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15 avril 2012 7 15 /04 /avril /2012 15:00

http://desmond.imageshack.us/Himg832/scaled.php?server=832&filename=bk2s.jpg&res=medium

https://en.wikipedia.org/wiki/Yuzo_Koshiro


Origine du Groupe : Japan
Style : Acid Techno , 8-Bits
Sortie : 1993 (2000)

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From Wikipedia :

This is the easiest (note that this is relative to the other 2) Streets of Rage soundtrack to find, having been released in the United States. The tracks on this soundtrack are identical to the Japanese CD soundtrack known as "Bare Knuckle II". Composed and played by Yuzo Koshiro (with a few by Motohiro Kawashima), this is said to be one of his greatest and it shows the power of the 8-bit Mega Drive/Genesis soundchip. The music is described by Yuzo as "hard-core techno". The CD contains 20 tracks and was produced by him and Kyoji Kato. Interestingly some fans have noticed that the song "Under Logic" sounds like The Shamen's mid 90s hit Move Any Mountain and The S.O.R Super Mix is similar to Enigma's Sadeness. Another interesting fact about S.O.R. Super Mix is that it is composed from parts of previous Streets of Rage songs: The Street of Rage, You Became The Bad Guy (being the core of the song), and The Last Soul. The Arranged version of You Became The Bad Guy also has parts of choir similar to Sadeness. The track lists are as follows:


Tracklist :
01  Go Straight
02  In The Bar
03  Never Return Alive
04  Spin on the Bridge
05  Ready Funk
06  Dreamer
07  Alien Power
08  Under Logic
09  Too Deep
10  Slow Moon
11  Wave 131
12  Jungle Base (M.K.) & (Y.K.)
13  Back to the Industry
14  Expander (M.K.)
15  S.O.R. Super Mix
16  Max Man (M.K.)
17  Revenge of Mr. X
18  Good End
19  Walking Bottom
20  Little Money Avenue (M.K.)

 

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6 janvier 2012 5 06 /01 /janvier /2012 20:00

http://cdn0.virgin.com/uploads/images/story/trent-reznor-and-atticus-ross--the-girl-with-the-dragon-tattoo-12871-cropped.jpg

http://nin.com
http://www.nullco.com


Origine du Groupe : North America , U.K
Style : O.S.T , Electronic , Electro , Ambient , IDM
Sortie : 2011

By  Justin Gerber from http://consequenceofsound.net

Trailers for David Fincher’s adaptation of The Girl with the Dragon Tattoo present the viewer with a collage of dark images flying at them furiously. There are people hiding in corners and in plain sight and a frail, young punk fighting, crying, and riding her way through life. There’s blood running down faces and, of course, the snow (all that snow). Tattoo is being marketed as “The Feel Bad Movie of Christmas,” and if the trailer wasn’t enough to convince a suspicious moviegoer of such a claim, Trent Reznor and Atticus Ross’s score will seal the deal.

It’s a wonder Fincher hadn’t worked with Reznor and Ross on soundtracks prior to their Academy Award-winning score to The Social Network. Fincher did feature a remix of Nine Inch Nails’ “Closer” during the opening credits to Se7en and directed the video for “Only” a few years ago, but after the Tattoo soundtrack, it’s hard to imagine Fincher going to anyone else from here on out. He’s found the Herrmann to his Hitchcock, the Williams to his Spielberg. The latest collaboration is an exercise in the kind of deep, dark storytelling both Fincher and Reznor have embraced over the past 20 years.

Without giving too much away, The Girl with the Dragon Tattoo tells a story of secrets coming to the forefront after years of being kept in the dark. The combination of disturbing truths and lost innocence is orchestrated brilliantly in the score. Reznor and Ross use chimes that sound as though they’re coming at the listener directly from a child’s music box, only to be underscored with foreboding synthesizers. “While Waiting” and “Millenia” even feature angelic voices, before the menace creeps in during their conclusions. “The Seconds Drag” incorporates a ticking clock throughout, with that aforementioned chime and light tap layering over it from moment to moment.

The score isn’t solely for fans of slow tempos, though. Oftentimes, the music revs up in a jarring fashion, a tactic Reznor has used to great effect in other works. “A Thousand Details” begins with piano, before upbeat rhythms and distortion overtake it completely. “Oraculum” is a flurry of electronic drumbeats that builds and builds until dying out in the end. Beeps and bleeps are accompanied by slashing guitar noise and synths in “Infiltrator”. It isn’t hard to picture the heroes of the picture finding out the truth or taking action to any of these selections, and it is here Reznor and Ross find much success. The music paints the picture perfectly.

Two cover songs bookend the nearly three hours of instrumentals. The covers aren’t obvious in any way, with the first a reframing of Led Zeppelin’s “Immigrant Song”. Reznor hands lead vocals not to a Robert Plant soundalike, but to the Yeah Yeah Yeahs’ Karen O., who is more than up to the task. Her band’s last album placed them in a new direction, so she fits in quite comfortably over the electrified beats and hard-hitting synths. It’s the second cover, however, that’s truly out of left field. How to Destroy Angels’ cover of Bryan Ferry’s “Is Your Love Strong Enough” is a complete makeover. Mariqueen Maandig, Reznor’s wife, sings delicate lead before Reznor’s voice makes an appearance near song’s end, without a hint of the 1980s to be found. Whoever predicted a cover song written for Ridley Scott’s Legend would make its way onto a David Fincher soundtrack, you may collect your winnings.

Reznor and Ross don’t seem interested in creating one piece of music for future play in trailers. The main themes from Superman or Star Wars don’t face competition from a single track here, but that isn’t the point. The Girl with the Dragon Tattoo is all about mood and atmosphere, and the duo have provided more than enough. Fincher’s film will be criticized for its timing (a highly successful Swedish adaptation was released only two years ago), but the music truly stands on its own.


Tracklist :
01 – Immigrant Song
02 – She Reminds Me Of You
03 – People Lie All The Time
04 – Pinned And Mounted
05 – Perihelion
06 – What If We Could_
07 – With The Flies
08 – Hidden In Snow
09 – A Thousand Details
10 – One Particular Moment
11 – I Can’t Take It Anymore
12 – How Brittle The Bones
13 – Please Take Your Hand Away
14 – Cut Into Pieces
15 – The Splinter
16 – An Itch
17 – Hypomania
18 – Under The Midnight Sun
19 – Aphelion
20 – You’re Here
21 – The Same As The Others
22 – A Pause For Reflection
23 – While Waiting
24 – The Seconds Drag
25 – Later Into The Night
26 – Parallel Timeline With Alternate Outcome
27 – Another Way Of Caring
28 – A Viable Construct
29 – Revealed In The Thaw
30 – Millennia
31 – We Could Wait Forever
32 – Oraculum
33 – Great Bird Of Prey
34 – The Heretics
35 – A Pair Of Doves
36 – Infiltrator
37 – The Sound Of Forgetting
38 – Of Secrets
39 – Is Your Love Strong Enough

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2 décembre 2011 5 02 /12 /décembre /2011 13:00

http://3nipples.files.wordpress.com/2011/09/the-cinematic-orchestra-manhatta-half-size1.jpg

http://www.cinematicorchestra.com

http://www.myspace.com/thecinematicorchestras

Origine du Groupe : U.K
Style : O.S.T , Instrumental
Sortie : 2011

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From http://cinematicorchestra.host-ed.net

New music by The Cinematic Orchestra: download the soundtracks for the movies Manhatta & Entr'acte at the NinjaShop. Download Entra'cte and Manhatta as an mp3 and video at the same time.
These song were recorded last year, but the première had allready takan place in 2009 at the Roundhouse in London, during the very first In Motion concert. The release has been added to the discography.

The Mercury Prize website turned it's attention this week towards The Cinematic Orchestra and their second In Motion concert. Read all about it at their blog. The concert is sold out!

Expect some new music during the concert. During the last concerts new tracks from the forthcoming album have been played. You can find one on Youtube, called Polar, recorded in Paris this month.

Tracklist :

01 - Manhatta

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20 octobre 2011 4 20 /10 /octobre /2011 21:00

http://www.ost-center.fr/contenu/jaquettes/film/animatrix_ost.jpg

http://www.intothematrix.com

Origine du Groupe : V.A
Style : Electro , Electronic
Sortie : 2003

By no one from http://www.amazon.com

For all the people out there who say none of this music is in the Animatrix or for the one guy who said it's all in there.
Most of it is, and 2 or 3 tracks are not featured in the film. That's how it always goes with soundtracks.
(All of these are approximations, don't get too nitpicky, ok?)
1. Peace Orchestra "Who Am I?" (Animatrix Edit) - Kid's Story - This one is heard in the morning whilst the boy eats breakfast and skateboards to school and ends when he closes his locker.
2. Free*Land "Big Wednesday" - The Second Renaissance Part One - This one begins as soon as we see the large overview of the futuristic city at the beginning of the short (after the red and yellow introduction), and ends after the large 'robots toiling tirelessly scene'.
3. Layo & Bushwacka! "Blind Tiger" - Detective Story - This one begins when Mr. Ash 'looks at his bank account balance' and ends when he goes to see the 'one that's left, the crazy one.' But is spliced up a bit, so any voice in the actual song isn't in the film.
4. Supreme Beings of Leisure "Under the Gun" - Detective Story - This one begins when Ash rushes out the door to catch the train, and ends when he enters Trinity's train compartment. Again, it's spliced up to use the good bits without any singing.
5. Meat Beat Manifesto "Martenot Waves" - The Second Renaissance Part One - This one begins after the Versitran ad, and runs for a short 25 or so seconds during the news clips before the UN scene.

6. Photek "Ren 2" - The Second Renaissance Part One - This one plays during the news clips of the robots being (partly) wiped out after the B166ER trial.
7. Death In Vegas "Hands Around My Throat" - Beyond - This one is heard in the background of the teenaged girl's phone conversation.
8. Junkie XL "Beauty Never Fades" (Animatrix Edit) - I don't think this one appears in the Animatrix at all, unless.. just maybe it plays during the robots advancing outward in all directions after Zero-One is bombed (in 2nd Renaissance Part2).. if it is, it plays for about 7 seconds, so I can't tell.
9. Overseer "Supermoves" (Animatrix Remix) - The Second Renaissance Part Two - The battle scene.
10. Juno Reactor "Conga Fury" (Animatrix Mix) - The Final Flight of the Osiris - The opening sword fight.

11. Junkie XL/Don Davis "Red Pill, Blue Pill"
(featuring dialogue from The Matrix)
AND
12. Tech Itch/Don Davis "The Real"
(featuring dialogue from The Matrix Reloaded)
Are NOT featured, as far as I know. And by the way, you labeling fools, the quote from the Merovingian in Track 12, "You are ready to die..? (..for this man)" Actually appears in The Matrix Revolutions, but was in a preview for both the 2nd and 3rd Matrix films, so I can understand the confusion. And it might be in the trailer at the end of the 2nd film's credits too.


Tracklist :
1.    Who Am I? - Peace Orchestra [5:58]
2.    Big Wednesday - Free*Land [4:50]
3.    Blind Tiger - Layo/Bushwacka! [6:19]
4.    Under the Gun - Supreme Beings of Leisure [3:28]
5.    Martenot Waves - Meat Beat Manifesto [7:41]
6.    Ren 2 - Photek [4:05]
7.    Hands Around My Throat - Death In Vegas [5:05]
8.    Beauty Never Fades - Junkie XL [6:13]
9.    Supermoves - Overseer [4:18]
10.    Conga Fury - Juno Reactor [7:24]
11.    Red Pill, Blue Pill - Junkie XL/Don Davis [8:58]
12.    The Real - Tech Itch/Don Davis [8:01]

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25 septembre 2011 7 25 /09 /septembre /2011 14:45

http://alienzone.net/wp-content/uploads/2011/06/wpid-Therapist_2011_.jpg

http://www.barryadamson.com

http://www.myspace.com/barryadamson

Origine du Groupe : U.K
Style : Original Soundtrack
Sortie : 2011

From http://novafuture-blog.com

Info :

CCI just announced the exciting news that Barry Adamson’s directorial debut film Therapist, is ready for release.

Written, directed, edited and scored by BA, Therapist is a 40 minute noir thriller starring David Hayman, Ray Fearon, Ofo Uhiara and Iza Sawicka and includes original music by Barry Adamson, Rafael Toral, Gielarek and Antoine Lang.

It will be released in May of 2011 as a DVD and CD Soundtrack set. The first 1000 copies from the Central Control webstore are signed by Barry Adamson.

With more grit and grime than the underpasses of a decaying city, Barry Adamson’s first film THERAPIST (2011) is both the culmination of an artistic dream and the dawn of a new chapter in the artist’s life.

In 1988 Barry Adamson released his first solo album, the critically acclaimed Moss Side Story. Masquerading as a sound track to a film that did not exist, it became his calling card to the world of movie scoring. Now 23 years later having scored several movies for directors such as Danny Boyle, David Lynch and Derek Jarman; Barry joins their ranks of dark noir directors with a fantastic first film that draws upon his unique talents as an artist. Bringing the haunting melodies he is known for to the center of the creative process he integrates chilling chords with highly stylized visual images, resulting in a unique viewing experience that assaults all of your senses.

THERAPIST tells the story of Monika, a Polish immigrant searching for both her sister and an escape from her past. But is her story real or the metaphor for another man’s emotion – a story straight from the therapist’s couch? As the stories build to a uniform climax, we are asked to question the very nature of what we are experiencing, ultimately finding ourselves led further down a blind alley, into a place where memory, fantasy, truth and experience contradict themselves in an endless interplay of shadow and light.

The initial pressing comes as a limited 2 disk edition: THERAPIST on DVD (with bonuses: ‘The Gemini Complex’ featurette and an interview with Barry Adamson) plus the Original Soundtrack on CD. Therapist has been screened at the East End Film Festival, the Brighton Film Festival, Yach Film Festival (Poland) and shown at the Renoir (Curzon) in London.

Barry Adamson, musician and filmmaker was born in Manchester England and left his first year at art school to play bass in Howard Devoto’s Magazine. Five albums later he became a founding member of Nick Cave and the Bad Seeds before going solo and making a series of soundtrack albums scored without actual movies, including Moss Side Story, Soul Murder (which was nominated for the inaugural Mercury Music Prize) and Oedipus Schmoedipus. This work took him into scoring work on movies for Oliver Stone, Alison Anders, Danny Boyle, David Lynch and more, as well as working in TV and on commercials. Adamson then went on to make highly acclaimed vocal, full band albums such as 2008’s Back to the Cat, As Above So Below and The King of Nothing Hill.
BA continues to work as a musician and now a writer – his short story Maida Hell, featured in London Noir, won the Best Short Story award at the Piemonte Noir festival in Italy – as well as a filmmaker.

 


Composed, recorded, mixed and produced by Barry Adamson, except:
* Gielarek
+ Rafael Toral (Touch Music)
++ Barry Adamson and Antoine Lang
** Lubos Fisher (arranged by Barry Adamson)

with
Iza Sawicka vocals on Aaa Kotki Dwa
Syd Gould trumpet on A Portrait of Monika
Steve Hamilon on I Guess That’s Me… Done!

Tracklist :
01. Main Title
02. A Portrait of Monika
03. Bigger Pictures
04. How Did He Find Me?
05. Monika’s Living Nightmare
06. How Are You Feeling?
07. Glove Touch
08. Aaa Kotki Dwa
09. And Always Will Be
10. A Portrait of Anna
11. Our Father?
12. I Guess That’s Me… Done!
13. The Letter/End Titles

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13 juillet 2011 3 13 /07 /juillet /2011 16:00

http://4.bp.blogspot.com/-MMxpo-kZDM8/ThAM5x9mp1I/AAAAAAAAJ7E/OBYAMaozCuc/s400/FP.JPG

Origine du Groupe : V.A India
Style : O.S.T , World Music , Indian Music
Sortie : 1981

By Demnagirl from http://www.welove-music.net

Umrao Jaan was released in 1981 to great critical acclaim but lukewarm public response. No doubt its literate script, nafees Urdu and historical setting was beyond the appreciation levels of the average punter. But in the 30 intervening years, Asha Bhosle’s singing and Rekha’s dancing have only grown in stature. Buy any collection of Asha’s amazing career of hits and you’ll find every song she sang in Umrao Jaan. They are still considered the absolute peak of her grace and creativity. Rekha, known more for her racy roles before Umrao danced and acted her way to the 1981 Best Actress Award and then went on to seal her status as a serious artiste.

The soundtrack is the most complete expression of music, lyric, emotion and drama Bollywood has ever produced. The director, Muzzafar Ali, was at pains to recreate mid 19th century society of the tawwaif (courtesan) with as close to perfect verisimilitude as possible. And so elaborate costumes were sewn, the most evocative havelis (manors) used as sets, elegant refined Urdu was spoken and of course authentic period music played throughout. And to bring all of this to life he employed the best artists and craftsmen. The lyrics were written by the accomplished Urdu poet (and professor at Aligarh Muslim University) Shahyar and the music composed by the equally brilliant Khayyam. Together they created a musical and lyrical atmosphere that leaves the listener weak at the knees with the beauty of it all. Not just the stunning gems of Dil Cheez Kya Hai and In Aakhon ki Masti and Justuju Jis ki Thi and Yeh Kya Jagah Hai, Dosto. These masterpieces are supported by classical ragas, folk music and ghazals that paint a comprehensive picture of the musical landscape that was kingdom of Avadh (Lucknow). Alert readers of the Washerman’s Dog will remember that the instrument, the sarangi, rose to its preeminent place in Hindustani music as an accompanist to the courtesans of the 18th and 19th century such as Umrao Jaan. You will hear lots of sarangi on this soundtrack.

Tracklist :
01-Ek Toote Huye Dil Ki - Alka Yagnik
02-A Foreword - Javed Akhtar
03-Salaam - Alka Yagnik
04-Pehle Pehel - Alka Yagnik
05-Behka Diya Hamein - Alka Yagnik & Sonu Nigam
06-Jhute Ilzaam - Alka Yagnik
07-Main Na Mil Sakun Jo Tumse - Alka Yagnik
08-Pooch Rahe Hain - Alka Yagnik
09-Agle janam Mohe Bitiya - Richa Sharma
10-Agle Janam Mohe Bitiya - Anmol Malik

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1 mai 2011 7 01 /05 /mai /2011 11:00

http://www.downloadost.com/ost/big-fight-club-ost.jpg

http://www.myspace.com/fightclubsoundtrack15

Origine du Groupe : North America
Style : O.S.T , Electro , Psychedelic , Ambient , Downtempo
Sortie : 1999

Par Le Roy Ludovic   pour http://www.amazon.fr

La première règle du Fight Club...

Le Cd nous l'annonce, "The Dust Brothers feat. Tyler Durden"... Trip Hop mélancolique et barré, si cher aux ex-producteurs des Beastie Boys ("Paul's Boutique"), Beck etc..., qui se lancent enfin dans le solo. Et d'une magistrale manière. Michael Simpson et John King s'en donnent à coeur joie et ça reflète vraiment l'esprit du film ( tout aussi bien au passage...). Ce disque sorte de retombée d'acide ou de substance éthylique après une nuit passée à s'en prendre plein la gueule... dans un Fight Club tiens !!! Les ambiances sont géniales, ils maîtrisent à merveille leurs Beats... En attendant un album solo... In Tyler We Trust !!!


Tracklist :
1.  Who Is Tyler Durden? [5:03]
2.  Homework [4:37]
3.  What Is Fight Club? [4:43]
4.  Single Serving Jack [4:14]
5.  Corporate World [2:42]
6.  Psycho Boy Jack [2:57]
7.  Hessel, Raymond K. [2:49]
8.  Medula Oblongata [5:59]
9.  Jack's Smirking Revenge [3:58]
10. Stealing Fat [2:21]
11. Chemical Burn [3:35]
12. Marla [4:22]
13. Commissioner Castration [3:06]
14. Space Monkeys [3:24]
15. Finding The Bomb [6:45]

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6 mars 2011 7 06 /03 /mars /2011 15:00

http://www.playlistsociety.fr/wp-content/uploads/2011/03/sonic-youth-simon-werner-a-disparu.jpg

http://www.sonicyouth.com

http://www.myspace.com/sonicyouth

Origine du Groupe : North America
Style : O.S.T , Experimental , Indie Rock , Psychedelic Rock
Sortie : 2011

Par Nathan Fournier  pour http://www.playlistsociety.fr

Lorsque Jeff Beck explose sa guitare d’une rage difficilement contenue, au plus profond d’une cave Londonienne, que les morceaux volent et s’écrasent sur le sol, alors, dans un mouvement irraisonné, David Hemmings se précipite, arrache la relique de guitare et s’enfuit à toute jambe. Il serre le trophée comme on serre la main d’un mourant. Une fois dehors, le regard vide et le souffle court, il balance le vulgaire objet. C’est la plus belle expression du fétichisme. L’objet pour l’objet. L’adoration d’une chose inutile mais totalement hypnotisante dans son contexte, c’est-à-dire entre les mains de Beck. Une fois hors de son contexte, une fois la transe consumée, ce manche de guitare n’est plus rien, qu’un simple morceau de bois.

Sonic Youth, même combat. Le fétichisme de la guitare. Il y a moins d’un mois, Thurston Moore et ses 53 années de turbulences sonores, sortait un magnifique Suicide Notes for Acoustic Guitar, tourbillon de saturations expérimentales, à la frontière du bruit, à la frontière de la musique. Juste lui et une guitare en duo, en amoureux, à extirper tous les possibles de l’instrument, à la recherche de la note ultime, de la fréquence qui ferait entrer en résonance l’être et le néant.

Il y a toujours eu chez Sonic Youth cette croyance en la guitare. Bien plus que la vénération hendrixienne et les allusions sexuelles habituelles, les quatre de Sonic Youth ont réinventé un instrument, en redéfinissant les contours. L’instrument de musique devient être vivant, avec ses préférences, ses convictions. Chaque morceau est fait pour la guitare, chaque guitare désire son accordage particulier, ses cordes dans un certain sens. Oui, Sonic Youth n’est qu’une bande d’éternels ados aventureux, toujours sur des sables mouvants, en perpétuel mouvement pour s’assurer que jamais une note ne demeure la même. Tout est meuble et évolue au bon gré de la guitare. Et cette conviction qui les guide, cette force un peu mystique ne vaut rien en dehors de l’objet. Sonic Youth sans guitares, c’est comme David Hemmings sans son hélice. La musique de Sonic Youth n’a de sens que par la guitare et les nombreuses tentatives qui vont avec. Parce que les guitares le veulent, Thurston Moore a inventé la dissonance, le mur du son, la rugosité du son et la sécheresse des mélodies.

Et, on le sait bien, ce genre d’extrémiste sonore n’est pas du genre à faire les choses à moitié. Quand il enregistre des bouts de morceaux pour un film français, il retourne en studio terminer le travail, y ajouter ces longues plages de bruit jouissives, ces rythmes saccadés. Ici, rien ne viendra troubler les élucubrations des guitares, pas d’incantations de Kim Gordon, aucune voix suave et brute à la fois, et encore moi la fierté adolescente de Thurston. Comme sur toutes les sorties SYR, le propre label du groupe, c’est intègre et austère. Juste une heure d’hymne à la guitare comme ouverture sur toutes les opportunités. Ça nous rappellera les belles heures de Sister et de Daydream Nation, là où la dissonance était plus qu’une bonne idée, elle était un mode de vie.

Sonic Youth reprend les bonnes vieilles habitudes avec la bande originale de Simon Werner a Disparu, qu’ils sortent sur leur label SYR. Qu’un manifeste de plus dans la lutte en faveur du fétichisme.


Tracklist :
1 · Thème de Jérémie
2 · Alice et Simon
3 · Les Anges au Piano
4 · Chez Yves
5 · Jean-Baptiste à la fenêtre
6 · Thème de Laetitia
7 · Escapades
8 · La Cabane au Zodiac
9 · Dans les bois
10 · Jean-Baptiste et Laetitia
11 · Thème de Simon
12 · Au café
13 · Thème d'Alice

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11 janvier 2011 2 11 /01 /janvier /2011 15:00

http://thesteinbergprinciple.files.wordpress.com/2010/01/johann-jpeg12.jpg

http://www.johannjohannsson.com

http://www.myspace.com/johannjohannsson

Origine du Groupe : Island
Style : Classic , Electronic , Expérimental
Sortie : 2010

From official site :

An accompaniment to the animated film 'Varmints', this is a collection of achingly beautiful orchestral work balanced on a bed of Jóhannsson's patented electronics. Surprisingly however, the film itself is not intrinsic to the enjoyment of the music; Jóhannsson's score stands alone perfectly as a haunting collection of tracks.

As with most soundtracks, the album is made up of a selection of repeating themes which appear and disappear throughout the record; Jóhannsson manages to approach this with such subtlety you can't always even tell that a familiar theme is drifting in and out of each track. The clouds of ambience and growls of synthesizer that underpin the lilt of the orchestra are crucial to the record and give a similar warmth similar to what made 'Englaborn' so very special. These pieces are memorable and deeply moving, and within one listen you could almost visualise the film itself – or at least a home made version. Soundtrack or not, Jóhannsson has created yet another peerless collection of electronic/classical vignettes you won't be forgetting any time soon.

 


Tracklist :   
01 Theme
02 City Building
03 Entering The City
04 The Flat
05 Rainwater
06 Pods
07 The Gift
08 Dying City
09 Escape
10 Inside The Pods
11 End (Snowing)

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20 novembre 2009 5 20 /11 /novembre /2009 15:00


Before I begin this review, I need to provide a bit of context. I loved The Fountain. I will need to see it many more times before I actually understand it, but it was one of the most beautiful films I have ever seen. Due to its slow nature, Mansell's score is probably one of the most necessary scores in film these days, as he added the needed sense of motion that the imagery and plot lacked. The one thing I just feel I have to point out, however, (and I am allowed since one of the album track titles uses the name) is that Xibalba was the Maya underworld, which was seen as watery and accessible through caves. Therefore, while the idea and the imagery of the dying star resembling heaven was great, using it to represent the Maya underworld was a bit of a stretch. Finally, this is the third Clint Mansell album I have reviewed, and the three scores could not be more different. In fact, if I didn't know better, I would not say it was the same composer. Sahara's jazzy, Bond-styled action and Doom's techno/rock are nothing like The Fountain, and Mansell's ability to adapt his style to the film is quite impressive. There are two main motifs for The Fountain, the first is a simple 5 note progression, which is performed following the downbeat in the measure. A secondary three-note motif is also used throughout and has similarities to part of John Powell's Phoenix Theme from X-Men: The Last Stand. These motifs are performed in various forms and at times blended together in a running string line that becomes the full theme. The album opens and closes with quiet piano cues, the latter of which plays over the end titles. In "The Last Man", the motifs are hinted at in slow string statements, but do not come in fully until "Tree of Life", which is built up to in the preceding cue. "Tree of Life" starts out with heavy drums and an electric cello performing the three-note motif. This heavier tone of this cue, which returns in force in the finale "Death is the Road to Awe", is, tonally, very similar to some of the harsh electronic parts of Hans Zimmer's Black Hawk Down. As I mentioned before, Mansell keeps the music moving, even at times where percussion is absent, with some form of pulsing string line, the way a number of scores have done recently, such as The Island and King Arthur. This can be heard in "Death Is A Disease" and the pulse stands alone at times and is joined by a solo cello at others. This movement is not always present. "Xibalba" is a slower cue that actually has a faint hint of a choir at the end. "Death Is the Road to Awe" is without a doubt the highlight of the album, with a broad spectrum that encompasses everything Mansell did for the film. It opens with a soft tremoring moving line and a faint statement of the full theme following the five note motif. The piano takes over with bold offbeats and the three note motif, with a drawn out final note. The theme comes in and out, replaced by the motifs as the volume gradually builds, adding chimes and more instruments as well as the electric guitar sounds. Toward the end, percussion is added as well. With two minutes remaining, the music stops. Then the electric guitars and cello come back with bold strings playing snippets of the theme in a slightly faster tempo and both motifs coming in the background. Then it stops again before the choir finally comes in after being hinted at only once. The three note motif plays under it and more pulsing strings and chimes bring the cue to a close. I can already hear this cue being played in trailers. The score is performed beautifully by The Kronos Quartet and the rock band Mogwai, who had songs featured on last year's The Constant Gardner soundtrack. A number of the cues, I believe, were used more than once during the film, but for the sake of avoiding too much repetition, the album was cut down to a manageable length. Mansell's score appears simple, with a limited variety of instruments and what appear to be simple themes, but this score is in fact a very delicately layered piece that works almost as well as a classical work as it does a film score. One interesting result of this score is that it shows how well electronic elements can work with an orchestral score to enhance it rather than take away from it. I definitely think this score should be up for consideration come Oscar time.
by Mike Brennan
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