WHERE HANDS TOUCH.

 

 

WHERE HANDS TOUCH is a British war drama that was premiered at the Toronto film festival on September 9th, 2018 and has since been screened in selected cinemas in the USA. The movie which is set in 1944 tells a story of a bi-racial teenager who is struggling to survive in Nazi Germany and of her love for a young man who is a member of the Hitler Youth. Directed by Amma Asante the former actress turned screen writer and filmmaker, the films cast includes Christopher Eccleston, Amandla Stenberg, George McKay, Abbie Cornish and Tom Sweet. The moving musical score is by composer Anne Chmelewsky, who’s past works for TV and cinema include, the Emmy and Golden Globe nominated DEREK which was directed by Rick Gervais for Channel 4 and Netflix. She also scored DO WE BELONG and AN ACT OF WORSHIP for director Sofia Khan and as well as writing for the screen she has composed Opera’s and written for theatrical productions. Her third opera PYGMALION 2.0’ was developed with the support of the PRS foundation and is currently being performed in the United Kingdom. The music for WHERE HANDS TOUCH is a rather subdued work for most of its duration, the composer purveying various moods and atmospheres utilising piano, strings and solo performances on cello and violin.

This is an affecting work that is filled with emotion and underlined by a fragile and delicate foundation on which the composer builds her compositions. The slight but tantalising melodies drifting throughout the work at times being elusively haunting and fleeting. The music is so soft and gentle that it has more of an impact within the storyline of the movie. The composer at times creating small clusters of swelling strings that ooze emotive and melancholy qualities and seem to build out of nowhere to bring heartrending crescendos of sorts to the surface, the themeatic content of the score is stunning and the composer fashions lilting, lush and highly emotional musical poems throughout. It is a score that I found wonderfully fulfilling and one that I did return to a few times after my initial listen. Certainly, worth checking out.

DOGGED.

 

 

I am told that there is a fine line when it comes to scoring horror movies, it’s a case of getting the sounds and the actual timing correct. There have been some superb movies within the genre that have equally compelling scores but as with everything there are one or two examples which go OTT and even have been said to spoil the overall effect of the movie, with either too much music or even music that just goes too far. DOGGED is a horror film that was released this year (2018) it is a harrowing but at the same time a must-see film. The score by composer James Griffiths falls into the category of being superb. It is a classy and totally absorbing soundtrack, the composer utilising crashing sounds and at times grating effects which in my opinion are necessary. But at the heart of the work are some interesting and attractive sounding pieces. It’s a score that is not fully symphonic as one can appreciate because its storyline is set in present times, the film is violent and even brutal in places. The musical score does much to elevate the action and lends itself wonderfully to supporting and punctuating the scenario that is unfolding upon the screen.

 

This is a taught, stressful and vexing work. The composer has fashioned virulent sounding themes and sounds that put the listener and the watching audience on edge. The music working wonderfully within the movie but also having a kind of twisted and tormenting attraction away from the film. The composer’s music is at times disturbing and atonal, but it also has to it a themeatic quality that shines through the dark and ominous sounds. It is an inventive and original sounding work, with symphonic and synthetic fusing seamlessly to create on one side a chaotic and harsh work and on the other a lilting and somewhat deformed fragility. I must admit to enjoying this type of scoring in horror movies these days. DOGGED is powerful and relentless and not for the faint hearted. In many ways it reminded me of the early horror scores of composer Christopher Young.

EDIE.

 

 

Any new score by British composer Debbie Wiseman is a delight, however her latest release, Edie is an even greater joy, the music is such an overwhelming pleasure, it is subtle and thematic and also haunts the listener right from the moment they first encounter it. The score is performed for a 50-piece orchestra, which by the sound of things is made up mainly of strings and woods with piano, a handful of brass and a scattering of percussion. The music for EDIE is intimate and highly emotive, and it has to it a personal and pleasing musical persona which at times purveys the atmosphere of loneliness or solitude. Fashioned beautifully and orchestrated lovingly it is a work of art literally. The composer utilises solo guitar throughout the work, which is I suppose the musical identity of the main character EDIE portrayed wonderfully by accomplished British actress, Sheila Hancock. The guitar solos drift throughout the work, underlined with delicate and fragile support from strings and woods, the guitar being the foundation of the work, and the remainder of the score radiating from this. The guitar is always centre stage and although it is enhanced, embellished and punctuated by the string section with little nuances provided via woodwind and the odd musical full stop or comma being added by the percussion, none of the instruments overwhelm each other, the composer has the balance perfectly right, and manages to create the perfect mix throughout. I was lucky enough to interview the composer about the movie last year after she had finished scoring it. There is a lot of music in the movie and many of the scenes towards the end of the movie are given over to the music as in no or very little dialogue, the composer really gave the film greater depth and certainly more of an emotional impact with her lyrical and at times melancholy sounding soundtrack, touching piano solos, and the fragility of the guitar are poignant and meaningful. This is a score that you won’t like, instead you will fall in love with it and adore it. Subtle but affecting, EDIE is a must for your collection. Highly recommended. Released on May 25th 2018, on Silva Screen records.

LOI BAO.

 

I first encountered the music of composer Christopher Wong back in 2007, this was when I heard his beguiling and haunting score for JOURNEY FROM THE FALL, some ten years on I am pleased to say that the composer is still producing effective and affecting music for movies, one of his recent works LOI BAO, which is a 2017 release, is probably one of the more entertaining and interesting releases of recent months. I am intrigued at the composer’s ease to create unassuming but at the same time effective and lingering themeatic material, which is a fusion of what I call old school film music as in symphonic, with the more contemporary sounding material that at times is synthetic or electronically fashioned. LOI BAO, I think is the perfect example of both conventional instrumentation and the electronic working together flawlessly and blending so well together to create a score that is action led but also has to it a melodic and alluring persona. The composer integrates both mediums to invent and concoct a veritable smorgasbord of sounds and themes which can not only underline the films storyline, but, are able stand on their own as just music that will entertain, inspire and transport any listener to another time, place and scenario. The central score is driving and dramatic, with the string section and percussion taking the centre stage, and being ably supported and augmented by brass and woods, the soundtrack also has to it a lighter side which is delicate and somewhat fragile sounding that conjures up a mood that purveys vulnerability, the composer utilising sorrowful Cello, solo piano, solo guitar and at times solo voice or voices that are both eerie and imposing. This is a score that is literally dripping with rich and infectious themeatic material, it has a beating and driving heart and a commanding and powerful body that is enhanced by a more tender and romantic aura. The work has a running time of over an hour, which is rare these days, so this is certainly a case of quality and quantity, it is a great listen and one that I would recommend, without reservation. Available via Movie score Media, the soundtrack is on I Tunes and Spotify.

 

1.
Opening Titles
1:58
2.
One Against Many (Theme from “Lôi Báo”)
3:39
3.
Almost Nothing Left
3:48
4.
The Fable
2:09
5.
After Surgery
1:52
6.
Drawing Frustration
2:43
7.
Street Fight
1:24
8.
Power Inherited
1:35
9.
Secret Compound
1:28
10.
Lifting the Car
1:36
11.
Familiar Place
2:32
12.
Saving the Girl
2:35
13.
Empty House
1:47
14.
Stranger Waiting
2:11
15.
Losing Time
2:26
16.
Close to Betrayal
4:48
17.
Escaping the House
3:34
18.
Interrogation
2:46
19.
Past Regrets
1:59
20.
Losing Mother
2:37
21.
Motorcycle Chase
4:02
22.
A Sacrifice Revealed
2:34
23.
Infiltration
2:06
24.
Underground Rescue
4:28
25.
Duel at the River
3:07
26.
Going Home
3:26
27.
One Against Many (Theme from “Lôi Báo”) (Reprise)

STAR TREK-DISCOVERY. (TV, SOUNDTRACK)

 

STAR TREK, has been the subject of many a reboot, in the form of either TV series or motion pictures, I have to say, I am not a Trekkie, and if you are I respect that, but have to say sometimes I just don’t understand or get the storylines. I do however know that the series of films and TV shows have all been accompanied by rousing and innovative musical scores, and with a line up of composers that the original series had alongside the likes of Jerry Goldsmith, Leonard Rosenman, James Horner, Dennis McCarthy etc etc, in later years, one cannot really be surprised at the musical legacy that this sci-fi adventure has created and compiled. The latest incarnation of the STAR TREK sagas, can be seen in STAR TREK-DISCOVERY, which is set a decade before Kirk and Spock and the voyages of the star ship enterprise. Now this is a series I will probably never get to see, but I have been lucky enough to hear the score which is composed by Jeff Russo, the composer has kept the essence of the Star Trek score within his work, but it is not however simply a reboot of previous works, the composer has fashioned a score that includes the ethos of the musical heritage of STAR TREK, but has also created his own original and distinctive musical sounds and themes, place his own musical fingerprint upon proceedings. Yes, we do hear the original STAR TREK theme from time to time, but this is taken by Russo and arranged and shaped in so many ways that the listener will think, “I recognise that, but no wait a second, what is this” The familiar sounding theme or at least elements of it, is interwoven into Russo’s original score, thus making it familiar but at the same time appearing fresh and vibrant. The orchestration is imaginative, with the composer adding depth and atmosphere to every cue via his creativity and talent. Russo not only weaves the original thematic material into his score, but at times adds a section or a fleeting moment, that could be mistaken for one of the more recent STAR TREK movies, which were scored by Michael Giacchino. The composers use of percussive elements within the score is stunning and entertaining too, he at times laces these with strings and brass to create melodic and emotive passages, which are at times slow burners, that build in momentum and stature. I think this is probably one of the best STAR TREK TV scores I have heard since, THE BORG, which had music courtesy of, Ron Jones. I enjoyed listening to Russo’s powerful and richly dark and adventurous soundtrack, and maybe just maybe it may have convinced me to venture into watching the series because the score is so good. One to add to your collection.