(Original Motion Picture Soundtrack)


(Original Motion Picture Soundtrack)

Director Megan Mylan

Music by Hanan Townshend

Label Plaza Mayor Company Ltd

HBO Documentary

A meditation on the elemental bonds of family told through portraits of four Syrian families in the aftermath of war…Simple As Water is a quiet and meditative documentary from Academy Award-winning director Megan Mylan.

Dans nos epoque d’un monde Fou, il y a des batailles invisibles et pourtant bien reelles. Des familles, des enfants tentent d’eviter le naufrage de leur vie dans les guerres provoquees par les autres. Il tentent de vivre, la ou la vie devient impossible.

Et quand l’impossible n’est plus supportable, alors a la nage, a la rage, ils tentent une autre vie.

Les notes de Hanan Townshend, resument tres bien cette lente descente pour rejaillier dans un espoir inattendu sur autre vie du monde. Hanan Townshend un melodiste empreint de l’humanite des touches de son clavier. Une avancee lente et magique. Il nous avait déjà enchante dans un film fantastique « The Book Of Vision ».

Ecrire, composer est une part de son humanite que l’on devoile. Le present score de « Simple As Water » est un pur moment.

Hellen Page

The soundtrack for Simple As Water is an honest and reflective score tenderly underlining the brokenness, loss and pain of the many displaced Syrian families in the world. In conception, the score was not to be emotionally manipulative and in its spareness allow the viewer to sit with the families in their day-to-day life and, hopefully, feel they are alongside them in their moments of struggle, loss and joy. The understated quality of the music makes each cue more poignant and memorable, as the main piano theme weaves in and out through the film. The instrumentation of the score is an organic blend of oboe, bowed vibraphone, marimba, piano and solo strings, and Its childlike purity is a reflection of the film’s subjects, families and stories. The score is tinged with a sadness throughout, but is always reaching for a place of hope, warmth and resolution. “Less is more” was the statement I came back to again and again while composing the music for Simple As Water – empowering the viewer to feel vulnerable in the face of the realities these families face and to reflect on the human connections all beings desire and were, ultimately, created for.

Hanan Townshend

G STORM (Original Motion Picture Soundtrack)

G STORM (Original Motion Picture Soundtrack)

反貪風暴 5″ (原创电影原声带)

Director David Lam

Music by Anthony Chue 褚镇东

Label Plaza Mayor Company Ltd

G Storm will be the fifth and final film in the Storm series

Z Storm, S Storm, L Storm, P Storm

Follows an investigator as he prevents a terrorist attack during a symposium held by Hong Kong’s Independent Commission Against Corruption. He later finds it has links to human trafficking in Thailand…

The main’s themes from the previous four films remain, and a few new themes appear for several of the new characters. The music in this film is generally bolder, since the plot is bolder. Also, I have used the Cor Anglais, for the first time in my music. Is the exotic sounding texture and it fits the mysterious aspects of G Storm.

Anthony Chue – composer





Label Plaza Mayor Company Ltd

Gauloises, frenchies ….and Jazz Around the Perche

After growing in Kent, which can be seen as the British equivalent to French Perche – some very green bush with hills, horseshit and a seashore not too far – Bob Tinker has been teaching in Southtampton and Truro. This is what Frenchies call eating your brown bread after you’ve had the white one. Especially when you think Bob has also lived in Hong Kong and Japan, just like any MI 6 agent, blowing his horn happily before he ended up in that rural area, smoking frogs, eating Gauloises and swallowing red burgundy like beer while hosting  thunderous cats in his jazz venue, but always with empathic class.

An enthusiastic be-and post-bop fan, Bob has imagine this release around some cool and hot Miles repertoire, as well as stuff from other relevant players in that exciting idiom that survived many generations, before and after hip hop.

The quartet and quintet line-ups he gathered are accomplishing that tribute purpose with some timeless elegance. Produced by basssit Jose Fallot, the album gently spreads over and further post war jazz by bluing the notes and our ears with tasty harmonies and explosive or retained swing. If jazz consists in always renewing our perception of famous tunes, here is some rewriting of pages we could have thought they had said everything. It’s a whole gallery of our imaginary musical museum that is exposed from track to track, but without any stone graving, better with the contemporary lightning of a Pei pyramid like in that city not far from Perche they call Paris

Line up: Bob Tinker (tp, fr.h), Bruno Pilloix (sx), Jean-Jacques Ruhlmann (sx), Ivan Chavez (elg), Olivier Hutman (k), José Fallot (elb), Eric Capitaine (dms), Etienne Brachet (dms).

  • 01 – Freddie The Freeloader
  • 02 – Boby And Soul
  • 03 – On Green Dolphin Street
  • 04 – Flamenco Sketches
  • 05 – I Mean You
  • 06 – My Funny Valentine
  • 07 – Footprints
  • 08 – When Sunny Gets Blues
  • 09 – Little Sun Flower
  • 10 – Yarbird Suite
  • 11 – Duet Improt BJ

LA MANCHA NEGRA (Original Motion Picture Soundtrack)

LA MANCHA NEGRA (Original Motion Picture Soundtrack)

Director Enrique Garcia

Music composed by Jesús Calderón

Performed by the “Banda Sinfónica de Jaén” orchestra, conducted by Pedro López Álvarez and Jesús Calderón in Jaén (Spain)

Label Plaza Mayor Company Ltd

After the death of the elderly Matilde Cisneros, her three daughters set the wake before a neighbor that turns its back on them, a priest in war with the family, and the unexpected arrival of his eldest son.


From the beginning, I conceived the soundtrack of “La Mancha Negra” as rough and wild music, a reflection of the feelings of the characters, who are tormented in a very visceral and primitive way. The mother of the family, for example, with her brief but crucial role, continues thanks to the music to constantly float over the whole story like a ghost that haunts and envelops everyone with her sickly and greedy personality until the end. “La Mancha Negra” is made of rough percussions, repetitive motifs, dissonances … but there is also a place for hope, nostalgia, memory and regret; that materializes through the music for Mercedes, which transforms from atonality to become a melodic poem that reunites her siblings again. I have to thank the effort and passion of the musicians of the “Banda Sinfónica de Jaén” orchestra, who put all their effort and enthusiasm in interpreting my twisted music, and Pedro López for his mastery and professionalism. Thanks also to Enrique García, director of the film, for his eternal confidence and infectious enthusiasm. This soundtrack would not have been the same without his wise advice and his knowledge of the power of film music.

(Jesús Calderón, composer of “La Mancha Negra” soundtrack)


The trip to the devised town of Aljarria in “La Mancha Negra” is a journey to the roots of pain of a family broken by the past, in a harsh environment, where hopelessness reigns and where, after the death of Doña Matilde Cisneros, resentment and greed emerges. Photographically portraying “La Mancha Negra” was a difficult but very plastic task: The days with yellow sand floors, white houses, blue skies, women in black mourning and heat, a lot of heat. The nights give way to the blue of the moon, the gold of the lamps and the black night, as if they were paintings by Caravaggio. The music could not be under that black cloak. Thanks to the interpretation of the “Banda Sinfónica de Jaén” and the masterful score by Jesús Calderón, I have been able to hear the broken soul of the Cisneros family based on double basses, the awakening of greed with insinuating flutes, percussions, pizzicatos and brass for the nightmares that become real. And the love that existed and died like a dry olive tree in the “Nana de la Negra Noche” song, composed by Calderón for the broken and at the same time authentic voice of Zenobia Fernández. Thank you, Maestro Jesús Calderón for giving eternal life to the soul of “La Mancha Negra”.

(Enrique Garcia, director and screenwriter of “La Mancha Negra”)

Orquestaciones: Pablo Olivas Marco

Ingeniero de sonido: Rafa Martos

Banda sonora mezclada y editada por Jesús Calderón

Canción “Nana de la Negra Noche”

Escrita y producida por Jesús Calderón

Interpretada por Zenobia Fernández

Fotos de la grabación: Gabriela Cerdán Cerdá

Fotografía de estudio: Fidel Meneses

Diseño de portada: Pedro Cabañas



Gypsy time…


A journey into the eternal Gypsy soul through words and music.

A journey around a known and unknown world.

Mario Hoffman: Thanks to his father, from an early age he became acquainted

With the chords, the famous guitarist, DJANGO REINHARDT.

His mother sings, and he often accompanies her at a very young age

On the terraces of the cafes.

Mario is a singular artist, self-taught.

Today he tells himself that the time has come to sing in the languages of his origins, it is a real renaissance that is offered to him.

Manouchka Meyer: During his adolescence, Manouchka lived in a low-rent housing in the Paris region

Often in the evening when she walked her dog, she went to visit the travelers, so she discovered around their campfire, the first chords

Gypsy music.

Compositeur : Mario Hoffman

Auteurs : Mario Hoffman, Pascale Meyer

Arrangeur : Mario Hoffman

Arrangeur du titre Manouchka : Igor Rover

Drums : Jean Phillipe Motte

Violon : Nadine Collon , Iréne Ficher

Violoncelle : Mathilde Sternat

Contrebasse : Jean Marc Dauvergne

Accordeon : Laurent Derache

Clarinette : Sylvain Hamel

Guitare : Mario Hoffman

01 – Choun Man – 03:53
02 – Latcho drom – 03:47

03 – Pushka – 04:04

04 – Chpilo Gaiga – 07:16

05 – Diklo Weiss – 04:18

06- Ethmol – 02:55

07 – Manouchka – 05:26

08 – N’im Mur Léva – 03:15
09 – Narta an trin dives – 03 :31

ROLLON – Sur les traces du premier Normand (Bande Originale du Film)

Réalisateur Alban Vian

Musique composée par Maximilien Mathevon

Label Plaza Mayor Company Ltd

Au Xème siècle, le viking Rollon est banni de Norvège. Il voyage jusqu’en France où il deviendra le fondateur de la Normandie.

Pour Rollon, la musique devait d’abord représenter le côté viking et guerrier de Rollon, mais également le côté chrétien de l’évêque Francon qui arrangea le destin de Rollon. Les deux éléments cohabitent avec une couleur musicale basée sur des sons orchestraux mais aussi sur le cymbalum, la harpe, la flute et les chœurs.

Dans la série des péplums historique, un regard de Viking, manquait à cet appel du large. Un air vengeur parfume à l’aventure du grand large, l’aventure embarquée sur des Drakkars. Le premier Normand accosta et s’ensuivit une folie meurtrière mais aussi spirituelle. Rollon, le premier Normand est un brillant docu-fiction réalise par Alban Vian. La musique très présente de Maximilien Mathevon, mêlant le choc des enclumes galvanisant l’acier des armes naissantes. Des voix, des mouvements de piano et de violons pour retentir dans le grand mystère de la naissance d’une nouvelle ère. A mi-chemin entre l’eau et le ciel on se prend pour cette épopée féerique, un chevauchement de l’imaginaire dans le tintement des cymbales et le choc des armes. Dans le refrain des guerres et le chant des pionniers. Rollon a donne de la foi et de l’âme. Maximilien Matevon a donne de la voix et du relief aux regards bleus et éperdus de conquêtes.

Hellen Page

THE SONG OF SCORPIONS (Original Motion Picture Soundtrack)

THE SONG OF SCORPIONS (Original Motion Picture Soundtrack)

Director Anup Singh

Music composed by Beatrice Thiriet

Label Plaza Mayor Company Ltd

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

AKELARRE (COVEN) Original Motion Picture Soundtrack

AKELARRE (COVEN) Original Motion Picture Soundtrack

Director Pablo Aguero

Music Composed by


Performed by ALOS QUARTET & Various Artists

Label Plaza Mayor Company Ltd

GOYA 2021 Nominee

Basque Country, 1609. The men of the region are at sea and Amaia takes part for the first time in the nightly dances in the woods with the other villager girls. She is only 20. At dawn, they are all arrested.

Les temps d’inquisitions, de la grande peur semée par des prédicateurs qui n’en avaient que la forme ont marque les esprits et les mentalités. Ses soleils lugubres, ses ciels d’un autre temps ont tourmente des populations, des convictions jusqu’à devenir l’aube d’une éternité rejetée.

Akelarre est un de ces mystères dévoilées, un film puissant pour une histoire sans partage.

Musique ancienne et instruments de la région du pays basque ont aides a la déconstruction de ce mythe et a la construction d’une fresque romanesque. Le duo

Aranzazu Calleja et Maite Arroitajauregi a partage cette émotion, ses sonorités d’autrefois.

La bande son est un petit chef d’œuvre inventif, mélodique et spontanée comme des étincelles d’instruments baroques.

Porte par les interprétations sonores de Alos Quartet et par les voix puissantes de divers artistes. Ce sont des chants, ce sont des mélodies qui tournent dans la tête et dans la puissance des images.

Hellen Page

1609, Basque Country (north to Spain). In a land full of pagan legends and ancient traditions, Judge Rostegui belonging the Spanish Inquisition is chosen by king Felipe III to be sent with a notary and a group of soldiers to purify all the region, traveling town by town to burn any woman with signs to be a witch. Obsessed to disclose the secrets of the infamous Sabbat (a theoretical feast where the witches make a ritual not only to summon The Devil, but to promise loyalty and mate with him) and denied to believe that it doesn’t exists in his absolute conviction that it’s for real, Rostegui arrives to an unnamed coastal village with no men (after they are sailors navigating by the sea) where five girls in their 20 years old are arrested: Ana, Olaia, María, Maider and the still teen Katalin. Not knowing the reason for the arrest, the girls are submitted to a hard interrogatory including torture to get the confession about they are witches and how it’s the ritual of Sabbat.

Notes on the music for Akelarre

My first objective was to retrieve the harsh, rebellious spirit of popular pagan music. And then to make it timeless: both ancestral and contemporary. To achieve this we started with a traditional melody, then we did arrangements for instruments from that period, but looking for the insolence, fury and fraternity that characterize the youth of all periods. During months of rehearsals, we gradually adapted the arrangements to the personalities and voice textures of the six actresses chosen after a casting of almost a thousand candidates. The final step was to create an evolution of that same song in different versions, ranging from the bucolic to the satanic, to reflect the demonization of the original culture.

Pablo Agüero, director


From a similar way of making and thinking music, Akelarre has given us the opportunity to create a common musical place. A place in which two worlds are contrasted: that of the girls (sweet, poetic, set in interiors and with a deeper tessitura) and that of the judicial inquisitors (with high-pitched sounds and more bitter, oppressive atmospheres).

Alos Quartet give voice to our work with energy and elegance.

Music in film is always a powerful tool, which we in Akelarre have tried to use with inventiveness and prudence.

Aranzazu Calleja and Maite Arroitajauregi (Mursego), composers

JERUSA BARROS Album “Ilhas (Isole).. A new Capo Verde voice…

Cape Verdean by birth and Palermitan by adoption, Jerusa Da Conceiçao Barros is a singer and songwriter who with her artistic and biographical experience represents a valuable synthesis between Creole Africa and the heart of the Mediterranean. Her music is imbued with both Cape Verdean colours and rhythms as well as the warmth of Mediterranean sounds, capable of creating a completely new formula for Italian songwriting.

Les sentiers escarpes du Capo Verde dansent encore au son de Cesaria Evoria. Mais c’était sans compter sans ses flammes de l’au-delà pour chalouper le cœur tango de ses peuples accroches a leur rivage.

De nouvelles voix, de nouveaux visages ont imagines une ile baignée de soleil et de poésie. Une ile ou la musique est le cœur et l’âme de ses habitant.

Une voix s’est levée, celle de Jerusa Barros. Un de ses destin qui s’est mis a traverser la Méditerranée pour se trouver un port d’attache. Avec des refrains balances elle promène son album « Ilhas (Isole) » au grès des vents et des marées. C’est une chaloupe en mer, une bouteille d’espoir et un appel pour des lendemains.

Une escale dans ses sillons « Di un solo colore », magie des mots pour une mélodie qui nous ramène a nos couleurs de peau de d’horizons. Une contest song tellement poétiques, que les lumières qui s’allument dans les yeux ne sont que beautés et pépites de plaisir.

On ne peut pas en vouloir a la vie, après ses messages d’humeur et d’amour.

Merci Jerusa Barros, de nous apporter ce vent frais venus d’ailleurs…

Hellen Page

She combines the Sicilian popular repertoire, as an interpreter of Rosa Balistreri, and the Cape Verdean popular repertoire, as an interpreter of Cesaria Evora, Teofilo Chantre, Ildo Lobo, Tetè Alhinho, Mario Lucio and all the great names that have contributed to making the Cape Verdean music known to the whole world. This period of great artistic growth finds further fulfillment in 2001 through the creation of the band (voice, guitar, bass, piano and percussion) “Cabeça Negra”, thanks also to the strong feeling with her life partner Francesco Cimino.
With this band, the singer ventures for the first time in the writing of songs, especially Cape Verdean texts that speak of her life, of her being in fact foreign in Cape Verde and “twice islander”, and of all the suggestions related to this: the wind, the sea, the land, the travel as a spiritual condition. The rediscovery of her mother tongue is of particular importance, both in her life and in her songs.

Jerusa says: «I wanted to talk about myself and my life and I started writing songs like “Estranjera cabverdiana”, which talks about my being a foreigner in Cape Verde, or “Em que lingua vou falar”, in which I asked myself in what language I had to speak when I met a sister in Cape Verde that I had never met before». It is a successful mix of Cape Verdean rhythms and Mediterranean sounds in the name of original and contemporary world music, that brings Cabeça Negra onto several important stages.

THE CHILDREN OF GENGHIS (Original Motion Picture Soundtrack)

THE CHILDREN OF GENGHIS (Original Motion Picture Soundtrack)

Director Zolbayar Dorj

Music composed by Ulziibayar Shatar

Label Plaza Mayor Company Ltd

En ces temps où les voyages deviennent de plus en plus virtuels a défaut d’être vertueux, la parution de cette musique de film est une bouffée d’oxygène. Sur des images époustouflantes on entre un peu dans le peuple mongol d’il y a longtemps et dans sa tradition de trois jeux culturels qui ont toujours existe pendant les périodes de festivités. La lutte, les courses de chevaux et le tir a l’arc sont inscrit dans les trois jeux traditionnels.
Cette se concentrera sur la tradition des courses de chevaux.
Outre les images d’un comte moderne aux confins de la Mongolie c’est l’imaginaire et les sons utilises dans la musique de ce film qui sont riche et plein d’émotion.
Ulziibayar Shatar, a fait appel a sa mémoire mongole traditionnelle et la vérité de son époque. Un score a la hauteur, un score de sensibilité dans la lutte virile qui se joue. Un sens de l’honneur a défendre, un père et son fils… On part dans un vrai rêve avec les yeux, un vrai rêve qui ne peut que s’ouvrir davantage.
On aura le sens du partage dans ce comte mémorable.
A découvrir au plus vite.
Hellen Page

The Mongolian people from long ago have had a tradition of three cultural games that have always been around during the time of festivities. Mongolian wrestling, racing horses and archery were among the three traditional games. This story will focus on the horse racing tradition. The town’s best horse race trainer Bold, has many people gathered at this house for a special announcement. Bold begins to brag about his most prized horse, the brown steed that still has yet to find its rider. After hearing this the townspeople recommend Dambii’s eldest son Dorj to be the rider. Upon hearing this Boldoo decides to ask Dambii’s son Dorj to be the rider for his horse. Dambii lives with his wife, Dolgor and three sons, Dorj (12 yrs old), Byambaa (8 yrs old) Nanzaa (4 yrs old) in the vast countryside in Mongolia. All of Dambii’s sons have a knack for the horse. When Bold recruites Dambii’s eldest son his middle son Byambaa gets angry that he wasn’t chosen to ride. When Byambaa gets angry that he wasn’t chosen the storms off.