Premiere Festival Aix en Provence (France) 30 November
As composers is a privilege to give music to a story, so deep and beautiful as “Esmeralda”.
In this project we had the opportunity to use new tools and a different approach as a team where the final result was a hybrid score with acoustic and electronic elements.
We want to thank director Samantha Orozco and producer/co-director Francisco Mochmar for giving us their trust to tell this story.
Traveling from Transylvania to Scotland by train, the Count’s two companions Lucy and Renfield start on a series of changes in order to get the Count over his many fears – sunlight, crosses, bibles, running water, garlic, food and drink. Dracula chose Scotland for his holiday because he wanted to visit his maker Bram Stoker’s Castle, which he regards as rightfully his own. Once there he is befriended by two local undertakers Goddaming and Stewart who live in a castle, they attempt to socialize and fit in. Godalming’s teenage daughter Flora is attracted to them and admits that she would like to be a vampire.
The Count and Lucy are smitten by her and crave for a daughter of their own. When Stewart’s new wife also turns out to be a vampire, and the undertaker business is booming, the happy band of dead and near-dead can’t help but take advantage of Goddaming and Stewart’s hospitality. This arrangement is delightfully comic in the way it unfolds. When it is not clear that Dracula could ever be reformed from his bloodletting ways, Lucy makes plans to marry Dracula with the hope that his reformation will occur when he settles down into married life or so she thinks. A comic tale for Halloween and beyond into the nether realms of Dracula’s alternative abode. Rather than making Dracula a type of ‘baddie’, this film takes a jovial view of the comedy genre and his character. It is therefore in some ways a relief from the heavy overtones of the serious ‘Horror’ Film and something that will make people leave the cinema with a smile.
“A km 0”, meaning “made at a distance of zero km”, or “zero miles recording” is the title of the new album by the Sicilian singer-songwriter Fabio Abate.
An intense musical journey that arises during the lock down period. An artisan laboratory work wanted and conceived by the singer-songwriter himself who made use of the “Km 0” rules to make it happen.
Recording live in the habitat of his own house and his personal studio, without the help of large recording studios, Fabio Abate conceives this project that ranges from electro-pop to traditional sounds, from the typical ballads of his style to the dream stories of his repertoire.
Ten unpublished songs, with an international flavor, in some of them Fabio often betrays his Sicilian origin also in the dialect and in another – sung in English – he reveals his boundless artistic nature
Fabio Abate is a singer-songwriter, artistic producer and composer from Catania.
In 2010 he released the album “Itinerario precario (Precarious Itinerary)” for Carmen Consoli’s Narciso Records, for which he was also the author. One of the songs written by Fabio, “Senza farsi male (Without getting hurt)”, was included in the soundtrack of the film “L’uomo che ama (The man who loves)” by Maria Sole Tognazzi and received
a nomination for the Nastri d’Argento and the David di Donatello as best original song.
In 2020 on the occasion of Salvatore Adamo’s 60-year career, Fabio Abate sang together with Adamo himself and Riccardo Cocciante, Morgan and other artists the song “La notte”, to remember one of the most famous songs of the Italian song that has sold over 100,000,000 copies worldwide.
NOUS SOMMES EN GUERRE (Original Series Soundtrack)
Director Emmanuel Fricero
Music by Franck Ancelin
Label Plaza Mayor Company Ltd
Stella doesn’t believe in the Coronavirus. For her, it’s a manipulation by the state. But Covie-19 will catch up to her sooner than she thinks and will push her towards a drastic change of heart: if we change, the world change…
Emmanuel Fricero (Réalisateur): Je collabore avec Franck Ancelin depuis 2008. Il m’a paru évident de lui confier la création musicale de la série “Nous Sommes en Guerre” pour lui conférer cette atmosphère anxiogène, confinée puis libératrice que je recherchais.
Franck Ancelin (Compositeur): Emmanuel m’expose ses envies, l’histoire et l’univers de la série afin de dégager une ligne directrice qui donnera le ton. Ce Coronavirus est vraiment quelque chose de dramatique, au même titre que les maladies qui ont marqué les siècles passés. Je cherchais un doux mélange entre le déjà vécu (le passé), et ce que nous vivons (le présent). Si vous êtes attentifs à l’écoute de cette Bande Originale, vous entendrez sur tous les morceaux un léger effet de grésillement vinyle/radio comme à l’époque tel un message du passé. Je trouvais l’idée intéressante, cet effet est discret et suggéré puisqu’on l’entend de manière inconsciente. Pour moi, la musique de film doit faire parler les émotions.
The documentary “Generation Kalach: la face cachée des cités” looks at the new generations of gangsters and traffickers from the suburbs, very organized and more violent.
The music, like the documentary, is dark and desperate, using twisted and distorted electronic tones, out of tune piano and all manner of synthetic textures. But sometimes a little glimmer of hope crosses it …
The music, like the documentary, is dark and desperate, using twisted and distorted electronic tones, out of tune piano and all manner of synthetic textures. But sometimes a little glimmer of hope crosses it …
The album is a “concept album”, with a theme and three long suites, the last of which, Dronescape, intended as immersive, unfolds these textures for 20 minutes.
Single’s – No Shelter – Tokyo – Better – Bali Guide
The new Pop duet…
Label Plaza Mayor Company Ltd
Distribution Sergent Major Company Ltd
The Orchard – Sony Music
Cd Digital – Cd Physical
How was THE KLYMA project born? The Klyma was born from the idea of Daniele Sorrentino (singer, musician and songwriter) and Tiberio Gracco (author and musician) to start a new project after several years of cover interpretations by artists such as Ed Sheeran, Coldplay, James Morrison, Tracy Chapman, Sam Smith, John Mayer … Many satisfactions for a project (called Young History) of published music including: over 200 events between public and private in about 2 years, over 20 million plays on streaming platforms and compliments from national and international artists . The idea of continuing to cover covers was beginning to become uninspiring, so after years, the idea of undertaking an ambitious project full of obstacles developed. The idea of writing unreleased songs was very stimulating, especially if the influences were the same as they had been carrying in their luggage for years.
Musical imprint of THE KLYMA The musical imprint of the project is constantly evolving, and this is demonstrated by the fact that all the songs, in the beginning, were in guitar and voice, or in piano and voice, therefore UNPLUGGED. The influence in the melodies is given by the artists who have marked the era covers of Daniele and Tiberio such as: John Mayer, Sam Smith, John Legend, Coldplay, Ed Sheeran, Shawn Mendes … and many others. The first album has a bare character, poorly constructed, very free both at the musical level and at the level of lyrics. The clean sounds of acoustic guitars and pianos stand out, and from time to time we listen to some acoustic or electronic percussion, and some electric guitar. In the second album we have a complete transformation of the project, which while maintaining a pure identity, this is “dirtied” by oriental sounds, string quartets, samples, and sounds generated with objects. Much of this research derives from the passion that both components of the project (Daniele and Tiberio) have for the East, and in particular Japan. Tokyo is the emblem of the album, a mix of pop and Japanese culture, with sounds that emulate the instruments of that culture, and a blend of clean, dirty and trap voices (as we see in the finale). The message in a musical key is to bring a non-genre genre to Italy and the world, where every idea is put into action, then freed by a splendid violin solo in the final part of the song. Thanks go to Andrea Gargioni and Gennaro Franco, who are the actual arrangers of the album, but the contribution of Michele Vitiello (a young talent in the world of piano) and Angelo Iossa (who oversaw the vocal department) should not be forgotten. In the songs we are working on in addition to the guitars (main instrument) and the piano we have added a quartet of strings, percussion, drums and bass An evolution in writing and arrangements is clearly visible.
An instrumental solo album recognizable among a thousand!
Gil Fourny is an entire artist performing his work with classical orchestral atmospheres. He is an outstanding solo guitarist, able to play crazy phrases, melancholy, nuances.
An unique universe of emotions.
Great artists influenced him, spoke to him emotionally and pushed him to do his best, not to mention his boundless passion to create his own compositions in his studio, inspired by the “Progressive Symphonic Rock”.
Plutôt qu’un amoureux romantique de plus, José Fallot m’est toujours apparu comme un dur.
Dur et patient comme un félin, un varan qui aurait des feulements lyrique, une hydre à dix casquettes, une panthère, une libellule. Capable d’épauler l’un et l’autre à droite, à gauche, de leur procurer de l’emploi sur des grilles standard ou maison dans ses programmations aux formations multiples. Ou de leur offrir en taulier des lignes et des masses sonores plus exigeantes, conçues la nuit à la torche Wonder dans sa cave, tout en skypant des patrons de clubs.
Qu’il soit ou non largement reconnu pour cela est superflu, qu’il vénère Abba, les Beatles, Miles ou Coltrane, totalement indifférent. Qu’il soit un enfant de Steps plus que de Weather, d’Ellington, de Petrucciani ou de Smith et Wesson, quelle importance? Trop efficace et trop modeste pour briller, ce type est un music lover, un connaisseur et un aficionado, je ne vois pas que conclure d’autre à l’écoute de ce nouvel opus. Accessoirement, un passionné des fréquences basses, voire un compositeur sérieux et un variant réjouissant du hipster morne et abscons pour cercles confinés. Bonheur rare dont il ne faudra pas manquer les apparitions lors de la réanimation générale des scènes et des caves. Abstraction faite si possible des préjugés encore en cours dans certains systèmes auditifs locaux et de la configuration rigide des doigts de pied qui s’y attachent, si ces notions se révèlent maintenues dans le monde d’après.
Bernard Ivain
Un éternel romantique nous revient avec un 4e opus. Une belle série jazz de sonorités fraiches et un vrai amoureux que nous reconnaissons avec plaisir en temps de franches inquiétudes. Le jazz de Jose Fallot, se chante, se balance et se murmure comme un parfum d’avant l’été, comme un regard nonchalant. C’est un amoureux éperdu de larges espaces et de montagnes et sa musique est un champ joyeux jamais ennuyeux. Jazz et solos se succèdent indéfiniment mais ici les solos répétitifs ont laissés la place une intelligente forme astrale d’instruments a vents et de basses romantiques.
Jazz oui, mais un jazz diffèrent, heureux et pétillants comme un deconfine qui retrouve sa première terrasse. Un premier cafe, un premier regard… un premier rendez vous amoureux…. Et nous somme au 4e rendez-vous amoureux !!!
Jian (Ken Zheng) is a counter terrorism agent who blends his skills as a martial artist and clairvoyant to bring the world’s most nefarious individuals to justice. This lone wolf is is forced to make an unexpected detour to Los Angeles upon receipt of the devastating news of a cover up surrounding his brother’s alleged suicide. With the reluctant help of LAPD detectives, Abby (Madeline Zima), Carl (Tony Todd), and Captain Duke (Keith David), the unlikely group become involved in the investigation. Jian and Abby fight against a high-tech criminal (Sean Patrick Flanery) looking to exploit the brother’s gifts in his own quest to power.
Les musiques de film d’action sont difficiles et souvent se borne a de l’habillage. Il y a eu les grands James Bond, dont on ne retient que le thème d’entrée et de fermeture de Lalo Shiffrin, il y a de grand absent, car c’est une musique qui épouse l’image a défaut d’épouser la musique elle-même. Le cinéma américain est exigeant et des compositeurs exige plus du Sound Design que du contenu mélodique. Il est un des compositeurs qui s’exerce au style avec panache : Sid de la Cruz. Dans une modestie qui n’appartient qu’a lieu, Sid est un de ces fabricant de magie et d’intemporalité. Sur le film INSIGHT, il a eu le courage du thème original, la palette du design et le regard de construire une bande originale, digne de ce nom. Il y a de la recherche, de l’innovation, les sounds, les thèmes. Sid De La Cruz a mis beaucoup de lui-même pour trouver le bon ton, le bon son. Ecoutez et re écoutez Insight. Hellen Page
Director’s Statement on Insight’s Original Soundtrack
Statement from Livi Zheng & Ken Zheng Insight is a movie that includes several different cultures and also a story with elements of science fiction. Therefore, it was impossible to imagine Insight without interweaving several different genres and categories of music. The instrumentals that augmented Insight’s story were heavy on electronic synths, strings, brass and percussion. I choose these musical scores to fit with the diverse martial arts styles of action scenes. We even used special compositions to highlight our use of drones and other modern weapons as props in the movie. In the Warehouse Fight Club scene, staged in an underground caged fight in China, the music not only included the strings and brass but also the Guzheng, a traditional Chinese instrument. In theJian in Syria scenewe used instruments such as the Qanun, Riq, Darbuka, & Zil to reflect the local culture of the scene while remaining authentic. The soundtrack of Insight matches these scenes of the movie as an audio and visual is a journey through the world.
Sid De La Cruz, Composer
The score for Insight was fun to create. It’s a hybrid of orchestral and synth instruments. This is a bit different from my other scores in that it was requested not to use any woodwinds. Also, there were some cues where high strings were not used as well. I had to be creative and think of other ways to approach the music. Because the film deals with an element of science fiction, I feel that electronic instruments suit the film very well and help tell the story from the side of science fiction. Several of the cues tie in with photography of the film. For instance, in the track, “Apartment Fight”, some of the fighting leads to the kitchen. In the score, there are metallic instruments that help simulate kitchenware, pots, pans, silverware, etc. In the track, “Jian in Syria”, uses Middle Eastern melodic and percussive instruments are introduced and take and help contribute to the action music.
A story of twisted love, revenge and the redemptive power of a song.
Nooran, carefree and defiantly independent, is a tribal woman leaning the ancient art of healing from her grandmother, a revered scorpion-singer. When Aadam, a camel trader in the Rajasthan desert, hears her sing, he falls desperately in love. But even before they can get to know each other better, Nooran is poisoned by a brutal treachery that sets her on a perilous journey to avenge herself and find her song.
La mélodie d’un Orient extrême. Des sonorités aux Indes mystiques c’est un déferlement, un regard de l’autre monde. Toutes les histoires, toutes les légendes s’ouvrent sur le livre de nos vies. Béatrice Thiriet a l’habitude des envolées symphoniques, elle a mis un bémol à ses partitions pour se changer a l’emoi d’instruments orientaux. Le talent et le dépaysement d’un scénario, soutenu par les voix aux portes du désert. Un regard différent sur des paysages colorés avec des acteurs parfumés d’histoires et de passions. C’est un roman d’aventure, une symphonie de prophéties. Nous aimons faire partie de ce voyage. Hellen Page
Statement from Beatrice Thiriet
The song of scorpions is my second collaboration with the director Anup SINGH.
He proposed me this magnificent story in which the music is the main actress.
In this scenario the music is redemptive and source of life. It is the antidote to the deadly wound inflicted by the scorpion.
Both life and death are domesticated in the film by the power of women shamans and musicians from which Noora (played by the sublime Golshiftheh Farahani) is born.
This film is set in the desert and its perpetual movement. An apparent order on which the wind blows, sowing an invisible but permanent disorder. This daily disaster is embodied by a violent and intrepid camel driver played by the immense actor Irrfan Khan.
It is the meeting of these two characters who will struggle in the expression of their love that inspired me musically.
I mixed the sublime desert shots, the sounds of the Oud, the jaw harp or the double flute of Rajasthan with the lyrical accents of romantic, romantic or obsessive themes that I composed and orchestrated for a large symphonic formation. Wooden strings, brass and percussion, it is the whole orchestra that imposes itself in the folds of this love story that opposes animal cruelty and nobility of feeling.
The originality of this score is that it oscillates between the original nudity and the stripping of the chamber music ensembles, particularly in the Oud jaw harp duo or the cello percussion duo, and the impressionism and refinement of contemporary orchestrations.
Song of Scorpions wins the Torino Special Award at the Seeyousound Music in Turino
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