1. End Of An Era 2. A Fellowship Of Rebels 3. Fairytale Suite 4. The Journey 5. Eden 6. Extinction Pt 1-4 7. El Palmar 8. Dark Motor 9. The Ocean Says 10. Bat Shit Crazy (Ode To Vangelis Papathanassiou) 11. Time Travel (Chapeau To Alan Silvestri) 12. Sharing The House 13. Our Consciousness 14. Monologue
One of the things I love about attending film music festivals is meeting people. I have exchanged pleasantries with composer Gary Marlowe in the past, but during this year’s Krakow Film Music Festival, I could finally really interact with him and got to learn more about his latest project: the music he composed for the Sci-Fi movie Everything Will Change. I have been looking for the movie, but sadly I have not been able to find it: I have not seen it appear in movie theaters, and it is not available on streaming platforms. The movie is a German and Dutch co-production, so I am a bit confused as someone from the Netherlands. I would still like to write about its music because Marlowe had an exciting story to tell. The music for Everything Will Change is something I have not heard in film music for a long time: A score mostly made by analog synthesizers. What I love about these instruments is that while they are electronic at their core, their sound is created and influenced by human reaction. Even the length of the notes and volume can be changed by knobs and buttons, adjusting the sound just as you’d do while plucking a string on an electric guitar. Synthesizers are not the only instruments on the album; there is also room for some guitars, a piano and a vocalist. The reason why I wanted to cover this soundtrack is that, first of all, it is a wonderful score. Marlowe has been talking about it passionately, and this passion is reflected in the music. Unfortunately, I haven’t been able to hear it in the context of the movie yet. Secondly, this music reminded me of how wonderful synthesizer music can be. Artificially made sounds created by computers often sound soulless since there is no human interaction in the actual sound itself. Many soundtracks nowadays use these computer-generated sounds, and when I heard the word “synthesizer” in the past, this kind of digital music came to mind. Fortunately, with his enthusiastic talk about writing music, Marlowe reminded me of the true potential of synthesizers, resulting in the excellent score for Everything Will Change. ~ soundtrackworld.com
Artist: Lucrecia Dalt Title: The Baby (Original Score) Year: 2022 Invada Records Genre: Soundtrack Quality: Hi-Res / 24bit-44.1 KHz
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1. Opening Titles 2. How Many Lydias 3. Ahem 4. Alinda 5. I'm Falling Upright 6. Porcelana UFO 7. Wolf Hour 8. Crash Crash Baby 9. Donde Donde Donde 10. Day Zero 11. She Cries 12. Enke 13. Susta Susta 14. Oguere Scape I 15. Mareterna 16. Scattered Mysteries 17. Lesley 18. The Pillow 19. Scattered Cookies 20. He Is Alive 21. The Chase 22. Lafayetta 23. Her Throat 24. Breath Creeps 25. Bloody Shelves 26. Oguere Scape II 27. Zuca 28. Sempiterni
Lucrecia Dalt. synths, vocals, vocoders, processing; Alex Lázaro. Drums, percussion, vocals; Audrey Chen. Vocals on tracks 6, 21, and 28; Cynthia Pitsiulak. Vocals on tracks 8, 13, 20, 23; Edith Steyer. Clarinet; Isabel Rößler. Upright bass; Gibrana Cervantes. Violin. >>>>>>> Dalt has just finished scoring horror-comedy show The Baby for HBO – Mashable made positive note of the ways her ‘disconcerting’ soundscape built tension – and has just released her debut score for Sam Walker’s 2021 ‘bodily horror’ movie The Seed on Invada Records. There’s no ‘lost opportunity’ regarding either of these. “When I find directors who want to have the score present and loud, who want audiences to feel with the score and remember it – that is pure joy for me because it's like, ‘OK, now I can offer something.’” The creators of The Baby wanted something memorable, and for Dalt, this meant using ‘bodily sounds, vocal sounds, weird voices and stuff’. She was already using glossolalia on her 2020 RVNG release No era sólida – and when the pandemic hit she decided to see what else she could do with her voice. It was research that came in handy once she’d finished the score for The Seed and started work on The Baby. “Most of the references that the creators sent me were already in this document where I was compiling stuff about what the voice can do. So I was really excited to bring a little bit of that knowledge and the music that I was finding, and all that as inspiration to work on the show.”
Dragon’s Domain Records presents the original motion picture soundtrack to GIRL AT THE WINDOW, featuring music composed by Jamie Blanks for the new thriller written by Terence Hammond (LAST DANCE) and Nicolette Minster, directed by Mark Hatley (PATRICK: EVIL AWAKENS, ELECTRIC BOOGALOO: THE WILD, UNTOLD STORY OF CANNON FILMS), produced by Antony I. Ginnane (PATRICK THE SURVIVOR, THE LIGHTHORSEMEN), Phil Hunt, Compton Ross and Sabella Sugar, starring Radha Mitchell (PITCH BLACK, SILENT HILL, VISITORS), Ella Newton, Jackson Gallagher, Vince Colosimo, Sharon Johal and Nathan Hill. GIRL AT THE WINDOW tells the story of a mother (Mitchell) and daughter (Newton) who deal with an ambiguous and uncertain threat that ultimately binds them closer together. The music for GIRL AT THE WINDOW is composed by Jamie Blanks, who has the distinction of being a composer, a director and film editor. GIRL AT THE WINDOW is the third collaboration between Blanks and director Mark Hartley, which include Hartley’s previous documentary films MACHETE MAIDENS UNLEASHED and ELECTRIC BOOGALOO: THE WILD UNTOLD STORY OF CANNON FILMS. While the budget for GIRL AT THE WINDOW did not allow Blanks to record live players, his knowledge of modern music libraries allowed him to compose an exciting synthetic score that evokes the works of Bernard Herrmann, Jerry Goldsmith and Pino Donaggio. Dragon’s Domain Records presents the world premiere release of GIRL AT THE WINDOW, featuring music composed by Jamie Blanks, mastered by James Nelson at Digital Outland and featuring liner notes written by the composer.
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