Composer George Kallis has over the past few years established himself as a composer who is not only talented and gifted in creating rich and thematic film scores, but also has become a composer who film music collectors and fans look to for inventive and innovative soundtracks. One of his recent assignments is First Love, which is a beautifully crafted work that beguiles and mesmerizes via its delicate and affecting compositions, it is a score that is brimming with emotion, overflowing with poignancy and possess deep emotive musical foundations on which the composer shapes and builds the remainder of his ingratiating score. His haunting tone poems are filled with a fragility that one cannot fail to be affected by, the light and melodic airs are like wispy soft strokes from a paint brush that is adding colour and texture to a canvas, the composer drawing his simple but absorbing notes from a palette that is crammed with so many notions and creative auras.

The score is a delight to listen to, it purveys a sense of fragility, and conveys a heartfelt and heart melting sound. The music is low key and understated but makes a lasting impression upon one. The score is performed in the main by piano and strings, with the composer introducing a sprinkling of electronic support here and there in cues such as Could’nt be Brighter, which for me had to it a slight nod to the work of both John Barry and Basil Poledouris, The theme rising but never fully developing fully thus leaving the listener on the edge of an emotion that has been building.

In other cues such as Big Changes,  Empty House, and A Funeral the composer fashions music that is totally consuming because of its high level of emotional content, the latter utilizing the cello to create a melancholy musical persona.

With Empty House tugging at the heart strings via its charming and enchanting solo piano performance. The cue I Don’t Hate you is one of those rare moments in film music when the music envelops the listener even if they are not watching the movie, it floors you and gives you chills and teary eyes. The score is one you should add to your collection, it is a work of quality and one that I am confident will be returned to many times after the initial listen. Highly recommended and available on digital platforms.



Not sure how to put this. But, you know when you have heard the work of a composer on a handful of projects and one thinks to yourself this is very good, and it can’t get better than this, can it? Then along comes one score and it just hits you as being superb, well this very thing happened this week when I heard the score for ALBION THE ENCHANTED STALLION by composer George Kallis. It is if you like a coming of age score for the composer or that is how I would describe it, because there seems to be a seasoned and more profound sound to this work for whatever reason. Although I must say his other film scores are all very good indeed. All I know is that it is an excellent work, that is filled to overflowing with a richness and vibrancy that is emotive and exciting. There is a delicate and fragile air to the score as well as a wonderfully melodic and inspiring sound that purveys not only a romantic aura but oozes dramatic content and relays an atmosphere and mood that is a delight for the ears. Symphonic sounds are combined with synthetic support and some stunning choral performances and solo Female voice that seems to be the heart of the score. It is a lush work that has within it a hint of the melancholy, but never seems to get to syrupy or sweet, it also possesses a lighter and more comedic side, which is expanded on and displayed openly in the crazy sounding SPLIT PERSONALITIES and raises its head at various points within further cues, WALL CREATURES AND A LITTLE GIRL, for example. There is an abundance of strong thematic material within the score, soaring strings, faraway sounding horns, subtle woodwind, and a scattering of piano and percussive elements all combine seamlessly to create a soundtrack that is just so entertaining and mesmerising. There are also featured solos from cello, violin etc, which just melt one’s emotions. The cue THE TWO TRIBES is a piece that displays a varied style with dramatic and emotive atmospheres combining intertwining and eventually fusing to work beautifully. It is also a score that right from the off one just knows that it is special, the vocal THE STRENGTH TO LIGHT OUR WAY is highly emotive, and although relatively short, certainly hits the spot straight away, every cue has within it something that will appeal to even the most finicky collectors, this is a contemporary score which has the heart and soul of what film music was all about back in the day. The entire soundtrack is a sheer delight and one which I have returned to numerous times already, please check this out, you too hopefully will be mesmerised, beguiled, and entranced by this magical, mystical, and hauntingly enchanting work.


Available on Movie Score Media.