Composed by Henry Jackson

As lively as you would imagine but with a little thought behind it. The very short [0:36] opening track South Pacific has a slight throwback style to those awful 40’s & 50’s movies. Not that the track is awful, it’s not. It’s a scene setter as they say, an old fashioned prelude. Packard’s Blues has a a displacing, distortion on what I can only describe as a rusty piano, very effective and ‘wired’ sound. Assembling The Team gives us a little electric guitar, obviously their are some hot shots in said team. Kong The Destroyer has really mean brass and anxious violins. Things hot up with Spider Attack, the cue starts with a deep [I think electronic] buzz and you can just sense that the spiders are watching somewhere, it’s followed by rapid percussion. Another strange noise appears in an unsettling cue called The Boneyard. The tracks which cover the main event are never over the top and altogether this is another really strong score by Mr Jackman.

Water Tower Music


Composed by Jon Ekstrand

The first track Welcome to the ISS, very conveniently tells us about the mission as spoken by a member of the crew Dr. Miranda North [Rebecca Ferguson]. That mission is to get soil samples from Mars. This opening track is like a space meditation, you could imagine floating to this. It continues to sound like a parred down Gravity soundtrack in It’s Alive but ends with a heralding trumpet saying ‘all is not well’. It doesn’t really change over the next couple of tracks and should action be needed it’s somewhat formulaic. Spacewalk cranks up the tension nicely as does Thrusters. It pretty much sticks to this sound palette all the way through until the dynamic A Long Way Back which again doesn’t veer from it’s doom-laden drop note. Swedish composer Ekstrand does say in his bio that he is a composer and film sound designer and this is definitively an outer space mood board. I will say I have not yet seen the film and this soundtrack wouldn’t encourage me to but as a true sci-fi fan I will get to see it and hopefully it will fit the film like a glove.

Milan Music


Composed by Terence Blanchard

Joy of joys, a JAZZ soundtrack. Jazz soundtracks are one of my passions and this is a welcome score to the list. Composer Blanchard [also trumpeter and bandleader] has composed several jazz scores including Inside Man and Red Tails. A jazz led score is just right for the story of ageing and out of control comedian Jack Burke [Robert De Nero] and to get a sense of how out of control he is you only have to listen to the mighty Blanchard trumpet in the free fall track Electricity On MacDougal. Jackie In the Rain opens with a slow bass line making it easy to imagine the key character, shoulders slumped, ambling along in the rain. Each track is a gem and this score could easily be played anytime – but if you don’t like jazz then it probably will not appeal.

Blue Note Records



CONTRATIEMPO [The Invisable Guest] by Fernando Velazquez

From one of the busiest composers around and one of the most diverse. I am now a confirmed fan of this Spanish scorist and accomplished cello payer. This soundtrack colours a dark, intense thriller involving murder and manipulation and and you have no doubt of this as you listen to track upon track of full throttle darkness.

The first track Goodman starts with a low note cello intent on driving you mad as it just keeps going onward in the background as the orchestra dances around it, it’s quite a pull. I try not to compare too often but this is a good comparison – El Inivitado Invisible has those long violin notes which rise and then just hang there just like the classic scores of Bernard Herrmann. In La Pesadillla there is  what I can only describe as a continuous string vibration in the background akin to the sound of swarming bees, it’s very effective and really niggles at your senses. It appears on a more buzzy level in Tu No Quieres Perderlo Todo Verdad is a winding track with wonderful chord changes, there is so much going on in this cue, subtle and compelling. The last track has such gravitas starting with a sombre funereal drone, violins slowly come in and build until the strings can not reach any higher. There is no escaping this track it is really taking you somewhere … and then it doesn’t. It stops and you are left with a drum beat and then it’s back to how it sounded in the first track, jaunty and as if all was ok after all!

There is no motif as such but there is a pattern which journeys you along and there are many long, unswerving notes which just hang there giving a chilling sense of terror. This is a score which definitely gets under your skin!

The score is performed by the Euskadi Symphony Orchestra who do such a brilliant job under the baton of the Velazquez. The album also includes the original song “Nadie va a venir a buscarte,” composed by Velázquez and performed by Zahara.


1. Goodman 2:27
2. El invitado invisible 2:12
3. La pesadilla 5:37
4. Giro a la izquierda 1:28
5. Tú no quieres perderlo todo ¿verdad? 3:19
6. El testigo 2:44
7. El hundimiento 0:51
8. Reencuentro 1:07
9. Un buen hombre 2:03
10. Atrapada 3:19
11. El último error 2:44
12. No me amenaces 5:08
13. Yo sé lo que vi 6:51
14. Chantaje 1:22
15. Tres preguntas 4:16
16. Pensamiento lateral 7:15
17. La sombra de la sombra 11:22
18. El invitado invisible II 7:45
19. Nadie va a venir a buscarte (Zahara)




“This started off with all of us piling into a room and playing together. I had this idea: How do these women think differently about mathematics? They dance about math. The rhythm shouldn’t be straight, it should swing a little. It really was the three of us. People don’t understand that we really do work well as musicians in bands.
Hans Zimmer

Initially this was a problem for me, I don’t really like it when two composers work on a soundtrack let alone three. Call me a purist but I have heard a few collaborations on scores and they always come across as uneven. So I put some work in and read about how they they put it all together. Williams is one the films producers who was working on some songs with a 60’s vibe, Zimmer said that he would have “the right playbook”. And of course Wallfisch had previously contributed music to Zimmer’s ‘Batman versus Superman: Dawn of Justice’ score. It still didn’t sell the idea to me but I settled sown to listen to the score.

Hidden Figures is the story [not well known before the movie] of African American women working at NASA in the early 60″s.  It opens with Katherine, a plaintive piano that is overtaken by a female voice which accompanies it well. Mission Control gives us the first rush of a ‘spacey’ sound – a short pulse with a driving under bass. This returns in the start of Space Task Group, the piano returns and the low tones telling of the continued failures of the group. Plucked strings and a short base line gives a comedic nuance to Slice of Pie.

Redacted is a joy of a cue with those plucky strings re-apearring and then at 1:01 a bass and a muted trumpet make a delicious sound [I love this cue!] Redstone is another strong cue where  ‘babbling’ voices gives a sense of a puzzled mind working at 100 miles an hour, it’s a clever twist. The babble is reprised in the tense cue Launch. Rocket Peril is not short of a small symphony which soars.

All the rich elements which make this soundtrack follow through in cue after cue, giving the soundtrack a richness of texture. It’s a soundtrack I will return to. To say it has a feel-good factor does not cheapen the overall score, it strives and lifts. I heard the signatures of all three composers albeit that Williams touch only came to my mind a couple of times. Has it changed my mind about collaborations? Well, I will admit that as much as I really enjoyed this score I think I remain cautious.


1. Katherine 2:37
2. Mission Control 1:17
3. I’d Already Be One 1:08
4. Space Task Group 2:56
5. Slice Of Pie 1:05
6. Redacted 1:26
7. With All The Angels 1:35
8. Redstone 1:36
9. Call Your Wives 3:23
10. Launch 2:21
11. That’s Just The Way Things Are 2:25
12. Sign 1:11
13. Kitchen Kiss 0:55
14. Mary And The Judge 1:30
15. I Like Her Numbers 2:07
16. Ladies’ March 1:25
17. Mary And Levi 2:12
18. Euler’s Method 1:23
19. Proposal 1:40
20. Pearls 2:41
21. Katherine Calculates 1:32
22. Lift Off 3:11
23. Warning Light 0:59
24. Rocket Peril 3:10
25. Hidden Figures 3:50
26. Epilogue 0:38
Total Album Time: 50:13

Columbia Label

Note that there is also Hidden Figures The Album featuring songs used in the film together with songs composed by Pharrell Williams, also on the Columbia label.

PREVENGE by Toydrum Soundtrack Review

From Lakeshore press release:
“A pitch black, wryly British comedy, PREVENGE follows Ruth, played by Alice Lowe,a pregnant woman on a killing spree that’s as funny as it is vicious. It’s her misanthropic unborn baby dictating Ruth’s actions, holding society responsible for the absence of a father. The child speaks to Ruth from the womb, coaching her to lure and ultimately kill her unsuspecting victims.  PREVENGE marks the directorial debut from Lowe, who is a true triple threat, writing, directing, and acting in the film during her own real-life pregnancy.
PREVENGE is Alice’s directorial feature debut. She wrote, starred in, and directed it whilst 7-8 months pregnant with her first child, who also appears in the film. Alice was one of the BIFA nominees for ‘best debut director’.”

I became an Alice Lowe fan with the film Sightseers [2012] , and as I have just a teeny weeny, ever so so slight ‘connection’ to her as she went to school with a cousin of mine [I said it was slight :-)], it’s only fair that I should review the films soundtrack. Here’s a little bit of info on Toy drum from the press release:

“Toydrum are a duo who sneak into the consciousness. Not for them the full frontal assault but, instead, a drip-feed of classy work that many may know without knowing. Their hugely acclaimed work with the late singer-songwriter Gavin Clark lit up Shane Meadows’ ‘This Is England ‘90’, their rework of John Lennon’s ‘How Do You Sleep’ led Noel Gallagher to have them remix his High Flying Birds hit ‘In The Heat of the Moment’ (which, in turn, soundtracked last year’s epic ad for the latest ‘Assassin’s Creed’ game), and their soundtracks for films such as the recent Tye Sheridan-starring thriller ‘Detour’ and Alice Lowe’s 2016 Venice Film Festival opener, ‘Prevenge’, have broadened their appeal further.”

Intriguing! As is the soundtrack. It starts appropriately with Intro which is as disconnected as you can get with a pulse running through it which perhaps is the baby’s heart. Biological Clockwork (The Train) is where we are introduced to the voice of the unborn baby saying “It’s OK, I’m here”. The rhythm of the synths obviously suggests the motion of the train with a splendid flurry of 80’s style synth. Fury Pt 1 & 2[Rework] is dominated by  deep bass with a flat, synth chime which resonates that ‘something is not quite right” … putting it mildly. Have to say that this a track which will be loaded on to my non-film playlist!

We get to the darkness in Visions Of (Nice Guy Josh)/Killing For Two, the first half is a cold eerie sound palette with a siren sound which is still there but comes in after a childlike toy sound. Climbing The Walls (Pt 1] also has a pulse but this time it sounds like a chilling, muted voice tying to say something. Crazy Bitch/Hormonal Bliss had me laughing at the very start due to the baby voice saying “Do it, do it now” but then it goes into a rich, deep synth riff which I wanted to hear more of but as with quite a few of the tracks ,they have  2 or 3 cues in 1 track. I guess it’s because they would be too short on their own.

Mostly mood tracks with bursts of great synth, all enhanced with the baby voice starting off some tracks. It creates exactly what is required – fear, madness, disconnectedness. I longed for more of the deep synths but’s that just my love of them, this is a solid thriller/horror score which paints only one colour – BLACK!


1. Intro (1:47)
2. Biological Clockwork (The Train) (1:53)
3. This Is What I Really Look Like (Rework) (3:46)
4. Logical Clock (2:08)
5. Fury Pt 1 & 2 (Rework) (3:46)
6. Visions of (Nice Guy Josh) / Killing for Two (2:27)
7. Always with You (Full Song) (3:12)
8. Be Ruthless Ruth (DJ Dan) / Let’s Get You (To Bed) / Ruth Theme (Bath) / Biological Clockwork (The Window) (5:08)
9. Climbing Up the Walls (Pt 1) (1:15)
10. Crazy Bitch / Hormonal Bliss (3:51)
11. Ruth’s Theme (Cemetery – Yoga) / Visions Of (Pt 2) (4:06)
12. Biological Clockwork (The Walk) (4:41)
13. Climbing Up the Walls (Pt 2) / Baby Knows Best (The Tunnel) (2:34)
14. Always with You (Pt 2) / Ruth’s Theme (The Cliffs) (3:31)
15. Children of Love (End Titles) – Paul Synnott (2:10)




a-cure-for-wellness[Soundtrack Cover]

This is by far one of the most interesting of Wallfisch’s scores. Given the eerie subject matter – a company’s CEO is in an idyllic but mysterious ‘wellness centre’ in the Swiss Alps. An employee, sent to retrieve him, who soon realises that the spa treatments are not what they appear to be – the scope is quite wide. And with cues entitled .. Terrible Darkness, Nobody Ever Leaves and Clearly He’s Lost His Mind, Wallfisch has definitively delivered.

It opens with a young female voice humming a short refrain which we hear throughout the score and which has an old world feel about. Rites is a strong cue, dark and ethereal with chorus and very deep mail voices [such as in Buddhist chants], these seem to rise from another world. Feuerwalzer is a waltz intertwined with a full orchestral dramatic cue. Clearly He’s Lost His Mind starts with music that would have suited the end piece in The Shining. The end cue, Volmer’s Lab has a childlike feel, almost a message after the mayhem trying to assure us that everything is well. Volmer Institut has an unexpected beauty about it whilst Lipstick is almost indescribable and sounds like continued distorted volume!
This is an odd score for a very odd film but it’s totally compelling. The mix of orchestral works with some of the darkness sounds I have ever heard on a soundtrack, give this score a overwhelming sense of fear and madness.

1. Hannah And Volmer (4:35)
2. Nobody Ever Leaves (1:49)
3. Bicycle (2:00)
4. The Rite (3:42)
5. Feuerwalzer (3:44)
6. Magnificent, Isn’t It? (2:11)
7. Actually I’m Feeling Much Better (1:59)
8. Clearly He’s Lost His Mind (2:49)
9. Our Thoughts Exactly (1:03)
10. Volmer Institut (3:02)
11. Terrible Darkness (3:18)
12. Lipstick (4:21)
13. Waiting (0:55)
14. Zutritt Verboten (3:38)
15. There’s Nothing Wrong With You People (1:25)
16. Lockhart’s Letter (2:12)
17. Volmer’s Lab (3:32)
18. I Wanna Be Sedated – Mirel Wagner (3:38)

Milan Music

FENCES by Marcelo Zarvos soundtrack review


FENCES by Marcelo Zarvos

Zarvos can be a little on the sugary side which is not a bad thing but in a film where family emotions are high and the patriarchal role, [Troy played by Denzel Washington] dominates everyone around him due to his own shortcomings – you need a score delivering tension and big emotions.

The first track Gabriel’s Trumpet is piano led, plaintive and slow – which is what Zarvos does well. Piano notes laced together have a tenderness and a questioning heightened by the unobtrusive strings hovering in the background. It does get your attention.
We meet the son who causes the most inner turmoil in Troy in Corey’s Theme where the strings suggest a tentativeness on the son’s part to not invoke his fathers fury.

Alone at the Bar, has so much sorrow at the beginning. The cue is stripped down to four piano notes at the beginning, then a piano and lone flute and not much more but it conveys so much. It’s in You Got The Devil In You where the momentum starts. Low, cello strings with high, stretching violins and a beating drum make a heady mix of tension.
Troy’s Story has a lingering string line which drips away constantly subtly promoting confusion and anger. Whereas Rose’s Theme is more lyrical. The longest cue is saved for last: God’s Closet which is pretty much in the same tone as the rest of the score though half way there is a piano piece which flows more quickly signifying something is changing – it’s quietly life affirming.

Zarvos does deliver on both the tension and the pathos. This will not be a score which will be played for pleasure, not all soundtracks have to have this element and when reviewing a score this is not an item that is accounted for. Listening to this soundtrack against the story of the film, it’s the slow, steady pace of the music which gives attention to every single note.

There are 4 tracks/songs from the period on this soundtrack as well.

1. Gabriel’s Trumpet
2. Cory’s Theme
3. Alone at the Bar
4. You Don’t Know What Love Is – Dinah Washington
5. You Got The Devil In You
6. Peace Be Still – Reverend James Cleveland
7. A Womanless Man
8. Fences
9. Troy’s Story
10. I Will Wear a Crown – Reverend James Cleveland
11. Rose’s Theme
12. They Could Do Nothing for Her
13. Confession
14. City Hall
15. A Dog Named Blue
16. Day by Day – Little Jimmy Scott
17. God’s Closet

Sony label

The Great Wall, Hjertestart, Divide Kundschafter Des Friedens – Pocket Reviews

THE GREAT WALL by Ramin Djawadi

Why am I not liking this score I ask myself, after all it’s by Game of Thrones composer Ramin Djawadi But after a second  listen it’s not growing on me  but then ironically it’s not a disappointment. I imagined it to be a passable action score complete with ethnic instruments and that it exactly what it is. Well orchestrated with a certain tension  but the motif is weak even with a full chorus backing.

The opening track Nameless Order, gets the interest going but soon fades as most of the tracks being action cues just meld into one. The most emotional pull is in We Are Not The Same which takes a break from all the fighting, in fact it’s quite beautiful with it’s strong allegiance to ethnic instruments. The last track Ixn Ren has some of the impact I was expecting and  which I would liked to have heard throughout the score. With a full orchestra and the essential drums it had all of the ingredients but will very little flavour.

Label: Milan


 DIVIDE by Chris Tilton

Chris Tilton has Assassin’s Creed Unity Vol 1 and 5 series of the TV show Fringe under his belt and this soundtrack to the PS4 sic-fi,action adventure game is a really notable addition to his catalogue. A lot of action games score can sound quite flat – just music to keep the momentum going but Divide transcends all that.

After a belter of a Trailer Mix song [title: Divided] featuring Tori Metzler the mood of intrigue and tension never drops from then on. It briskly moves onto the pulsating Steal The Future. There is a winding motif which works it’s way the score very elegantly and when pitched against some synth tracks it’s truly thrilling. Runaway Maglev is a good example of this. There is real tension in this core as well pathos which dominates through Marion’s Case.

I love all of this soundtrack and could easily have it running through my playlist on rewind [as in fact I have!] and if I may say as a way of compliment that The Last Stop has elements of Daft Punks Solar Sailor from Tron Legacy. And what delights there are … there is Deluxe version!

Exploding Tuba Music


HJERTESTARTS [Handle With Care] by Jonas Struck

This movie deals with the main character, who loses his wife, struggling to relate to his adopted son Daniel.  In a last act of desperation he takes Daniel to Columbia to look for the boy’s biological mother

Struck is a Danish composer and I quote from his blog “Struck’s sound is a mix of electronic soundscapes and organic instruments with strong signature themes that sums up the DNA of the movie.” And this is exactly what this soundtrack does, it creates a landscape – Daniel’s Theme is a superb study of disconnection and loss, a short cue which pulls you straight in.

In fact before I went to his website I wrote in my notes ‘full of short cues which are really mood palletes which make a whole”.  I was intrigued by this score and should imagine it fits the film like a glove.

Available on Spotify


KUNDSCHAFTER DES FRIEDENS by Uwe Bossenz & Anton Feist

I watched the trailer to this German film, loosely translated: Spies of the Peace – and I got completely hooked. Two former (shall we say ageing) Stasi agent plus one other somehow get to embark on a dangerous mission to save a kidnapped president!

They seem somewhat inept to say the least. All I can say about the score is that it’s utterly mad and very listenable. Mad because there is a stack of dialogue from the film included, not just at the start of a cue put interrupting part way through a cue! The music is pastiche 70’s spy music complete with twangy guitars and vibrant brass complete with 007 twinges.

It’s fun, great fun and worth a listen if only for the opening song Old Agent Man sung in English.

Filmontrager-Also on Spotify

2016 Scores Catch Up-Pocket Reviews

With 2016 well and truly gone and the voting process started as a member of the IFMCA, I am catching up on some last minute soundtracks. Starting with:-

JACKIE – Score by Mica Levi

The filma has just been released here in the UK and Film Critic Matthew Bond in todays Mail On Sunday writes ‘…and fabulously unsettling music from British composer Mica Levi – it’s one of the must-sees of this award season’.  Levi’s score for Under The Skin was was superb as is this  her second score. It’s one of the most segmented soundtracks I have heard,  it beautifully captures the isolation Jackie Kennedy must have gone through.
There is a motif of foreboding, drooping strings heard in the opening track Intro. A stand out track is Autopsy whereby the struggle of grieving combined with duty is symbolised by the background snare drum. It’s a complex, slow score where the silence in between notes has a startling effect.
This powerfully, understated score will change my list of top scores of the year.
At just 29 years of age, I for one hope she continues to compose for film.

GERNICA – Score by Fernando Verlasquez

Not having yet seen the film but knowing that it tells of the conflict of an American journalist reporting on the Spanish Civil War and the enforced republic censorship rules, the  opening track is suitably called Propaganda and matches the old cinema newsreel music of unity and false victory brilliantly.
I’ve Seen War is it’s opposite with heavy truth-telling strings as does the darker Back From The War/The Picture. Reception At City Hall is exquisite and Gernika Under The Bombs at 24:57 is a masterclass in composition. Another strong Velasquez score.

LIVE BY NIGHT – Score by Harry Gregson-Williams

Directed, co-written and starring Ben Affleck this gangster movie set in the 1920’s could have been a chance to re-identify this genre through it’s score but here Gregson-Williams applies overused thriller shades which do not set any particular tones and I found myself waiting, with each cue, to be surprised but it was not to be. An opportunity missed.



It’s a good Sunday when work is halted, domestic errands and jobs are finished and all that remains is the ultimate aim of sitting down and listening to some soundtracks. Today is such a day and almost 6 weeks after it’s release, I have stopped being so ‘precious’ and finally bit the bullet. I am listening to James Horner’s last ever soundtrack – The Magnificent Seven.
Even typing ‘last ever’ is painful. For me and many others he has been a huge part of my film music journey. Made me feel emotions I never knew I had and was a ‘go to’ whenever I needed my spirits lifted. So much has been written about Horner so it’s time just to listen.

The emergence of this score is just as sad as Horner’s tragic death. He had done the score to a previous Antoine Fuqua [director of The Magnificent Seven] film, Southpaw and influenced Fuqua to direct the remake of this classic western. Horner, even though there was not yet anyone signed to score the film, read the screenplay and went on to record a suite based on his interpretation of said screenplay with the help of his friend and collaborator Simon Franglen.
Heartbreakingly Horner intended to surprise Fuqua with the suite in a bid to actually do a full score for him but of course it never happened. Franglen went on to play Horner’s music which Fuqua loved! And so Franglen several others of Horner’s long time collaboraters converted the suite into a full score.  Thinking about this it must have been emotionally quite difficult for them doing this but they have done him proud.

I didn’t really know what to expect as Elmer Bernstein’s score to the original 1960 movie is one of the great, great soundtracks. Considering it’s a ‘fleshing out’ of a suite it’s a very cohesive score with some depth. There are hints of a western score but they are not overdone.

In Jonathan Broxton’s [MOVIE MUSIC UK] excellent review he writes of how this last score is in it’s way an homage with many cue references from Horners score, and I agree. Deliberate or not they are wonderful to hear.

These are the references I heard:
Lighting The Fuse – in there is a quirky and short trumpet piece which I am convinced is from the Sneakers
Street Slaughter has echoes of Avatar
Nuances of Field of Dreams in Red Harvest

For me the strongest cue is The Darkest Hour which is superbly orchestrated. The cue which prompted the reality of no longer being able to listen to any new Horner music overcame me in The House of Judgement and the tears continued with the very last track Seven Riders.

Nice touch that it ended with Bernstein’s glorious title them from the original film.

PS Don’t think the soundtrack cover is strong enough.

1. Rose Creek Oppression
2. Seven Angels of Vengeance
3. Lighting the Fuse
4. Volcano Springs
5. Street Slaughter
6. Devil in the Church
7. Chisolm Enrolled
8. Magic Trick
9. Robicheaux Reunion
10. A Bear in Peoples Clothes
11. Red Harvest
12. Takedown
13. Town Exodus – Knife Training
14. 7 Days, That’s All You Got
15. So Far So Good
16. Sheriff Demoted
17. Pacing the Town
18. The Deserter
19. Bell Hangers
20. Army Invades Town
21. Faraday’s Ride
22. Horne Sacrifice
23. The Darkest Hour
24. House of Judgment
25. Seven Riders

Sony Music
Available on Amazon, iTunes and Spotify

RED KROKODIL – Soundtrack Review



I have popped this on Filmic Tracks as it is mentioned in my pervious review for Dark Waves by the same composer. And besides Red Krokodil deserves to be listened to if you have not previously.

Alexander Cimini
Konos Records
Krokodil is a morphine based drug. It’s also called the flesh-eating drug as it literally eats flesh away exposing bone. In order to review Germam composer Michael Cimini’s score I watched some disturbing videos on You Tube of Krokodil addicts, I will say it was not easy watching.

This 80 minute video, directed by Domiziano Cristopharo is the story of a Krokodil addict in a post nuclear city. It’s the journey of not just the physical deterioration but also the breakdown of the mind and hallucinatory journeys it brings.

C-Age is chilling with it’s taut strings and a distant drum pounding like a time keeper in the background. It wreaks of desperation and fear. If a cue can have colour this is truly black. In complete contrast the following track, the Main Theme, is beautiful with a cello led track of overwhelming sadness. Towards the end of the track a piano, perhaps signifying hope, soars towards a dramatic end.
Alone has a fragility about it which intensifies with a violin which rips your heart out. Strings dominate My Wounded Body, and whilst the title is telling, the arrangement has great beauty.

My Mind, short and tense to start with, is like a ghost track. As if the body has gone already but the mind is hanging on. This detached feeling continues in Reflection In The Water which reaches a peak of outstanding symphonic elegance.
Prologue brings the return of the cello and a choir and it creates a sense of profound loss. Half way through it goes deep into the horror of a distorted mind, you can almost hear a remote voice reaching out to identify who it is.
The Window I played 4 times in a row, it’s full of hope and again I can only write the word beautiful.

If you watch the trailer to Red Krokodil or take a look at the films’ poster, I am sure subconsciously you will imagine it’s a horror score. Accepting the few cues which have a sense of horror [not necessarily horror music] this score has sublime beauty and it affected me deeply. I was a little out of depth trying to get a handle on this short film but I am delighted that I persevered. In short, it is astonishing!

1. C_age
2. Red Krokodil Main Theme
3. Alone
4. My Wounded Body
5. My Little Green Crocodile
6. Endless Roads
7. My Mind
8. Reflection In The Water
9. Prologue
10. W(t)omb
11. Capuccetto6  –  Music by G. Verdinelli
12. The Window
13. Passion And Love?