Après la mort brutale d’un proche lors d’une séance d’hypnose qu’elle animait, Louise, jeune psychiatre tente de se reconstruire en s’installant dans un petit village de l’Aubrac. L’arrivée d’un nouveau patient au comportement étrange va la plonger dans une spirale infernale. Sa vie et celles des autres vont devenir un véritable enfer.
Yvi Slan s’est inspiré de György Ligeti, Krzysztof Penderecki, l’avant garde de la musique contemporaine polonaise des années 70. Il y a ajouté ses influences de fan de musique de science fiction comme les frères Bebe et Louis Barron. Yvi Slan a mélangé le tout aux bandes sons de films de genres actuelles comme les grosses productions internationales de films d’horreurs ou fantastiques. Son passé de compositeur de musiques électroniques, donne une musique résolument racé, ultra typé, moderne, comprenant tous les codes du cinéma de genre tout en s’en distinguant en y rajoutant sa « touch ».
Mastemah est une bande son, sombre, froide, triste, planante, totalement psychédélique, douce et ultra-violente et surtout sans compromis.
An injured stunt woman is infected by an ancient biological compound, when a side job as a PI goes wrong….
DIRECTOR’S STATEMENT | TOXICA | dir. RONA WALTER
TOXICA is a movie that, as we found out after putting the visuals together, would deserve not only delicate sound design and SFX, but also quite the precise score.
The musical score is inspired by elements of 1990s rock music mixed with smooth synths and subtle orchestral elements. The gripping theme Nir crafted recurs throughout the entire film in different moods to cause a dreamlike – or rather nightmarish – cycle.
We emphasis the subtle dread lurking on screen, creeping closer with every act. For example, whenever “Professsor Senca”, portrayed by English actor Andrew Forbes (“Bronson”, “Dr Who”) is on screen, the sound of his clothes and movements is created with the sound of rustling leaves. We approached a similar procedure with Nir’s score, twisting expectations, to keep the audience unsettled without them quite knowing, why, Nir clicked immediately with my vision, and added some truly stunning ideas due to his seemingly endless knowledge of music.
COMPOSER’S STATEMENT | TOXICA | NIR PERLMAN
Right from the initial conversation with Rona we knew the score for TOXICA wouldn’t settle for a generic Hollywood fresque score. Working with the changing nature of the film’s visuals and narrative allowed me to musically explore each segment while trying to create a coherent sonic foundation for the film’s world.
I feel fortunate to have had the chance to work on a film that allowed me to compose for horror, fantasy, action and drama all at once!
In terms of instrumentation, I grounded much of sound world in synth-based elements while adding the softness of the orchestra and the grittiness of analog and digital processing of sounds (from guitars to harps to a string section).
I am very proud of what we’ve achieved with TOXICA, as crazy as it might seem, I think the film stands out in its own special way, and I’m glad I got to be a part of this project.
Bending Reality talks about the perception of reality, the faculty to interpret and manipulate this reality, to transform and sublimate it. What is true, what is wrong, what are the truths that exist behind appearances and how do they parasitize them?
I wanted to create a constantly evolving sound universe, invaded by musical interferences which distort the appearances of the music.
I have also used unusual rhythms on some tracks (7/4) to create a sense of shift and that something is not working in the usual way.
This album is a constantly changing canvas, nourished by sounds and rhythms which add up, add to each other and evolve.
In this innovative fiction debut from Chiara Malta, a director with epilepsy trying to make a film about the life of famed Romanian actor Elina Löwensohn discovers that her real-life subject bears little resemblance to the star she idolized.
Federica (Jasmine Trinca), a clumsy and graceless Italian director, had her first epileptic seizure on Christmas Day 1989, while watching the execution of dictator Nicolae Ceausescu and his wife Elena on television. Since childhood, her only passion was cinema, and one film in particular played an important role: Hal Hartley’s Simple Men, in which Romanian actor Elina Löwensohn has an onscreen seizure. For Federica, it was a critical moment of reflection and connection.
Director Chiara Malta was inspired by a meeting with the real Elina Löwensohn, an experience that started her questioning what it is that exists behind a simulacrum. In her tender, playful, and multi-layered fiction debut, she crafts a film that cleverly toys with perceptions and projections. Guiding us through the unconscious, Malta marches her characters from realism to the realm of magic realism, all the while weaving a captivating fable about idol worship and identity. The hypnotizing and innovative Simple Women proceeds like a colourful matryoshka: with the removal of each layer preconceived images take on new and spectacular forms.
In April of 2020, a small group of filmmakers found ourselves locked down in the storied Hollywood Roosevelt hotel. With twelve days until the original safer-at-home order was set to lift (how wrong we were…), we crafted a film that mirrored the current state of our emotions in lockdown. Upon wrap, we formed an instant connection with composer Zach Robinson, who injected life into our ideas and wove them into sonic splendor. Facing uncertain times, we hoped to capture the early days of what would become a total paradigm shift in our society. Zach’s score anchored this project, accenting the terror faced by our cast with memorable, chilling motifs that linger long after the credits roll.We wanted something that harkens back to giallo classics of yesteryear, but still maintains the modernity and eeriness of the current wave. This is the result. – Directors Chris Beyrooty and Connor Martin
Shelter in Place une des milles et une histoire de la pandémie et de ses confinements successifs.
Zach Robinson co-compositeur de la série Tv Cobrai Kai, signe ici un score aux résonnances électro. Je me suis mis a aimer ce dynamisme et les sons angoissants d’un huis clos malheureux. L’électro qui me semblait sans chaleur est ici suave, sensuel et un tantinet mélodique a n’en plus finir. Sans doute le changement d’époque subit, le bouleversement de nos sécurités habituelles ; sans fantaisies, sans superflue, Zach Robinson a rejette et jette toutes ses tonalites pointues, aigues pour en faire une harmonieuse partition.
In May of 2020, I was approached by two directors to score their horror film, which to my shock and amazement had already been written, shot, and edited mere weeks after the global lockdown had been instated. As I watched the film for the first time, the most inspiring facet to me was the location at which it was set: the Hollywood Roosevelt Hotel, one of the most famous Los Angeles landmarks and only a 5-minute drive from my apartment at the time. The beautiful visuals Chris and Connor were able to retrieve from this once vibrant but now utterly desolate location made my brain wild with ideas. I got to work trying to identify sounds and melodies that echoed the ghostly hotel and was particularly fascinated with the use of space. For this film, I often chose to write simple melodies with fewer notes, or simpler rhythms that could live within the hotel’s uninhabited space without feeling overwhelming or jumbled. The result ended up something akin to an Arvo Pärt score for a giallo film. I’m incredibly grateful to Chris and Connor for bringing me aboard, as well as producers Jonathon Martin and Blake Goza. -Composer Zach Robinson
Liquid State – the joint venture label co-owned by Sony Music and Tencent Music Entertainment – has a new boss.
Liquid State has announced today (October 8) that it’s hired Victor Lee as its new Managing Director, as it aims to become “the top electronic dance label” in Asia.
Hong Kong-based Lee was previously VP of International Streaming and Marketing at Mike Caren’s APG (Artist Partner Group).
Lee succeeds Gunnar Greve as Managing Director of Liquid State. MBW understands that Norway-based Greve exited as the Sony/Tencent company’s MD in May, following two years in the role.
Victor Lee will now take responsibility for discovering and developing Asian electronic artists at Liquid State, as well as providing opportunities for international artist collaborations. He will report to Andrew Chan, Managing Director of Sony Music, Greater China.
“Victor is an experienced and successful music industry executive who brings with him extensive experience across various regions as well as a track record of developing successful labels,” said Chan.
“With Victor joining, we look forward to fostering more domestic Electronic Dance Music talent in Asia and expanding the number of international collaborations.”
Lee brings over 30 years of music industry experience to Liquid State, having supported artists such as Avicii, Bob Sinclar, Kylie Minogue, Gucci Mane, Wyclef Jean and Whitney Houston during his career.
At APG, the exec managed the firm’s international relationships with Spotify, Apple Music, Amazon Music, Deezer, QQ Music, JOOX, KKBOX, and others in Asia, whilst also working to maximize global streams for the likes of Ava Max, Bazzi and Charlie Puth.
From 2013-2019, Lee joined At Night Management and co-founded PRMD Music, the label home of the late Tim Bergling, a.k.a. Avicii.
Under PRMD Music’s partnership with Universal Music Group, Lee spearheaded the marketing campaigns for Avicii’s debut album True – including the huge hit Wake Me Up – and the artist’s second studio album, Stories.
As Global COO of PRMD Music, Lee also managed campaigns for releases by Wyclef Jean, Cazzette, Syn Cole, MORTEN and US DJ/producer Deorro. The latter artist’s Five Hours and Five More Hours singles (featuring Chris Brown) have generated more than a billion global streams to date.
“Electronic Dance Music is an important music genre that we believe has a lot of potential for growth,” said Andy Ng, Group Senior Adviser, Tencent Music Entertainment.
“Victor’s appointment will bring us a step closer to our ambition of becoming the top electronic dance label in the region, developing new fans and providing more opportunity for local talents to showcase their work.”
Added Lee: “With the combined resources and expertise of Sony Music, Tencent Music and Liquid State, we are uniquely placed to provide the deep bench of untapped electronic talent in Asia with a pathway to the global success they deserve.
“Likewise, we can enable international artists to unleash the huge potential which lies within the Asian market. As such, I am thrilled to be working alongside Andrew Chan and Andy Ng in taking Liquid State into its next phase at, what is, an amazing moment in the history of the Asian music market.”
Just ask Spotify: earlier this month, discovered that the music streaming platform had been granted a patent in the US for a new karaoke-like feature that allows users to “overlay a music track with their own vocals”.
That came after Spotify successfully filed another US patent, for a TikTok-esque fuction that would allow users to create “video moments” accompanied by music within the Spotify app.
Today we discover that another large-scale music company has secured what it describes as a “game-changer” patent in the US.
That company is Ingrooves Music Group, the Universal-owned music marketing services and distribution firm that works with a host of successful indie labels and artists.
According to Ingrooves, it exclusively secures the company the rights for a proprietary method of using artificial intelligence to “detect significant shifts in audience engagement and identify high-value streaming audiences”.
In other words, Ingrooves’ invention identifies audiences who have a high likelihood of deepening their engagement and becoming long-term fans of individual artists.
Ingrooves can then advise its clients about their marketing strategies accordingly.
The tech relies on aggregate reporting data that contains no personally identifying information, ensuring that it is fully compliant with GDPR and CCPA rules.
“For the entire music industry, the biggest problem everyone has is how do you efficiently and effectively market in a world where over 60 million tracks are available at all times to consumers, and the principal relationship with the consumer is controlled by other companies, namely, the DSPs,” said Ingrooves CEO, Bob Roback, speaking to MBW.
“Core to [solving] that challenge for us was to focus on a strategy around not just gathering enormous amounts of data and trying to present them beautifully in an aggregated dashboard, but really try to move to the stage where we could actually help our clients make better decisions.”
“There’s value in a patent portfolio, but we’re not trying to invent for the sake of invention”, added Roback.
“We are trying to solve a very real business problem, so I can sit with an independent label head, artist manager and say, ‘By working with our platform, and insights and team, you are able to make much better decisions, spend your money more wisely, and respond to marketing opportunities more quickly’… The patent is formal recognition that this is an innovative and protectable approach that we’ve taken.”
Ingrooves has already started to integrate the new tech within its ‘Trends Now’ platform, which is described as “an algorithmic newsfeed of essential activity happening across a labels’ or artists’ music and fans”.
Additionally, later this year, Ingrooves plans to embed the freshly-patented technology into a new, proprietary ad-buying solution within the company’s Dispatch marketing platform, which was upgraded last month.
L’opérateur Free a dévoilé cette semaine sa huitième génération de box Internet. Le PDG, Xavier Niel, présente cette innovation. Il s’exprime également sur les craintes montantes à l’égard de la 5G.
franceinfo : Quelles sont les caractéristiques de cette Freebox Pop ?
Xavier Niel, PDG-fondateur de Free : Cette nouvelle box intègre des choses que l’on n’a jamais vues dans une box. D’abord, la possibilité de couvrir entièrement votre foyer en Wi-Fi avec un débit jusqu’à 5 gigabits à partager entre tous les équipements. Côté TV, nous allons proposer les meilleurs moments de la Ligue1 de football, sous forme de notifications sur l’écran de télé. En outre, nous allons offrir à nos abonnés qui prendront cette box un forfait mobile 4G illimité, le seul de ce genre en France, à un prix extrêmement bas de 9,99 euros par mois, ce qui est du jamais vu. La box, quant à elle, sera proposée à 39,99 euros, qui correspond au prix moyen du marché. C’est aussi une box minuscule, la plus petite jamais créée en France.
Mais les box TV et Internet ne sont-elles pas vouées à disparaître, en raison de l’intégration de leurs fonctions dans les télés connectées et dans le réseau ?
Nous sommes l’inventeur de la box, et nous sommes donc très attachés à ce petit boîtier. Mais au-delà de cet attachement, le problème des offres sans box (comme celle de Bouygues, NDR) est qu’elles ne sont adaptées qu’aux dernières générations de téléviseurs. Nous, nous avons choisi de réduire au maximum la taille de notre box de manière à ce qu’elle devienne invisible.
Que pensez-vous des manifestions d’opposition à la 5G ?
Ce qui m’inquiète, c’est qu’un retard dans le déploiement de la 5G aurait des conséquences sur l’attractivité économique de la France. Si vous êtes investisseur, vous regardez tous les pays européens, et un retard de la 5G nous pénaliserait. C’est un premier élément. Au-delà de cela, l’appel d’offre sera lancé au mois de septembre. L’Etat a dit quels équipements pourraient ou ne pourraient pas être présents en France. J’espère maintenant que nous sommes partis que l’on pourra rapidement déployer ces technologies. Il faut savoir que la 5G, en France, va être déployée avec des fréquences qui sont utilisées depuis très longtemps, sans problèmes ni d’effets sur la santé. Par ailleurs, c’est une technologie plus moderne qui consomme moins d’énergie. L’empreinte écologique est meilleure avec la 5G qu’avec les autres technologies passées.
Mais la 5G ne va-t-elle pas contribuer à l’accroissement du trafic ?
Ce n’est pas la 5G qui fait augmenter le trafic, c’est notre utilisation des réseaux mobiles qui fait augmenter la consommation de données. Si l’on veut être raisonnable, il faudrait que tout le monde réduise sa consommation de données. Or, d’après les chiffres que j’ai en tant qu’opérateur, on ne va pas dans ce sens-là.
Distribution The Orchard – Sergent Major Company Ltd
Cd Digital & Cd Physical
Extrait “ONDA SU ONDA » created by Paole Conte
Le temps s’écoule plus lentement et trépidant comme des perles de pluies. Une musique fluide, du tempo a fuir et des ses mélodiques qui nous reviennent en mémoire perdue et maintenant retrouves. Onda su Onda, la voix de Paole Conte, quelle merveille, Cesaria Evoria et un swing imperturbable, Massino Ranieri,… et tant d’autres…quelle belle histoire de ressusciter ses immenses vestiges de la chanson. De redonner couleur et force a des images et des pensées que nous avons dépensée a une époque et qui reprennent la dimension de leurs espoirs ici sur des tempos fin. Remo Anzovino encore une touche spéciale, italienne, mélodique et vocale comme un San Remo la nuit, un virage de la Baie des Anges, une langueur des plages de Rimini. Les tempos acidulés, les platines accrochées ont finalement du bon. Un prolongement de nos voyages intérieurs, un regard électronique certes, mais tellement solidaires du temps qui vient et que l’on ne peut arrêter. DJ Thor & Tony Corizia sont des allies parfait de ce moment que l’on voudrait éternité. A écouter absolument leur Album « Odyssey (Ancient Beats & Myths) Hellen Page
The sound of Dj Thor meets that of bassist and international producer Tony Corizia in a new 18-track concept album titled “Odyssey (Ancient Beats & Myths)”. The two well-known artists – who are not new to major musical projects together – this time, inspired by Homer’s Odyssey, musically address the theme of travel. During the long quarantine period, isolated in their own studios and connected to each other only through the internet, they have made together, note after note, this long album of an almost 80-minute lenght. A current original and very visionary sound path where they explore different places, emotions and cultures through music, virtually as in Ulysses’ journey, without moving physically but only in a musical sense that recreates those emotions and sensations. The themes of sea and nature strongly return throughout the album. Refined electronic atmospheres, unique ethnic sounds typical of Anatolia along with instruments such as the duduk and forays into chill out music, afrohouse and progressive house with an inevitable touch of pop and jazz that turn some of the tracks into possible radio hits.
Virtually coming out from the Mediterranean Sea and sailing beyond the Pillars of Hercules to Capo Verde, whose music inspires part of this journey, as in the case of Gianni Morandi and Cesaria Evora, who duet together in a classic Cape Verdean, or Giusy Ferreri who sings Creole along with the sensual voice of Jerusa Barros in a brand new remixed track. International taste in the arrangements and lots of Italian music revisited in a very modern and experimental key: the voice of Massimo Ranieri in an electronic tango with an r’n’b groove, the unmistakable voice of Bruno Lauzi in an electro swing version of “Onda su Onda”. High level chill out in “Daleko” with pianist and composer Stefano Bollani, the flute of the legendary Ian Anderson of Jethro Tull and Tinkara that intertwine in a classic house piece. Some tracks are steeped in mystery, inspired by the oldest places in the eastern Mediterranean and with very modern arrangements, typical of the Burning Man Festival. Another very interesting song on the album is “Stay”, arranged and written by the two artists with the electronic disco dance guru Fabrice Quagliotti of the legendary french group Rockets.
On the album there are also several narrative voices (in English and Italian) from strong cinematic flavor, mention the ancient Homeric poem and a truly inspired poem of the early Twentieth Century. The album ends with “Götterdämmerung” (or “The Twilight of the Gods”), a name inspired by Richard Wagner, the “trait d’union” between the Nordic mythology – from which the same Dj Thor has drawn inspiration for his name – and the very similar ancient Mediterranean myths (to which, instead, the Odyssey is inspired).
Several hidden and cultured quotes, many emotional musical visions for this long virtual journey, born during the long Spring 2020 quarantine.
Thor (who currently records with Plaza Mayor Company Ltd) is an international DJ and musician, based in Rimini and Riccione. He has performed with his music in Italy, the United Kingdom, Turkey, the United States, the Principality of Monaco, Germany and Japan. He is the resident DJ of “Villa delle Rose” in Misano and “Peter Pan Club” in Riccione: two Italian reference clubs on the world scene. Tony Corizia, bass player and producer, well known in the international music scene, member of the italian rock band “MotelNoire” (an album for Sony Music ) and co-author and bass player for Rockets’ “Kids from Mars”. Over time, among others, he has collaborated with Steve Bush (Stereophonics), Bill Rieflin (R.E.M.), Federico Zampaglione (Tiromancino), Jake la Furia (Club Dogo) just to name a few. In the past the two artists composed and produced together the music for BATMAN “Dark Tomorrow” (Kemco / DC Comics / Warner USA) in collaboration with Tot Taylor and the Royal Philharmonic Orchestra, at the Abbey Road Studios in London and later in Tokyo. Together they also started the international project Hit-Aliens in 2004 and released the single “Es la colegiala” (FullFX / Warner Music) with the “cameo” by Chuck D (Public Enemy).
The international producer Alberto Zeppieri played the role of “diplomatic agglomerator” beetwen the two and the several artists who take part in the album adding their featurings.