Composer Laurent Perez Del Mar grabbed the attention of soundtrack fans a couple of years ago with his wonderful atmospheric score to THE RED TURTLE, which was overflowing with emotion and haunting themes. More recently the composer scored I KILL GIANTS which was also a fan pleaser His latest scoring assignment “Mystery Henri pick” is every bit as alluring and attractive maybe on this occasion there is not so much poignancy, but the music reflects the films storyline and scenarios. The music I think is quietly urgent with hints of the offbeat if that is something that is possible, I felt whilst listening to the score that there was melody present throughout but at the same time this melodic content was underlined and surrounded by a tense and slightly apprehensive air or atmosphere, how can I describe it? Maybe the melodies are distracting one from what is actually happening, it’s like they are lulling you into a false sense of security, the melody becoming the main focus of the listener and them not noticing that something darker could be about to happen. The composer makes effective use of both strings and percussive elements that support and compliment each other, there is also some lilting and delicate piano performances within the score either supported by strings or at times solo, with the piano at times taking centre stage or becoming the foundation of the cue/track.




This subdued but taught style was evident in one of the composers other scores MON GARCON which is another worthwhile addition to any film music collection. The Maestro, has a talent for creating wonderfully effective themes that shine through even at the most sinister or dark periods of his score, with a real sense of the mystical being present in many of the cues, but also we are treated to a slightly more up-tempo and contemporary sound in cues such as LES PREMIERES RECHERCHES, there is a kind of jazz/neo classical sound going on throughout where the composer utilises strings or solo violin that is supported and enhanced by a slightly upbeat backing. I would describe the score as being low key for most of its duration, but this does not mean it is not a work that is filled with innovative and pleasing compositions, we are presented with mysterious sounding nuances, emotive and delicate themeatic material and urgent and quirky variations. Overall this is an interesting but above all a highly entertaining score.













The score for TOUT LA-HAUT is the work of French composer Laurent Perez Del Mar, who came to many peoples notice in 2016 for his beautiful and haunting musical score for THE RED TURTLE. The composer has a wonderful gift for creating highly melodic pieces which are almost immediately imprinted upon ones sub conscious where they linger forever. TOUT LA-HAUT is I am glad to say not any different, it is a score that in one word is DELIGHTFUL or maybe more than one word DELIGHTFUL, EMOTIVE and POIGNANT. It is one of the most melodious and delicate sounding scores that I have heard in a while, every note lovingly placed every cue mesmerizingly attractive and a sheer rush of emotions and moods. There are some dialogue highlights from the movie included but these are short and sweet as they say, but in fact they are also a welcome addition to the listening experience of the soundtrack recording, as are the songs that are also included. The score is a mix of both symphonic and electronic, with the composer utilising to much effect the string and woodwind sections of the orchestra, some of the tracks are upbeat and stirring, others fragile and subtle. But overall this is a score that one could just put into the player and listen to without any need to fast forward or skip a track here and there, the composer employs solo violin and poignant tantalising piano in certain areas of the score and creates romantically laced nuances and quiet intimate themes. The score has quite a mix of instrumentation, with the, woods, strings, solo violin and piano featuring large, but there are also appearances from guitar (both acoustic and electric), percussion, brass, keyboards, solo wordless voice and at times a more contemporary sound that is executed via drums, and other percussive elements that create a backing track on which the composer layers his instrumentation. Each cue is beautiful more upbeat sections of the score, also seem to purvey a tense and uncertain atmosphere with taught strings at times entering the equation.


All in all, this is an entertaining score, and one that also displays the versatility of Laurent Perez Del Mar, one can only now look forward to what this year will bring us from this talented composer.