Desolate aka Silence

The Silence was the only thing that was in my mind when Freddie (Director Fredrick Cipoletti) and I discussed the score.  The landscape and the conditions of the environment captured on film was the direction the music went.  As usual with most of my project, a sampling session for the colors of the palette was required, with the idea of desolation and silence was in mind.  I recorded a 15 piece string group but in a very unusual way.  The loudest dynamic recorded during the sampling session was “pp” Pianissimo.  The instruction that I gave to the players was “if you can hear the player next to you, you’re playing too loud; you should hear the room.”  One of the other sampling session I did was to have lots of really quite ticking movements; pencils were recorded on different surfaces such as, grass, tables, felt, rubbers as well as dirt.  I also utilized a Violin that was detuned down, performed extremely soft were you can only hear the bow; Extreme Flautando in musical terms.

In the OPENING track of the movie, you can hear a track I wrote as a solo violin piece played by Navid Hejazi.  As a motorcycle races through a beautiful surreal scenery of desolate land the music creates a very ominous and empty feeling, which sets the mood for the rest of movie. HEIST is the track for the turning point of the movie.  The score shifts to a more modern electronic approach, I recorded lots of long and stretched tonalities with different types of delays and effects for this track. HIDE AND SEEK is a track where you can hear some of the ticking textures that I created for the project.  DESOLATE SUITE is my first ideas for the project.  You can hear how my ideas developed and how it fits into the puzzle.