30 years after Philip Glass’ debut record the new music ensemble Signal asked Philip Glass Ensemble music director Michael Riesman to arrange the classic album “Glassworks” for live performance. The concert took place at the New York venue, Poisson Lubman in April 2010. This CD features a new recording of the entire score, paired with a riveting performance of “Music in Similar Motion”.
Dear Avalanche is the most accomplished and fully realized expression of sounds to date from cinematic post-rock powerhouse Lights & Motion. Although many claim he is a magician, the band's braintrust, Christoffer Franzen, is a storyteller… and a masterful one at that. From the majestic climax of "This Explosion Within" to the hopeful build of "Silver Lining" to the delicate innocence of "Anomaly", every Lights & Motion track tells its own story by transporting the listener through tenor and tone to a place where anything and everything is possible. This astonishing interplay of soul and sound is truly a work of art as it connects with the listener in a way that transcends the music itself. Franzen's ability to elicit emotion on a universal level and touch the heart without words, is simply beyond the limits of all imagination…
Coming out of hibernation with "Bloom" set on the promise of Spring, cinematic post-rock visionary Lights & Motion truly transcends emotion. Consistently beautiful, gut-wrenching and full of melancholic hopefulness, Christoffer Franzen's unfailing creativity delivers yet again. He just gets it. "I feel really connected to the title track. I did something unusual for me in that I conceptualized a song before I had even written a note. I wanted to create a song that would sound like a flower in bloom, in that it is ever changing and evolving" says Franzen. Produced, recorded and mixed by Franzen at UpSweden Studio in Gothenburg. Mastered by Dave Cooley at Elysian Masters in Los Angeles (M83, Paramore, Serge Gainsbourg). Album artwork by Shane Labelle. Photography by Fredrik Sellergren. Absolutely stunning.
When Martin Scorsese decided to remake "Cape Fear", he paid tribute to the original by featuring original stars Gregory Peck, Robert Mitchum, and Martin Balsam in cameos. Scorsese also recognized the contribution of the first film's composer Bernard Herrmann. Thus, Elmer Bernstein, himself a legendary musician (and recent Oscar nominee for "Far from Heaven"), adapted, arranged, and conducted Herrmann's original score for the newer film. This is a marriage of two giants in the business. A score that is as haunting and chilling as the more recognizable works "Psycho" and "Marnie", "Cape Fear" is true Herrmann with its ominous cues and screeching strings. Fans of Herrmann, Bernstein, or Scorsese must have this one!
Though John Barry achieved popular recognition for the swinging, loungey, noir-ish soundtracks he composed for the James Bond films, he moved to the front rank of film composers with his score for 1966's BORN FREE. Stylistically, the music of BORN FREE is miles removed from Barry's Bond soundtracks, though the composer's fondness for brass fanfares, stirring strings, and lush, intricate charts with stunning dynamic range is still intact. On the whole, however, the music to BORN FREE has a playful, innocent quality, evoking the nature of the wild animals at the film's center. As the movie is set in Africa, Barry employs a range of African percussion instruments, and sections of flute music (which often seem to echo the sounds of birds or other creatures). The arrangements are expansive and sweeping, giving rise to the sensation of open plains, and Barry's recurring musical themes parallel the film's action (the track titles indicate plot events). The score is, for the most part, surprisingly subdued, with occasional bursts of energy (mirroring tumultuous events onscreen) and its stirring title theme the exceptions. Barry won an Academy Award for the score in 1966.