Category Archives: NEWS OF EVENTS.

NEWS OF CONCERTS AND FESTIVALS.

THE MOVIE MUSIC INTERNATIONAL RECOGNITION AWARDS 2022.

It’s that time of year again, it was an exciting year for film music, lots of new composers and so many innovative and entertaining works for Film and TV. I hope I have reflected this in the MMI Recognition Awards 2022.

© MMI 2023. (Movie Music International).

BREAK OUT COMPOSER OF THE YEAR.

FABRIZIO MANCINELLI.

Italian composer and music producer Fabrizio Mancinelli grew up within the medieval walls of L’Aquila, Italy, a lively town rich with cultural institutions. Surrounded by narrow streets lined with Baroque and Renaissance churches, Mancinelli was attracted at an early age to fine-arts, the opera and eventually, film scores. Following the passionate advice of composer Gian Carlo Menotti (whom he later assisted in the staging of his operas at the Spoleto Festival in Italy), Mancinelli enrolled in the Music Composition Program at the Conservatory Alfredo Casella, L’Aquila, Italy where he graduated in 2006 with honors in both composition and conducting. Soon after he went on to study under the guidance of BAFTA and Academy Award Winning Composer Luis Bacalov (Il Postino). Pursuant to receiving a Fulbright Grant, Mancinelli studied Scoring for Motion Pictures and Television at the University of Southern California and graduated in 2009.

Since then, Mancinelli has composed music for multiple venues and media (including concerts, theatre, film, television, and the web) and has closely collaborated with many different directors and prestigious institutions.

His music for the Italian Rai 3 TV Talk Show “Agorà” has aired daily 2010/17 and his original score for the feature documentary “Growing Up with Nine Old Men” (Disney) by Theodore Thomas has been internationally released by Buena Vista. A short list of his clients includes The Walt Disney Studios, Feeln (Hallmark), Lionsgate, Rai, Mediaset (Taodue), Studio Bozzetto, Felix Film, NBC, Dick Clark Production Company, The Golden Globes, and Warner Bros. Animation.

He has recently completed the original score and an original song for the animated feature “The Snow Queen 3” (Wizart Animation), the musical “Beauty” (Moolmore Productions – starring Sylvester McCoy) and the documentary “Barbiana ’65”.

He also scored and wrote the lyrics to the Italian produced musical Land of Dreams, in 2022, and has scored movies such as The Boat and Jailbird also in 2022.

  Future projects include the animated film “Mushka” by Andreas Deja (Aladdin, The Lion King), working alongside songwriter Richard M. Sherman (Academy Award – Mary Poppins) and a epic sounding score for Heroes of Castilia which will be released this year (2023).

LIVING IN MY LAND OF DREAMS-TALKING TO COMPOSER, CONDUCTOR, AND LYRICIST FABRIZIO MANCINELLI. | MOVIE MUSIC INTERNATIONAL. (MMI) . (wordpress.com)

BEST NEWCOMER COMPOSER.

FRANK DORMANI.

TALKING TO COMPOSER FRANK DORMANI. | MOVIE MUSIC INTERNATIONAL. (MMI) . (wordpress.com)

BEST NEWCOMER COMPOSER /PERFORMER.

(SYNTHS AND ELECTRONICS ONLY).

MATT CANNON.

TALKING TO COMPOSER, MUSICIAN MATT CANNON. | MOVIE MUSIC INTERNATIONAL. (MMI) . (wordpress.com)

COMPOSER OF THE YEAR.

ANNE NIKITIN.

Anne Nikitin is a two-time Ivor Novello, and Emmy-nominated composer, best known for her work on Bart Layton’s critically acclaimed heist movie American Animals and BAFTA-winning film The Imposter. She was named Classic FM ‘Composer to Watch’ and ‘composer who should be on your radar’ by Film4. 2022 was a fruitful year for the composer working on more than half a dozen projects including the TV series Dangerous Liaisons.  

BEST SCORE FOR A HORROR FILM.

SISSY. MUSIC BY KENNETH LAMPL. (Movie Score Media).

TALKING TO COMPOSER KENNETH LAMPL. | MOVIE MUSIC INTERNATIONAL. (MMI) . (wordpress.com)

BEST SCORE FOR A SCIENCE FICTION FILM.

NOPE. MICHAEL ABELS.

BEST SCORE FOR A TV SERIES.

DANGEROUS LIAISONS SEASON 1. MUSIC BY ANNE NIKITIN. (LIONSGATE ENNTERTAINMENT/STARZ ORIGINAL SERIES).

BEST SCORE FOR A DOCUMENTARY.

OUR UNIVERSE-MUSIC BY ANNE NIKITIN AND JESSICA JONES. (NETFLIX).

BEST SCORE FOR A DOCU-DRAMA.

NOTRE DAME BRULE. MUSIC BY SIMON FRANGLEN.

(Milan Records).

SCORING NOTRE-DAME BRULE. | MOVIE MUSIC INTERNATIONAL. (MMI) . (wordpress.com)

BEST ARCHIVAL RELEASE.

FRENZY-RON GOODWIN/HENRY MANCINI.  QUARTET RECORDS.

BEST SCORE FOR AN ANIMATED FILM.

TAD THE LOST EXPLORER AND THE CURSE OF THE MUMMY.

MUSIC BY ZACARIAS M. DE LA RIVA. (Movie Score Media).

BEST SCORE FOR AN ACTION/ADVENTURE.

TROLL. JOHANNES RINGEN. (NETFLIX).

BEST SCORE FOR A HISTORIC DRAMA.

THE CONVERSATION. DALIBOR GRUBACEVIC. (Plaza Mayor Music).

BEST SCORE FOR A FANTASY FILM.

THE SCHOOL FOR GOOD AND EVIL-THEODORE SHAPIRO (NETFLIX).

BEST THEME FOR A TV SERIES.

RINGS OF POWER-HOWARD SHORE. (AMAZON PRIME).

BEST SCORE FOR A COMEDY FILM.

THE STORIED LIFE OF A.J. FIKRY.  STARR PARODI and JEFF EDEN FAIR.  (Lakeshore records).

STARR QUALITY-AN INTERVIEW WITH COMPOSER/ PERFORMER STARR PARODI. | MOVIE MUSIC INTERNATIONAL. (MMI) . (wordpress.com)

BEST SCORE FOR A FACTUAL DRAMA.

SHE SAID-MUSIC BY NICHOLAS BRITTEL AND CAITLIN SULLIVAN. (Back Lot Music).

BEST ORIGINAL FILM SCORE OF THE YEAR.

AVATAR -THE WAY OF WATER. MUSIC BY SIMON FRANGLEN.

BEST RE-ISSUE, EXPANDED EDITION OF A SOUNDTRACK.

THE GODFATHER. THE 50THANNIVERSARY EXPANDED AND RE-MASTERED EDITION. MUSIC BY NINO ROTA.   LA LA LAND RECORDS (USA).

OUTSTANDING SINGLE TRACK FROM A SCORE.

BALLOONS IN PARIS.  

FROM THE STARZ ORIGINAL SERIES DANGEROUS LIAISONS, SEASON 1, MUSIC BY ANNE NIKITIN.

THE ROBERTO ZAMORI AWARD FOR OUTSTANDING CONTRIBUTION TO THE ART OF FILM and TV MUSIC.

DEBBIE WISEMAN O.B.E.

BEST MUSICAL. THE LAND OF DREAMS.

MUSIC AND LYRICS BY FABRIZIO MANCINELLI. (Plaza mayor music).

BEST SPECIALIST RECORD LABEL.

MOVIE SCORE MEDIA (SWEDEN).

Mikael Carlsson.

BEST ALBUM RELEASE NOT FROM A FILM OR TV SERIES.

SCREAM WARRIORS. 

LVCRFT and CHRISTOPHER YOUNG.

GOODBYE 2022, HELLO 2023.

As we draw ever closer to the new year I want to say goodbye to 2022 and start 2023 by saying a big thank you to everyone who has supported movie music international, some of you have been there from the very start when movie music Italiano was a yahoo group. In this coming year MMI will be changing slightly, I am hoping to include more interviews and not with just composers, but also artists and soloists that are connected with film music. Also, I am hoping to have a new series of interviews where we talk to the people behind the cameras in film such as directors and producers, cinematographers, and sound people. Then there are the recording engineers and conductors, this is the hope at lease whether it will come to fruition is another thing, but we have to be hopeful. Its also the start of awards season, with many organisations and societies handing out accolades to composers etc, MMI has its own awards as you all know, this year the MMI RECOGNITION AWARDS will be announced mid-January, but because MMI is not funded and independent there are no actual awards the winners are announced with very little ceremony, (well none actually). But I hope that they are appreciated. 2023 will be the last year that we do these awards this way, next year we hope to introduce a voting system which will be much easier for us. I say us and we but it’s me really, which brings me to the next subject, I encourage anyone to send in reviews or articles, these will of course be read and hopefully published, again MMI is a site that does not pay any fees for copy, but we always give credit to the authors.  Once again thankyou so much for your support and your encouragement and also a big thankyou to all the composers and record labels that have supported MMI over the years and continue to do so. 

Best wishes John Mansell mmi.

HARPA NORDIC FILM COMPOSERS AWARD

ANNOUNCE THEIR NOMINEES 

The nominees are Martin Dirkov (Denmark) for “Holy Spider,” Anna Mari Kähärä (Finland) for “Ruthless Times: Songs of Care,” Jørund Fluge Samuelsen (Norway) for “Alle Hater Johan,” Eðvarð EgilssonPáll Ragnar Pálsson (Iceland) for “Skjálfti/ Quake,” and Anna von Hausswolff & Filip Leyman (Sweden) for “Most Beautiful Boy in the World”

The award ceremony to take place during Nordic Film Music Days on Feb 18 in Berlin

Berlin, Dec 7, 2022-

The composer organizations of the five Nordic countries have announced their national nominees for the 13thAnnual HARPA Nordic Film Composers Award. The award ceremony will take place on Feb 18th during Nordic Film Music Days in Berlin, with the full program to be announced in January.  

Each year during the HARPA Nordic Film Music Days, the HARPA Nordic Film Composers Award is awarded to the most outstanding Nordic composer of the year – and thereby putting a spotlight on Nordic talent and craftmanship. National juries from each Nordic country have picked their national nominee. The theme that follows this year’s nominees is showcased through biographical and documentarian lenses as the distinction from the fictional cinematic experience gets embedded with a contemporary presentation of the modern world. The five composers reflect the high quality of Nordic artistry.

The nominees are:

DENMARK | Martin Dirkov for his score for” Holy Spider” directed by Ali Abbasi 

Danish Jury Quote: Martin Dirkov has created a complex and unconventional score for Ali Abbasi’s intense psychological thriller, “Holy Spider”. Dirkov’s mix of symphonic drama, middle eastern motifs, and abstract electronic soundscapes elegantly integrates with the sound design and cinematography and brings us convincingly into the Spider Murderer’s claustrophobic and naive psychopathy, as well as the female journalist’s emotional fight against corruption and misogyny. The music captures the suffocating sense of mortal fear, but manages simultaneously to be beautifully melodic and inventive, and credibly underlines the unpredictable and scary twists of the story.

FINLAND | Anna Mari Kähärä for her score for “Ruthless Times: Songs of Care” directed by Susanna Helke 

Finnish Jury Quote: Anna-Mari Kähärä’s primitive, honest, and touching score breaks straight through the endurance deficits, statistics, and staff sizings of the modern eldercare. In Kähärä’s music the silent and silenced ones gain a voice so powerful and rugged that it hurts: it’s a cry for help and humanity of the generations.

ICELAND Eðvarð Egilsson, Páll Ragnar Pálsson for their score for “Quake” | directed by Tinna Hrafnsdóttir

Icelandic Jury Quote: Music, memory and feelings are intricately linked.  This has been the essence of rituals that have been celebrated since the beginning of civilization. Music and sound have been used to trigger emotions in a variety of situations ranging from cathartic expressions of sympathy, grief, love to the salivating dogs of Pavolv.

In film history there are numerous examples where music has been a prime mover and even an invisible character as in Miklós Rózsa’s music for “Spellbound” and David Raksin’s haunting theme for “Laura” to cite two enormously influential examples.

Páll Ragnar Pálsson and Eðvarð Egilsson know their music history, technique  and evade all pitfalls that an unmeasured approach might invite. The music comes out of the main character and her inner self that is repressed and hidden. It becomes the voice of the neurons and the inner turmoil that in lesser hands might invite cliché upon cliché. Every note is controlled and there for a reason. Every nuance finds its way into the music but never gives anything away and only illustrates what is there.

This is Zen in the Art of Film Music. A subtle masterpiece from two composers at the pinnacle of their powers, using their accumulated experience in various forms and expressions of music in a purposeful and wonderfully creative way.

NORWAY | Jørund Fluge Samuelsen for his score for ”Alle Hater Johan” directed by Hallvar Witzø 

Norwegian Jury Quote: This is the story about an outsider in a tiny community nestling the Norwegian shoreline. His parents fought the Germans in WWII, mostly with dynamite. Apparently, a fascination for explosives stuck with Johan in a way that makes him very unpopular with the other inhabitants of the hamlet. The music of Jørund Fluge Samuelsen keeps the slapstick-style comedy of the film very much down to earth, and is always quite low-key, despite a few explosive moments. A few melodies and repeated chords unify the score, while the instrumentation underlines both the folksiness of Johan himself and the setting. Sound-producing objects you may find in a wind torn house on the coast include Jew’s harp, harmonicas, fiddles, a harmonium and then some more exotic percussion and a didgeridoo (that blends in rather surprisingly). Add a male chorus, and you have a score which brings a measured amount of comedy, sentimentality, and a quirky, homemade feel to the whole film. Beneath all the humour, there are some darker truths about what war does to people and how we retell stories from the war, with Samuelsen’s score adding quite a bit of afterthought.

SWEDEN | Anna von Hausswolff & Filip Leyman for their score for “Most Beautiful Boy in the World” directed by Kristian Petri and Kristina Lindström

Swedish Jury Quote: “The Most Beautiful Boy in the World” is a striking story about the musician and actor Björn Andrésen who was chosen by Luchino Visconti for the part of young Tadzio in his film from 1971. Many years later Björn Andrésen thoughtfully tells Kristian Petri and Kristina Lindström about the film role which took on such a fateful significance in his life. 

The beautiful, evocative music score by Anna von Hausswolff and Filip Leyman emphasizes his story about a life marked by dramatic events and tragedies in dark moods, in fragile strings and piano. The story about a boy whose mother disappeared when he was 10, a boy carrying an inner sense of emptiness, a boy who wanted to become a concerto pianist but became an icon because of his beauty at age 14. The low-key, brilliant music by Anna von Hausswolff and Filip Leyman interweaves in a delicate way all the artistical film narratives in this striking documentary.

An international jury will now determine the winner. The 2023 jury members are:

Sanna Salmenkallio (Finland) – Composer & 2022 HARPA Winner
Sophie Joos (Belgium) – World Soundtrack Academy

Sung-woo Cho (South Korea) – Composer 

Michael P. Aust (Germany) – Festival Director SoundTrack_Cologne

Lucy Bright (UK) – Music Supervisor 

Christine Aufderhaar (Germany) – Composer

The HARPA Nordic Film Music Days & Composers Award was introduced by the Nordic composer organizations in 2010. Since 2016, the award ceremony took place at the Nordische Botschaften in Berlin in connection with the Berlinale Film Festival and virtually in 2021 and as hybrid event in 2022. 

For more information, please visit www.nordicfilmmusicdays.com

PreviousWinners of HARPA Nordic Film Composers Award
2022 Hybrid | Sanna Salemnkallio | Finland | “Aalto”

2021 Virtual | Flemming Nordkrog | Denmark | “Shine Your Eyes”

2020 Berlin | Gaute Storaas | Norway | “Bröllop, begravning & dop” 
2019 Berlin | Davíð Þór Jónsson and Benedikt Erlingsson | Iceland | “Woman at war” 
2018 Berlin| Daníel Bjarnason | Iceland | “Under the Tree” 
2017 Berlin and Cannes | Honor award | Bent Fabricius-Bjerre | Denmark 
2017 Berlin and Cannes | Sune Martin | Denmark | “Land of Mine” 
2016 Berlin | Honor award | Johann Johannsson | Iceland 
2016 Berlin | Atli Örvarsson | Iceland | “Rams” 
2014 Espoo | Matti Bye | Sweden | “Faro” 
2013 Trondheim |Tuomas Kantelinen | Finland | “Puhdistus” 
2012 Reykjavik |Fredrik Emilson | Sweden | “Kronjuvelarna” 
2011 Copenhagen | Gaute Storaas | Norway | “Elias og jakten på havets gull” 
2010 Gothenburg | Dani Strömbäck | Finland | “Letters to Father Jacob”

THE FURIES.

HALLOWEEN MEETS THE HUNGER GAMES IN A DEADLY GAME OF CAT AND MOUSE.

The horror genre is something that you either love or hate, if you love it you can never it seems get enough of sinister and unmentionable horrors and occurrences, if on the other hand you hate it well, you are probably the one with your fingers in your ears, your eyes tightly closed and hiding behind the couch. And that is just after hearing the opening music.

The Furies is not as some thought a gentile and sweet story about Furry little animals who are on holiday in Australia. No, The Furies is a 2019 extremely violent slasher/horror movie that is set in the harsh Australian outback and bush. I will add to this that if you in any way squeamish please do not even think about watching the film stay behind the couch I,ll call you when it’s all over, if I can breathe or speak that is. Written and directed by Tony D’Aquino, The Furies is a relentless blood fest filled with macabre, and gory killings that are shown in all their gut-wrenching glory with very few holds barred.

HALLOWEEN MEETS THE HUNGER GAMES IN THE FURIES.

Its storyline begins with young women being randomly kidnapped in the street and after which they find themselves as unwilling participants in a deadly game of cat and mouse where women are the quarry and are hunted down by masked men. It is I suppose a slasher, survival movie but there is when you take a closer look much more to this shocking and graphic film with what many said was gratuitous violence encapsulated in a driving, unrelenting, near 90 minutes that contains harrowing, startingly, and upsetting images.

The director is a well know horror film fanatic or maybe connoisseur is a better way of putting it, and this affection for the horror genre certainly shows in the content of The Furies. D’Aquino draws on his knowledge and love of the 1980’s slasher films and puts some of the elements from these into practise alongside his own original ideas. It is a homage to those flicks from the late 1970’s, 80’s and the 90’s when Freddy Kruger, first appeared in A Nightmare on Elm Street, Michael Myers began his vicious and manic trick or treating at Halloween, The Texas Chainsaw Massacre hit cinema screens leaving an indelible imprint of terror and mayhem upon many, and when Drew Barrymore picked up the phone and was asked “What’s your favourite scary movie”.

The Furies is a gruesome yet alluring movie, it’s one of those films when you know full well you should look away but find it so hard to do so in case you miss anything. Set in a rural area of Australia, which is uninhabited or at least this is what it looks like. A group of young girls are taken to the bush after being abducted by a handful of unknown males and are literally dumped in the middle of nowhere. Its soon apparent that this is a situation that will not end well, and you get the distinct feeling it’s the women who will be the ones who will come off worse.

As the scenario unfolds and progresses it is as if the women have been placed in a video game situation, but this is a video game that is very real and very dangerous as we see them pursued and, in some cases, cut down and savagely killed by various killers in an array of grotesque looking masks, which evoked shades of Friday the 13th and that film franchises central character Jason Voorhees.

On watching the movie, I felt that apart from the killings and the girls trying to avoid being dispatched by their pursuers the storyline was quite simple and straightforward, at times containing little glimpses of comedy that came shining through to ease the tension just a little. As with all horror movies especially slashers the prey does not behave in a rational way in the situation, they find themselves in, so instead of sticking together (safety in numbers etc) the women decide to split up (Not a good idea). But this just adds to the tension, slightly macabre entertainment value, chaos, and brutality that is being acted out on screen.

Director Tony Aquino.

The Furies, is probably not Oscar material, but it is not aimed at the mainstream. It’s an independent production and is more for the discerning horror connoisseur who are certainly not put off by buckets of blood and the odd eye scooping and head exploding moment. It has since its release achieved a small cult following but saying that everyone who has seen it does come away with many lingering memories of their viewing experience, and if you mention the film there always seems to be someone who knows it.  It’s a carve em up rather than a shoot em up, with solid performances throughout, the director doing a brilliant job of helming the production and composer Kenneth Lampl fashioning a musical score that is just perfect. His driving and powerful music underlining and elevating the moments of violence and supporting the uneasy atmosphere, whilst at the same time creating levels of unease that add to the overall impact of the movie.

Kenneth Lampl.

Surprisingly the score has never been released, until now that is. The composer’s amazingly potent soundtrack is coming soon to a record store near you via the label Scare flair records, (click here for their website).  www.scareflair.com

Initially the score will be issued on LP record and cassette, which is something that I think some collectors will find appealing. The LP will be pressed in two colours Pink (Beauty) and Teal (Beast) those who know the movie will also be aware of the significance of this. The colour of the LP is random, and you will not be able to request a particular colour when ordering. The cassettes will be super limited items as there will only be a total of fifty. Twenty-five being pink and twenty-five are blue, these will come with a black slipcase that looks like the black coffins which is another link to the film’s storyline. One side says Beauty and the other Beast. Both LPs and Cassettes will not be available until December/January (a great Christmas pressie or New Year gift for anyone).

But I recommend you go over and sign up on the website as you would not want to be disappointed, and whilst there check out the other releases, which include Knightriders the George A Romero movie with a score by Donald Rubinstein and Before and After the Bomb music by Antoni Maiovvi.

Another up-and-coming release on Scare Flair is the score for the Friday the 13th fan film Never Hike Alone. A film that has had over 8 million views on YouTube and part 2 was recently crowdfunded in 2 days. Music for part one is by Trevor Vaughn and Ryan Perez-Daple.

The label tells me that they are planning a vinyl release of Il Grande Duello by composer Luis Enriquez Bacalov, this is a superb Italian western score which has to it many affiliations to the sound of the Maestro Ennio Morricone, Bacalov utilizing the unique aural talents of Edda dell Orso, the distinct and flawless sound of l Cantori Moderni under the direction of Alessandro Alessandroni plus the harmonica playing of Franco De Gemini who performed that wailing and somewhat tormented harmonica sound for Leone’s Once Upon a time in the West as scored by Morricone.

The Grand Duel is not what I would call textbook Spaghetti Western music, as it is more romantic and melodic than many of the scores within the genre as in Bacalov’s Django Instead possibly taking its lead from Once Upon a Time in the West.

lUIS ENRIQUEZ BACALOV.

A style that the composer also employed on the movie A Man Called Noon and to a certain degree on Gold of the Bravados. Il Grande Duello is a remarkably haunting soundtrack and will be good to see on vinyl in an updated edition. Liner notes for the soundtrack are by Mike Malloy, who wrote the biography on the star of the movie Lee Van Cleef.

So much to look forward to.

“IF YOU GO DOWN TO THE WOODS TODAY YOUR’E BE SURE OF A BIG SURPRISE”.

TODAYS THE DAY A TEDDY BEAR HAS HIS PICNIC.

The characters of Winnie the Pooh, Piglet, Tigger and Eeyore, are etched into the minds of everyone, they were the staple of children growing up, and have been for many years, well get ready for something totally different, and it certainly is not an animated Disney syrupy sweet affair. Winnie the Pooh Blood and Honey, is a slasher movie, and one that hits home going for the jugular of not just the characters in the movie but also of the watching audience. We should ask ourselves are we really ready for a blood crazed Winnie and a menacing Piglet?

After all it could destroy all those childhood memories. I suppose the only way to find out is to go and see the movie when it finally hits the cinemas. I am sure horror fans can’t wait, but Disney I am certain do not feel the same way. How have they managed to take this cuddly roly poly lovable character and turn him into a manic killer, well the copyright that Disney had on Pooh ran out, so the producers of Blood and Honey saw this as an opportunity to alter the character and present him in a different light.

But they have surprisingly stuck to the characterization in the original book, and do not in any way infringe upon the little extras that Disney introduced. What has happened is that Christopher Robin like all children grew up and also grew out of playing with toys that he once loved, so he abandoned them in 100-acre wood, but whilst away things happened and changed, with both Winnie and Piglet becoming feral animals, who go on a bloodletting rampage and dispatching all the other animals in the wood.

Because they were abandoned by Christopher Robin, they have become resentful and thirsty for blood. Winnie the Pooh Blood and Honey, is an independent movie, which took just ten days to shoot. Directed by Rhys Frake Waterfield, who also wrote and co-produced the movie, it has a musical score by composer Andrew Scott Bell, who recently scored Psycho Storm Chaser (available on Howlin Wolf Records),

The composer has been utilizing some interesting sounds for the score including an instrument called a beehiveveolin which was developed by Tyler Thackray for the composer (Instagram.com/violintorture ).

Scott Bell came across Tyler Thackray’s work as a Luthier who was known for dismantling traditional instruments to deconstruct existing musical notions. Bell loved the thought of “breaking things with intention” and saw Thackray’s year-long bee-filled violin project, asking if he could use the instrument.

“I was fascinated by this person and the way he thinks about music. Specifically, he and I share a passion for destroying long-standing musical traditions and rebuilding wild and fun creations from the rubble. I have this idea about music theory specifically that we should learn the rules, so we can break them with intention. What I saw in Tyler was someone who’s breaking things with intention. I loved it.”

Andrew Scott Bell’s inventive score I am sure will get a CD or digital release at some point, and I for one cannot wait to hear the beehiveveolin in action.