Adam Reed is aged 12 and is still grieving the sudden death of his father a year earlier. One night he walks into hist to discover a wounded pilot hiding there. This mysterious pilot turns out to be the older version of himself from the future, where he is told time travel is in its infancy. He has risked everything to come back in time on a secret mission. Together they must embark on an adventure into the past to find their father, set things right, and save the world. Working together, both young and grown Adam come to terms with the loss of their father and have a chance to heal the wounds that have shaped them. Adding to the challenge of the mission, the two Adam’s soon discover they really don’t like each other very much, and if they’re going to save the world, they’re first going to have to figure out how to get along.
This is the plot of the new Netflix film The Adam Project, that is receiving a lot of attention now. The movie has an atmospheric and haunting score that is the work of composer Rob Simonsen. The music perfectly enhances the mystery and the drama of the storyline, with the composer fashioning a tense yet melodic and melancholy sounding work that creates a deeper level of atmospherics and creates an array of moods.
The score is awash with subtle but affecting thematic material, the composer supports and bolsters the already interesting storyline with numerous musical colours and textures that range from dark and sinister to inspiring and emotive. It’s a score that oozes sensitivity and purveys a sense of urgency as well as having to it a subtle but darkly brooding aura as it accompanies and punctuates the proceedings on screen. Well worth a listen and is available now on various digital platforms.
Also available on the likes of Spotify and Apple Music via the unstoppable Movie Score Media is the score for Sideshow, which has a score by Award-winning composer Michael Csányi-Wills who has written works ranging from chamber music to choral and orchestral works to feature length film scores, and has been composer in residence with the Welsh Sinfonia since September 2013. Recent works have been widely performed throughout the UK and commissions have taken him around Europe, Australia, and the USA. His previous collaboration with the Welsh Sinfonia was a setting of Lewis Carroll’s “Phantasmagoria” for Narrator and orchestra, which received its premiere in January 2016. Michael’s most recent commission though is a Violin concerto entitled “Revisions of the Earth” for violinist Tatiana Berman and was performed by her, with the Constella Arts Festival Orchestra in Cincinnati and conducted by Jose Luis Gomez in April 2016. Michael’s Orchestral Songs recorded for Toccata Classics and performed by Ilona Domnich, Nicky Spence, Jacques Imbrailo and The Londamis Ensemble conducted by Mark Eager were released in December 2015 to critical acclaim, and was Recording of the Month at Music Web International.
Michael has also written scores for a range of films including documentaries such as “The King of Nerac“, “Maestro“, a feature documentary feature about conductor Paavo Järvi, and feature dramas such “The Trouble with Dot and Harry“, “Be My Baby” and documentary “Chasing Flavour” written and directed by Sundance Film Festival prize-winner Gary Walkow. He also won the Award for Best Score at the Movie Maverick Awards for his score to the short film “A Love story in Milk”, and was elected an Associate of the Royal Academy of Music in January 2012 and was appointed Head of Composition at the World Heart Beat Music Academy, London in January 2013. His score for Sideshow is in my opinion an effective and interesting one, the composer utilising to great effect cymbalom to create an atmosphere that is filled with mystery and apprehension. He combines this with accordion which adds a more comedic and jauntier element to the music. The composer also adding clarinet and solo violin at certain points which again gives it a Eastern European or Yiddish sound. The score perfectly underlines the plot in which we see two inept criminals break into the home of a washed-up psychic (Les Dennis) in search of hidden loot, but they get a lot more than they bargained for.
The composer gets the balance just right between comedy and drama with this I think accomplished score, which is a work that entertains so much. At times I was reminded of Hans Zimmer’s Sherlock Holmes scores, but there is a more inventive and ingenious originality present here, certainly a score worth investigating, recommended.
Also out is the score from My Brilliant Friend Season three which is scored by Max Richter, and has a heartfelt and gloriously haunting soundtrack, the core theme being repeated throughout in various arrangements and guises, but each time manifesting itself as a fresh and eloquent piece. Strings and piano both taking on the theme and making it their own. It is a superbly rewarding score, filled with emotive and poignant moments, and is a soundtrack I recommend you listen to, available on digital platforms. Season three now showing on a TV near you.
It’s been two weeks now since the ITV series Trigger Point finished its first run, and after watching the series I must admit getting withdrawal symptoms and counting the days weeks and months till season two explodes onto out television screens. But never fear the score by Chris Roe is always on hand to stir up those feelings of stress and apprehension inside of you. Released on Silva Screen UK this is a fraught and tense work, innkeeping with the series and its ever-dramatic storyline.
The music I thought brought much to the emerging storyline of the series, the composer creating a soundscape of dark and menacing sounds that built a effervescent and brooding nervous tension. Maybe its not a soundtrack to listen to away from the images, but it is still an inventive and interesting one, available now digitally.
Mark Isham’s score for the TV series The Cleaning Lady–Season one is also available on digital platforms now, and is one that is worth a listen, as is Trevor Morris’s music from the TV series Vikings Valhalla and Blake Neely’s The Flash Armegeddon, and Batwoman-Season two, plus there is Bear McCreary’s brilliant music for Outlander season six. All of which are more than accomplished works for the small screen. That’s all for now. See you next time.