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    Origine du Groupe : Island
    Style : Classic , Electronic , Expérimental
    Sortie : 2010

    From official site :

    An accompaniment to the animated film 'Varmints', this is a collection of achingly beautiful orchestral work balanced on a bed of Jóhannsson's patented electronics. Surprisingly however, the film itself is not intrinsic to the enjoyment of the music; Jóhannsson's score stands alone perfectly as a haunting collection of tracks.

    As with most soundtracks, the album is made up of a selection of repeating themes which appear and disappear throughout the record; Jóhannsson manages to approach this with such subtlety you can't always even tell that a familiar theme is drifting in and out of each track. The clouds of ambience and growls of synthesizer that underpin the lilt of the orchestra are crucial to the record and give a similar warmth similar to what made 'Englaborn' so very special. These pieces are memorable and deeply moving, and within one listen you could almost visualise the film itself – or at least a home made version. Soundtrack or not, Jóhannsson has created yet another peerless collection of electronic/classical vignettes you won't be forgetting any time soon.


    Tracklist :   
    01 Theme
    02 City Building
    03 Entering The City
    04 The Flat
    05 Rainwater
    06 Pods
    07 The Gift
    08 Dying City
    09 Escape
    10 Inside The Pods
    11 End (Snowing)


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  • Before I begin this review, I need to provide a bit of context. I loved The Fountain. I will need to see it many more times before I actually understand it, but it was one of the most beautiful films I have ever seen. Due to its slow nature, Mansell's score is probably one of the most necessary scores in film these days, as he added the needed sense of motion that the imagery and plot lacked. The one thing I just feel I have to point out, however, (and I am allowed since one of the album track titles uses the name) is that Xibalba was the Maya underworld, which was seen as watery and accessible through caves. Therefore, while the idea and the imagery of the dying star resembling heaven was great, using it to represent the Maya underworld was a bit of a stretch. Finally, this is the third Clint Mansell album I have reviewed, and the three scores could not be more different. In fact, if I didn't know better, I would not say it was the same composer. Sahara's jazzy, Bond-styled action and Doom's techno/rock are nothing like The Fountain, and Mansell's ability to adapt his style to the film is quite impressive. There are two main motifs for The Fountain, the first is a simple 5 note progression, which is performed following the downbeat in the measure. A secondary three-note motif is also used throughout and has similarities to part of John Powell's Phoenix Theme from X-Men: The Last Stand. These motifs are performed in various forms and at times blended together in a running string line that becomes the full theme. The album opens and closes with quiet piano cues, the latter of which plays over the end titles. In "The Last Man", the motifs are hinted at in slow string statements, but do not come in fully until "Tree of Life", which is built up to in the preceding cue. "Tree of Life" starts out with heavy drums and an electric cello performing the three-note motif. This heavier tone of this cue, which returns in force in the finale "Death is the Road to Awe", is, tonally, very similar to some of the harsh electronic parts of Hans Zimmer's Black Hawk Down. As I mentioned before, Mansell keeps the music moving, even at times where percussion is absent, with some form of pulsing string line, the way a number of scores have done recently, such as The Island and King Arthur. This can be heard in "Death Is A Disease" and the pulse stands alone at times and is joined by a solo cello at others. This movement is not always present. "Xibalba" is a slower cue that actually has a faint hint of a choir at the end. "Death Is the Road to Awe" is without a doubt the highlight of the album, with a broad spectrum that encompasses everything Mansell did for the film. It opens with a soft tremoring moving line and a faint statement of the full theme following the five note motif. The piano takes over with bold offbeats and the three note motif, with a drawn out final note. The theme comes in and out, replaced by the motifs as the volume gradually builds, adding chimes and more instruments as well as the electric guitar sounds. Toward the end, percussion is added as well. With two minutes remaining, the music stops. Then the electric guitars and cello come back with bold strings playing snippets of the theme in a slightly faster tempo and both motifs coming in the background. Then it stops again before the choir finally comes in after being hinted at only once. The three note motif plays under it and more pulsing strings and chimes bring the cue to a close. I can already hear this cue being played in trailers. The score is performed beautifully by The Kronos Quartet and the rock band Mogwai, who had songs featured on last year's The Constant Gardner soundtrack. A number of the cues, I believe, were used more than once during the film, but for the sake of avoiding too much repetition, the album was cut down to a manageable length. Mansell's score appears simple, with a limited variety of instruments and what appear to be simple themes, but this score is in fact a very delicately layered piece that works almost as well as a classical work as it does a film score. One interesting result of this score is that it shows how well electronic elements can work with an orchestral score to enhance it rather than take away from it. I definitely think this score should be up for consideration come Oscar time.
    by Mike Brennan


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    Dans le panel des compositeurs de bandes sonores accompagnatrices en matière de japanimation, rares sont ceux qui, à défaut de créer l'évènement l'espace de quelques temps, inscrivent leurs compositions dans une homogénéité et une continuité toute justes et pourtant suffisamment renouvelées. Un petit bout de femme parvient toutefois à s'imposer délicatement, portée par une maîtrise impressionnante de l'orchestration et une mise en musique éblouissante des propositions graphiques qu'on lui soumet. Après avoir officié sur Tenkû no Escaflowne, Ghost in the Shell Stand Alone Complex, certaines séries Gundam, Macross ou plus tard Wolf's Rain -excusez du peu-, elle nous est revenue plus en forme que jamais avec un Cowboy Bebop qui lui sert autant qu'elle l'a servi. Inutile de revenir sur les performances technique et scénaristique magistrales de la série et du film ; savourons plutôt leur accompagnement musical signé du petit bout de femme en question, alias KANNO Yôko. Ces OSTs sont des bijoux d’hétérogénéité, mais également de précises envolées jazzy. Sans leur bande-son, Cowboy Bebop n’aurait certainement pas connu le succès qu’on lui sait.
    Note :
    Ost 1 ; 2 ; 3
    Ost Future Blues    Ost Vitaminless    Ost Tank ! The Best !

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    Dans Hellsing, la musique tient une place très importante, et contribue normalement à la réussite de cette série, en lui conférant cette atmosphère si particulière.
    Tout comme par exemple FLCL ou Cowboy Bebop pour ne citer que les plus connus, les CDs constituent une oeuvre artistique à part entière et peuvent très bien s'écouter seuls (j'avais écouté Raid avant d'avoir vu le premier épisode et je trouvais la déjà super) d'ailleurs, il ne se passe pas une semaine sans que j'écoute au moins une fois quelques morceaux choisis tirés de Hellsing.

    Deux osts sont sortis dans le commerce et nous permettent de retrouver (ou découvrir) le monde d'Hellsing. Malheureusement, il faudrait un troisième ost pour couvrir l'intégralité de la série. Et c'est d'autant plus dommage car les morceaux manquants figurent parmis les plus beau :/

    Dans l'ensemble, le style de musique est assez éclectique : on trouve ainsi des morceaux acoustiques, avec guitare, piano, voix et même sifflement, des morceaux plus contemporains à base de guitare électrique, des morceaux aux tonalités et sonorités assez inédites, propres au style "Hellsing"... Niveau style on couvre pas mal de sujets : classique, rock, opera, tango, blues, musique électronique...
    Parmis les particularités des osts, on remarque que pour chaque morceau ou il y a de la voix (à part pour l'ending) celle-ci est déformée, comme s'il s'agissait d'une voix synthétique. C'est aussi la qui donne ce ton si unique à Raid, Ruins, et aux morceaux présents dans l'anime mais pas dans les cds.

    Par rapport à la série, on peut noter que certains morceaux, tels Ruins_19, Raid_08, Raid_10 et d'autres ne sont présents que dans un seul épisode et définissent complètement l'ambiance sonore de ce dernier.
    Deux morceaux sont caractéristiques d'un personnage : il s'agit de Ruins_14 que l'on entend lors de trois apparitions d'Incognito et Raid_15 qui, lui, correspond à Alucard.

    Enfin, vous pourrez vous rendre compte que chaque morceau est parfaitement posé sur l'action et renforce remarquablement une mise en scène déjà grandiose.

    A n'en pas douter, sans ces osts de qualité, le succès d'Hellsing aurait été beaucoup plus mitigé .


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