instruments such as bouzouki, daduk, cello, violin and guitar. The composer also effectively utilizes choir and solo female voice; the latter adding a softer and earthy sound to the work. In track eleven, ‘When Will I See You Again?’ we are treated to a heartrending melody as bouzouki, violin and cello combine to create a mournful but highly emotional piece which is unfortunately short lived. Track two is also a short but affecting cue where the composer utilizes daduk, underlined by subtle strings and augmented by guitar; again creating an poignant mood.
Track three ‘Echo’ is one of the highlights; thunderous percussion and female voice herald its beginning, then the brass enter the equation creating a tense and urgent atmosphere. Strings join the proceedings and carry it forward in a forthright and purposeful fashion. The strings then combine with horns and percussion to give the central theme a full workout. This is a powerful and resounding composition. The entire score is a triumph, to be savoured, enjoyed and held in high regard by collectors and aficionados of movie music. I am of the opinion that the many composers who are now becoming popular from Spain will in the future be our A-list or high profile movie music Maestros. And Maestros they are, in the true sense of the word, as they are all meticulous and original musicsmiths who bring much to the art of scoring films and have studied the subject of music composition in depth and earnestness. Xavier Capellas is one of the most talented composers I have come across during my time reviewing and talking/writing about film music. Buy this disc or regret it forever!

Psalm 21

MovieScore Media is a label that has over the past few years released soundtracks that possibly would not have seen the light of day. The label champions new talent within the film music arena and also promotes the art of film music by issuing soundtracks that are of great quality. PSALM 21 is certainly no exception to this practice. Composer Christer Christensson has written a rich and almost luxurious sounding score which is not only deliciously dark and at times sombre and fearful, but also is engaging, and highly affecting tinged with a sense of foreboding. The opening track on the disc is ‘Introitus’, a fairly brief composition but one that is striking, and also one that sets a chilling atmosphere that is somewhat harrowing. The composer utilizes to much effect strings and woods which are subtle in the first part but soon become more agitated and forceful, building to an almost Wagnerian brass stab which is accompanied by swirling and tormented sounding strings bringing the cue to its conclusion.
Track two ‘O Father, Why Have You Left?’ is too, a relatively uneasy sounding composition, but is a two edged sword because it posses a sound and a quality that is mesmerizing; again it is a short lived cue but effective. Track three, ‘Out in the Forest and into the Mind’, begins with threatening strings which are embellished by fierce brass stabs and an underlying chorale sound – like half heard voices; one not being able to distinguish if they are voices or instruments – this adds to the effect and makes it an unsettling and edgy track. After its fairly ferocious beginning the cue moves into a somewhat quieter passage but because it becomes slightly calmer, does not mean that the atmosphere created here by the composer is any less dark or foreboding – in fact it makes it more threatening and to a degree ever more tense. The cue then moves up a gear and reverts to a more forceful and driving piece, strings again taking up prominent positions and carrying it along at a fairly brisk pace creating wonderful atmospherics.
Track four, ‘Cantus Cofessione’, is a disquieting cue, the composer bringing into play solo voice that lends much to the work. Track seven, ‘Nightmare Elegy’, begins with an almost calming adagio which is melodic and near serene, but this soon alters as we are again taken into the realms of a darker place by the composer. His use of electronic sounds alongside more conventional instrumentations is for me stunning and the two just melt together becoming difficult to separate creating wonderful jumps and starts that add so much atmosphere to the score.
Track eight, ‘A Call From the World Outside has an even greater sense of urgency about it but still the composer manages to include some melodic content amongst the driving low strings and almost searing string stabs that combine to form this piece. Track 17, ‘Adagio-Words of Love’, is a relatively sad piece performed in the main by strings which are augmented by the subtle use of woodwind with light utilization of percussion that acts as punctuation for both the strings and woods. These elements are joined by brass which is woven into the composition and although prominent at certain stages never overwhelms the core sound of the cue which is maintained and carried along by the string section. This is, as I have already stated, a sad piece but at the same time it does lift one’s emotions and at its conclusion offers us a crescendo of sorts that gives the listener a feeling of hope or even triumph. This is an interesting score and one which fuses perfectly many musical colours. It is a score that is at one moment dark, shadowy and unearthly but in the next instant, one which conveys an atmosphere of expectation and peacefulness. Definitely one to savour.

The Pit & the Pendulum

This is an oldie but a goodie as they used to say on the radio, a rave from the grave, well 1991 anyway. Richard Band is a composer who is often labeled as second rate because of the movies he has worked on, these are more often than not straight to DVD productions of the gory horror variety, but Band nevertheless always manages to produce some pretty impressive work for such productions. THE PIT AND THE PENDULUM was also one of these projects very low budgets with some of that gratuitous violence and blood letting thrown in for good measure. Directed by Stuart (THE RE-ANIMATOR) Gordon and starring Oliver Reed, I am not sure but I think Full Moon pictures shot this in Eastern Europe, but they also did have connections with Italy via Cinecitta, the company was run by Charles Band, Richards Brother and it was their Father Albert Band who produced THE HELLBENDERS in the 1960’s. There is certainly nothing low budget about Bands impressive and powerful soundtrack. Right from the off set one just knows that this is going to be something that is pretty entertaining. The Latin chorus for one set the dark, brooding and foreboding tone of the work, and Bands equally daunting, mischievous and at times guttural sounding orchestrations too have a classy aire to them, that is sometimes not heard in scores for the big blockbusters of recent years.
Track number one, THE CRYPT AND MAIN TITLES begins with swirling mysterious strings enhanced by faraway sounding horns, the composition builds slowly to a crescendo where the chorale element joins the proceedings, Now I am not up on my Latin, but Santani, Spiritus, etc (shades of Goldsmith’s Omen) sort of crops up in the text, backed by strings and a fairly lumbering but at the same time a near melodic brass and percussion theme, which builds to enhance and lift the vocalising creating an extremely effective combination and a perfect opener to the score. Track two THE CHASE AND ONSLAUGHT, is also impressive, it begins with some period music that one would imagine or associate with a scene within a banquet hall similar to one which would have been used in a movie about the Tudors in Merry old England, the mood and atmosphere of the track soon alters and becomes an almost hunting cue , by this mean faster in tempo with light and airy strings taking on the central body of the composition, but this is short lived as an ominous sounding choir is eased into the composition, supported by booming kettle drums dark underlying strings and brasses.
The mood continues to become darker as the cue progresses, with French horns being performed over even louder percussion which bring it to a thundering close. Track three THE ARREST OF MARIA, is slightly down beat compared to the opening tracks of the score, Band employs a mixture of orchestral with electronic, to create an icy sounding composition, with underlying strings which act a support for malevolent layered synth stabs, that have the desired effect of creating an atmosphere of unease. The remainder of the score is in the same ilk a these cues, with the composer expanded and elaborating on his central theme throughout, adding virulent sounding choir and the combination of synthesiser and symphonic which work effectively. This is a score that if you missed it when it was first released you will certainly regret, in my ever so humble opinion this has to be Bands best, and when interviewed about the score, the composer told me he was ill at the time of writing it, and was running a high fever, he said “Maybe I should get sick more often”. I remember collectors saying at the time of its release, yeah, yeah its another Richard Band so what, well guess what? you missed out big time… this is highly recommended, one to watch out for on E-Bay me-thinks.

4 Dollari A Vendetta

Hillside are at it again, spaghetti westerns coming in three’s, this is in my opinion the weakest of the trio, but saying this it still gets a 4 out of five star rating, Benedetto Ghiglia was a much in demand composer during the 1960’s and his heavy and echoing percussive sound became one of the musical trademarks that we now so readily associate with the genre of the Italian western, QUATTRO DOLLARI A VENDETTA is slightly different from his other western works, as it contains whistling and also a theme song of sorts in the form of the track LET HIM GO, which is the scores opening track performed by Nora Orlandi’s coro 4 +4. This track was originally issued as a single on CAM then was part of the musical collection included on the CAM compilation LP THE WEST 1, so this release is certainly long overdue. The score is a good mixture of styles, dramatic, Mexican sounding passages plus all the Spaghetti sounds we know and love. The central theme LET HIM GO is also utilised throughout the work in various guises and arrangements and makes an appearance no less than eight times within the compact discs running, but even though it appears so many times this does not detract from the compositions quality and overall appeal. The composer does in fact make reference to one of his other Spaghetti western scores within this one as in the cue FUORILEGGE we can hear more than a fleeting slow tempi rendition of the composers theme for ADIOS GRINGO. This is another one of those lost gems from the genre of the Italian western, and its hats off to Hillside for finding it, restoring it and making it available. I was told that there is a little distortion on the opening cue, but I compared it with the LP track I have and the sound is the same, CAM recordings at times were distorted, it was something that seemed to do at times, why I am not sure. Other than this the sound on the CD is clear and quite striking for a soundtrack of this age (1966). I would urge any fan of the genre and its music to purchase this straight away, for one its good and also it’s a very limited edition, just 500. The art work is wonderful, a sure fire winner. Highly recommended.