Tyler Bates and Timothy Williams have scored the horror origin story Pearl, which shows us how Pearl became who she is and explains some of the iconic villain we saw in X. Trapped on her family’s isolated farm, Pearl must tend to her ailing father under the bitter and overbearing watch of her devout mother. Lusting for a glamorous life like she’s seen in the movies, Pearl finds her ambitions, temptations, and repressions all colliding in this origin story.
There are a few snippets of the score being made available now on the likes of you tube, and a single release of the Main Titles on digital platforms. From what very little I have heard of the score it I think will be one to look forward to with the Main Titles certainly having a John Barry-esque style and sound, filled with romanticism and melancholy, which we all know is just there to lull into a false sense of security. Hopefully released very soon the full score will offer up more of the same plus cues of a dramatic nature.
The original movie X was also scored by Tyler Bates who collaborated with Chelsea Wolfe to bring to fruition one of the most disturbing scores I have listened to in a while. Set in 1979, adult movie actors and a small film crew arrive to a farmhouse occupied by an elderly couple in the desolate Texas countryside to film an adult movie. As the day shifts to night, the visitors slowly realize that they are not safe, and are being targeted by a nearby enemy.
Tyler Bates has I must say not been one of my favourite composers in the past, but this is an inventive work and is available on digital platforms. Pearl’s Lullaby is particularly haunting, with the composer evoking a kind of Morricone/Komeda sound, via a lilting melody and voices (think He and She meets Rosemary’s Baby).
The Conversation is now available on digital platforms, composer Dalibor Grubacevic has fashioned an affecting and wonderfully supportive soundtrack for the movie, which is available on digital platforms and CD from Plaza Mayor.
The label will also release Marco Werba’s score for Daemon Mind soon, the composer providing a suitably atmospheric score which is performed by the Orchestra Italiana Del Cinema for this horror/thriller, which focuses upon a brilliant, but traumatized neuroscientist researching human consciousness. Experimenting with mental frequencies, she finds a way to free her inner Daemon which becomes her guide, adviser, and, ultimately, her accuser, as she embarks on a series of vengeful murders. Daemon Mind is a story which explores the boundaries and possibilities of human consciousness. It delves deep into the conflicted psyche of a young woman who is inspired equally by her need for revenge and her search for redemption. Movie Score Media have once again been busy, the Swedish specialist label has released three scores this month, Medieval by Philip Klein, Deus by John Koutselinis, and Wolf by Matthijs Kiemboom (the latter already reviewed here at MMI).
All threeare available now on digital platforms. Composer Koutselinis has written a very different sounding score for Deus than his last assignment which was for the western Hostile Territory, but the differences between these two works showcase this talented composer’s versatility and expertise in film scoring.
Hostile Territory being more melodic and epic with Deus displaying more soundscape elements, with experimental and harsher compositions, the composer making effective use of choral support in places. It is a score that remains entertaining and one that works well for the images and storyline on screen, creating highly atmospheric passages and purveying uneasy moods.
Medieval is also another effective soundtrack, composer Philip Klein too includes choral and solo vocal performances within his score right from the off, the soothing voices introducing the scores Main title theme, the music soon begins to build and become dominant above the choir, but then both choir and orchestra combine to purvey a rich and driving performance which is affecting and mesmerizing.
The remainder of Klein’s score is a delight, at times very subtle and sparce with the composer introducing solo performances, that are enhanced by choral work that is emotive and enthralling, however the composer maintains a grand and lush persona with the use of strings, percussion, and brass throughout. Both Deus and Medieval are recommended.
Composer Georg Mausolf is a new name for me, and a young one as he was born in 1997. His enchanting and wonderfully melodic score for the twelve-minute short Psykhe has been released on digital platforms in the form of a five track EP. Released in 2020, the film focuses upon a small act of courage and kindness, as a young boy saves an injured butterfly.
The spirit of the ethereal creature “PSYKHE“, the Greek word for soul accompanies him throughout his life, through good times and bad, until his story comes full circle when his grandson finds a caterpillar. The music is gorgeous, beautiful, emotional, and poignant.
And that is all I can say really, this is a charming film that contains a score that will reduce you to tears both within the film and when listened to away from it, just go and listen now.
Another touching and emotionally charged score is for After Ever Happy music by the talent who is George Kallis. As with all this composers scores there is something for everyone here, lilting melodies that affect and haunt, delectable and consuming themes that are rich and beguiling, and subtly upbeat pieces that are entertaining and interesting. The full and rich thematic properties are stunning and the way in which the music flows and is orchestrated just proves how much of a talent Kallis is, Highly, recommended, its on the likes of Spotify etc.
Burning Land is directed by Lirin Shitrit, and tells the story of Yair, a teenage runaway who is running from the police and finds himself in the contested Samaria region of Palestine. There he bonds with a group of boys who live on a remote hill and in effect become his family while at the same time drag him into a conflict with their Arab neighbours. The musical score is the work of Omri Lahav, an Israeli composer, songwriter and instrumentalist who says that he creates music with the approach of a storyteller – blending a lush, melody-driven style with a strong sensibility for story and world-building. Educated in Western classical music and a self-taught folk artist, Omri’s passion for folklore and music from around the world allows him to bring some truly unique colours to every piece of music. His ability to write in a broad variety of genres, combining craftsmanship and technology with a profound love for modern orchestral repertoire make Lahav a versatile and effective composer.
The score for Burning Land is a sensitive and dramatic mix of styles, with the composer producing tender and emotive pieces throughout, without his score the film I think would be less impacting, again available digitally, please check this one out.
Lifemark, is a true story about an 18-year-old boy David who was adopted. Now that he is an adult, his birth mother wants to meet him. After some consideration, he agrees, and has a life-changing meeting with her. It’s a faith-based movie, which I know is not everyone’s taste, but please if you get a chance go and see it, the score is as affecting as the film, with the composer Kyle Mc Cuiston (who is also a filmmaker) providing the movie with a suitably melancholy and heartfelt soundtrack.
The composer relying on piano, and strings to create slight but at the same time imposing compositions, which at key moments surge becoming powerful and affecting. Worth a listen as is his score for Show me the Father which has to it a kind of early James Newton Howard sound to it.