Movie Score Media adds yet another great soundtrack to its ever growing and ever impressive catalogue of music from the cinema and television. This time it is from the documentary, FINIS TERRAE, which contains an impressive original score by composer Christophe Zirngibl, of course we have encountered the music of this composer before in TRANSIT, LUNA,ANGST-DERFEINDIN MEINEM HAUS and THE RUN, each movie or project containing a supportive and melodic score and each having its own unique sound and musical identity. I am really pleased that FINIS TERRAE has been made available for all to listen to, it is a theme laden soundtrack which maybe without the aid Of Movie Score Media would not have got to see the light of day. It is a score that in my opinion is extremely well written and performed, there is a plethora of rich and beguiling thematic material here for collectors to savour and appreciate. Material, which has to it a luxurious sound and an eloquent and lush style in places. Symphonic in its overall sound, with support from electronic instrumentation it is overflowing with melodious pieces that form mesmerising and haunting themes and effecting nuances that are both dramatic and emotionally charged. The composer employs choral sounds alongside synthetic stabs and symphonic sounding themes which are vibrant and romantic, he also utilises various percussive sounds which act as a background to the core themes for the score.
This is an interesting work, and one that one should listen to on loop to fully appreciate as I know you will never tire of hearing the beautiful themes and highly dramatic cues. There is also a smouldering and brooding sound present at times, but it is the more thematic material that holds the attraction for me personally, the use of voices as in choir is stunning and at times almost celestial, solo piano performances are fragile and subtle, as in WEARY DREAMS which is a favourite of mine, I love the way in which the composer begins with piano and gradually introduces a solo violin that is itself underlined and supported by strings, this combination produces a heart breaking and melancholic sounding piece, that is breath-taking and affecting, the same can be said for track number, eight THROUGH A VANISHED COUNTRY, again piano, with cello that although sounds so sad is uplifting and beautiful, the composer ushers in choir and also horns act as a background, which creates an unforgettable sound that is mesmerising and powerful. Then we have THE FORGOTTEN REVOLUTION track number nine, again stunning, strings, woods, piano, percussion and soprano how could it disappoint. And REQUIEM FOR A CENTURY too is very special, poignant and haunting this is superb music. But I have to say that there are really no stand-out moments within the score, because every single track on the score and every single every composition is excellent. This is a wonderful soundtrack and you MUST add it to your collection, if not you will regret it forever. I urge you to check this out A.S.A.P.
I recently was lucky enough to hear a beautiful score for a new movie JESUS DE NAZARETH which had an atmospheric and rich sounding soundtrack composed by Alejandro Karo, I was pleased to see his score for DESEO DESEO available on Spotify, sadly no compact disc as yet, but at least I get to hear this wonderfully dark and edgy sounding score. This is a a sinewy and virulent sounding score that teases and tantalises the listener, at times lulling them into a sense of false security, the shadowy and dark sinister persona of the music is at times given a richness and also a near romantic sound as the composer manages even at times of the most harrowing in musical terms retain a thematic quality that one catches glimmers of throughout. Although the score for DESEO DESEO is in my opinion darkness personified, there is always something present that one can latch onto that is strangely calming. The score has to it a definite atmospheric quality and is filled with foreboding fragments of sounds and half heard nuances and unnerving passages that are underlined themselves by spidery and fragmented slithers of sound that augment and punctuate the proceedings and keep the tension heightened. The composer employs a mixture of elements within his score, which the composer describes as an electronic hybrid. The effect of the instrumentation and combination of electronics and string ensemble is certainly stunning and spine chilling, there is a sound here that maybe I can compare to the style of Chris Young in DRAG ME TO HELL or THE EXORCISM OF EMILY ROSE and also Jerry Goldsmith when he scored movies like, THE HAUNTING and SLEEPING WITH THE ENEMY, Alejandro Karo has fashioned an unsettling work for the movie which he scored in 2016, but has not been released until recently. This is an innovative work and one that will keep you on the edge of your seat throughout, however there are a handful of lighter moments when as if from nowhere we are given respite via a fragile piano solo, harrowing and tormenting with a touch of melancholy, it is excellent. Recommended.
There are I think a handful of types of scores in film and television, grandiose and epic. Sweeping and romantic, dramatic and tense, dark and sinister and also there are a few scores that are minimalistic in the use of music within a film or television project, NOAH LAND is a score I recently listened too, but I have waited so I could re-visit it a few times, so I can give a better prospective of how the score sounds or what instrumentation is utilised, I think I decided to return to it because it was so affecting and emotive or at least I thought so, it is not in any way an overblown grand orchestral affair, but whatever the instrumentation it certainly hits the spot in all the right places. It is overflowing with beautifully woven themes, because something as lovely as this has to have been carefully and caringly assembled. It is a wonderfully fragile and delicate sounding work, with light use of strings, woodwind and piano which combine to create a superbly intricate and tantalising musical web that delivers dustings of colour and texture throughout. The composer, Leon Gurvitch is a new name to me, although maybe you have sampled his musical wares before this score? Again, it is the Movie Score Media label we have to say a big thank you too for releasing this vibrant and varied sounding soundtrack. I am always amazed when MSM release a new score that it is invariably of a new composer or a composer that has not been noticed and the scores are always excellent, in these days of mediocre scores for both film and TV we should be so thankful to MSM for introducing us the film music collectors of the world so many new and inspirational works for cinema etc. I thnk the attraction of NOAH LAND is that it is essentially a simple score, and at times it is quite sparse when it comes to performance as in solo piano a scattering of woods and subtle strings, but the formula works and works so well, it is filled with poignant moments and melancholy interludes, which are haunting and affecting. Two cues that I think stand out are FATHERS THEME and PIANO WALTZ, they just have this aura, this presence and a quality to them that one cannot ignore, and why would you want to. NOAH LAND is a score that should be listened too alone and maybe in a darkened room with no distractions, it will transport you to a place that is maybe less stressful than the one you are in. Dramatic, romantic, and highly emotive. Recommended.
I have been saying for a few years now that film music penned by Spanish composers is of a very high standard and has to it an originality and a richly thematic quality. One of the latest releases from Movie Score Media is the soundtrack from the period drama, BARCELONA 1714 which has an atmospheric and epic sounding work by composer Gerard Pastor, he has written a score that is filled with so many themes which are for the most part symphonically led and beautifully crafted. The score is dramatic and wistfully romantic at the same time and evokes for me personally memories of film scores from the days of the golden age of Hollywood, simply because it contains prominent themes which the composer develops and allows to breathe and grow throughout the work. As Maestros such as Steiner, Korngold and Rosza did back in the 1930’s and 1940’s. There are various atmospheres and moods created by the utilisation of lush strings and percussive elements which are punctuated and augmented by woodwind, brass and piano. The score is dark and brooding in places with the composer fashioning subtly threatening musical foundations via piano and percussion to which he adds varied instrumentation to build and and elaborate his musical ideas. There is an appealing aura surrounding this score, if this makes any sense it is a work that has a contemporary sound but at the same time is filled with a more traditional approach and sound, it has a number of principal themes that are a fusion of sumptuous to lilting and graciously romantic in their make- up. The opening cue BARCELONA 1714 is a rather sombre affair, percussion and timpani opening the proceedings with the composer employing solo trumpet that is underlined by strings, the trumpet solo evaporates and gives way to the string section which soon establishes a patriotic and romantic atmosphere, the then trumpet returns and is slightly less martial in its sound and style, underlined this time by harp and fleeting use of strings. Track number two, MAURICE is too percussion driven but in a slow and rumbling way, the composer then adds to this strings, brass and woods, it is an apprehensive sounding track that purveys an atmosphere that is unsure and edgy. JAN AND AGNES is next, this is a more relaxed and emotive piece, with strings and woods having the lions share of the composition, the composing enlisting faraway sounding horn to embellish and further support the strings, a horn that is played in unison but not exactly mirroring the woodwind solo. It is a delightful and poignant piece. THE SPY track number four, is again rather atmospheric and apprehensive, short lived but effective it has to it initially a kind of comedic of quirky persona, but soon alters into a darker sounding cue.
The remainder of the score is a mixture of dark and light with the composer utilising both the woodwind and string sections to wonderful effect, at times there are little nuances and passages that evoke the style of Jerry Goldsmith, with the sinewy but at the same time melodic qualities of BASIC INSTINCT shining through particularly in track number seven, SPY INFILTRATED. Another great release from Movie Score Media, and once again they bring us the music of a composer that maybe many of us have not sampled before. Recommended.
Barcelona 1714 (Gerard Pastor)