(11633,1,'2015-01-13 14:23:15','2015-01-13 06:23:15','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" />Chloë March’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of theatrical works across London. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n\r\n<strong>Chloë:</strong> I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n\r\n<strong>Cam:</strong> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<strong>Cam:</strong> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n\r\n<strong>Chloë: </strong>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<span style=\"color: #ffffff;\"><strong>Gabriel Yared: <em>The English Patient</em></strong></span>\r\n\r\n<strong>Chloë: </strong>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<strong>Cam:</strong> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<strong>Chloë: </strong>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<strong>Cam:</strong> Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<strong>Chloë: </strong>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>Hans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<strong>Chloë: </strong>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<strong>Cam:</strong> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<strong>Chloë: </strong>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n&nbsp;\r\n<h4><strong>M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<strong>Cam:</strong> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<strong>Chloë: </strong>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-13 14:23:15','2015-01-13 06:23:15','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (11632,1,'2015-01-13 14:21:48','2015-01-13 06:21:48','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" />Chloë March’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of theatrical works across London. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n&nbsp;\r\n\r\n<strong>Chloë:</strong> I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n&nbsp;\r\n\r\n<strong>Cam:</strong> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\n&nbsp;\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n&nbsp;\r\n\r\n<strong>Cam:</strong> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\n&nbsp;\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<span style=\"color: #ffffff;\"><strong>Gabriel Yared: <em>The English Patient</em></strong></span>\r\n\r\n<strong>Chloë: </strong>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<strong>Cam:</strong> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<strong>Chloë: </strong>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<strong>Cam:</strong> Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<strong>Chloë: </strong>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>Hans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<strong>Chloë: </strong>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<strong>Cam:</strong> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<strong>Chloë: </strong>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n&nbsp;\r\n<h4><strong>M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<strong>Cam:</strong> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<strong>Chloë: </strong>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-13 14:21:48','2015-01-13 06:21:48','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11631,1,'2015-01-13 14:20:11','2015-01-13 06:20:11','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" />Chloë March’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of theatrical works across London. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n&nbsp;\r\n\r\n<strong>Chloë:</strong> I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n&nbsp;\r\n\r\n<strong>Cam:</strong> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\n&nbsp;\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n&nbsp;\r\n\r\n<strong>Cam:</strong> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\n&nbsp;\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><span style=\"color: #ffffff;\"><strong>Gabriel Yared: <em>The English Patient</em></strong></span></h4>\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Cam:</strong> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\n&nbsp;\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n&nbsp;\r\n\r\n<strong>Cam:</strong> Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\n&nbsp;\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><span style=\"color: #ffffff;\"><strong>Hans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></span></h4>\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n&nbsp;\r\n\r\n<strong>Cam:</strong> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\n&nbsp;\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n&nbsp;\r\n<h4><span style=\"color: #ffffff;\"><strong>M83/Joseph Trapanese: <em>Oblivion</em> </strong></span></h4>\r\n&nbsp;\r\n\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n&nbsp;\r\n\r\n<strong>Cam:</strong> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n&nbsp;\r\n\r\n<strong>Chloë: </strong>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\n&nbsp;\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n\r\n&nbsp;','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-13 14:20:11','2015-01-13 06:20:11','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11638,1,'2015-01-14 10:59:48','2015-01-14 02:59:48','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" />Chloë March’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive with atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of British theatrical works. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë:</strong> </span>I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<span style=\"color: #ffffff;\"><strong>Gabriel Yared: <em>The English Patient</em></strong></span>\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong> </span>Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>Hans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n&nbsp;\r\n<h4><strong>Anthony Gonzalez from M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/81935741&amp;color=ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-14 10:59:48','2015-01-14 02:59:48','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11639,1,'2015-01-14 11:00:35','2015-01-14 03:00:35','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" />Chloë March’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive with atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of British theatrical works. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë:</strong> </span>I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<span style=\"color: #ffffff;\"><strong>Gabriel Yared: <em>The English Patient</em></strong></span>\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong> </span>Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<strong>Hans Zimmer: <em>Interstellar</em> (contains spoilers)</strong>\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n&nbsp;\r\n<h4><strong>Anthony Gonzalez from M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/81935741&amp;color=ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-14 11:00:35','2015-01-14 03:00:35','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11640,1,'2015-01-14 11:02:12','2015-01-14 03:02:12','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" />Chloë March’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive with atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of British theatrical works. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë:</strong> </span>I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<span style=\"color: #ffffff;\"><strong>Gabriel Yared: <em>The English Patient</em></strong></span>\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong> </span>Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>Hans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n&nbsp;\r\n<h4><strong>Anthony Gonzalez from M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/81935741&amp;color=ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-14 11:02:12','2015-01-14 03:02:12','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11641,1,'2015-01-14 11:02:55','2015-01-14 03:02:55','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" />Chloë March’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive with atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of British theatrical works. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë:</strong> </span>I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>Gabriel Yared: <em>The English Patient</em></strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong> </span>Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>Hans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n&nbsp;\r\n<h4><strong>Anthony Gonzalez from M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/81935741&amp;color=ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-14 11:02:55','2015-01-14 03:02:55','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11642,1,'2015-01-14 11:16:19','2015-01-14 03:16:19','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" />Chloë March’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive with atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of British theatrical works. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë:</strong> </span>I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>Gabriel Yared: <em>The English Patient</em></strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong> </span>Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>\r\nHans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n&nbsp;\r\n<h4><strong>Anthony Gonzalez from M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/81935741&amp;color=ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-14 11:16:19','2015-01-14 03:16:19','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11643,1,'2015-01-14 11:16:48','2015-01-14 03:16:48','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" />Chloë March’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive with atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of British theatrical works. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë:</strong> </span>I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>Gabriel Yared: <em>The English Patient</em></strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong> </span>Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>\r\nHans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>Anthony Gonzalez from M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/81935741&amp;color=ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-14 11:16:48','2015-01-14 03:16:48','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11644,1,'2015-01-14 11:19:39','2015-01-14 03:19:39','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" /><a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\" target=\"_blank\">Chloë March</a>’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive with atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of British theatrical works. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë:</strong> </span>I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>Gabriel Yared: <em>The English Patient</em></strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong> </span>Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>\r\nHans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>Anthony Gonzalez from M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/81935741&amp;color=ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-14 11:19:39','2015-01-14 03:19:39','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11646,1,'2015-01-14 11:22:50','2015-01-14 03:22:50','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" /><a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\" target=\"_blank\">Chloë March</a>’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive with atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of British theatrical works. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë:</strong> </span>I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>\r\nGabriel Yared: <em>The English Patient</em></strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong> </span>Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>\r\nHans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>\r\nAnthony Gonzalez from M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/81935741&amp;color=ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-14 11:22:50','2015-01-14 03:22:50','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11645,1,'2015-01-14 11:21:59','2015-01-14 03:21:59','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" /><a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\" target=\"_blank\">Chloë March</a>’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive with atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of British theatrical works. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë:</strong> </span>I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>\r\nGabriel Yared: <em>The English Patient</em></strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong> </span>Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>\r\nHans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>\r\nAnthony Gonzalez from M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/81935741&amp;color=ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-14 11:21:59','2015-01-14 03:21:59','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11647,1,'2015-01-14 11:23:19','2015-01-14 03:23:19','<img class=\"alignleft wp-image-10525 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-300x172.jpg\" alt=\"Chloë March\" width=\"300\" height=\"172\" /><a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\" target=\"_blank\">Chloë March</a>’s ability as a composer and producer sees her create songworlds alive with feeling, shape and colour, and ringing with emotive energy. March\'s music inhabits musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic and there is no better testament to this than on her recently re-released album <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com\" target=\"_blank\"><em>Nights Bright Days</em></a>. She has an innate ability to not only create music that is alive with atmosphere and narrative but to also deftly create room in each work for the listener to posit themselves and become part of the musical tapestry. It\'s no wonder then she has been called upon to soundtrack a number of British theatrical works. As part of our ongoing <a title=\"Sound and Scene\" href=\"http://www.hiddenshoal.com/features/sound-scene/\" target=\"_blank\">Sound and Scene</a> series Hidden Shoal\'s Cam Merton sat down with Chloë to talk about her favourite film soundtracks.\r\n<h4><strong>John Harle: <em>A History of Britain</em> by Simon Schama</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë:</strong> </span>I was blown away by this score when I first saw the series in 2000. <a title=\"John Harle\" href=\"http://www.johnharle.com/\" target=\"_blank\">John Harle</a> is a brilliant saxophonist and his score features his playing and also includes evocative arrangements of British folksongs performed by singers including <a title=\"Emma Kirkby\" href=\"http://www.emmakirkby.com/\" target=\"_blank\">Emma Kirkby</a>. This music made a deep impression on me and just seemed to work so well with the material and <a title=\"Simon Schama at Wikipedia\" href=\"http://en.wikipedia.org/wiki/Simon_Schama\" target=\"_blank\">Schama</a>’s dramatic storytelling style. There’s a lot of symbolism used in the imagery, rather than full-on historical re-enactments and the music works in the same way, with older instruments like pipes, flutes, harp and the fragments of folksong, conjuring these lost worlds and tapping into a kind of communal musical memory. Harle is great at drama, at one point his screeching sax underscoring shots of fires during the passages about the burning of heretics – it’s very eerie! The sheer variety of tone he can get from the sax too is phenomenal and he really plays with that across the series. Another thing I love about this soundtrack is the space in it – the programmes often have silence, both in the presentation and in the score itself – so there’s space to take in the narrative, the facts, the imagery, the emotion of the past.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Your mention of space here is key to any discussion on film scoring. It is an art and almost an alchemical process to be able to support and grow the narrative and vision with sound and music.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes – it must be so tempting to do too much and try to impose your own style, when what’s needed is something completely different or even nothing at all. I guess the composer needs to be incredibly sensitive about supporting that vision.\r\n\r\nHarle used to work in the National Theatre Music Department early on in his career and I think I can hear that theatre music vibe. A lot of the music that I heard growing up was theatre music being practised by my parents, who were both musicians at the Royal Shakespeare Theatre in Stratford, so I was hearing composers like Howard Blake, Ilona Sekacz and Stephen Warbeck a lot! I got used to hearing music and wondering what scene it was for, what atmosphere it was creating and how it was doing it. Musicians had to adapt to the demands of the productions, like my dad playing fanfares on animal horns instead of trumpets, and my mum, a classical pianist, having to learn the accordion, get her head around the Yamaha DX7 synth and, most entertainingly for the rest of us, the theremin. When I eventually studied drama at uni I wrote a lot of music for productions and really enjoyed that challenge of having to create a particular atmosphere in a very short time. Sometimes I find it’s great to be given instrumental constraints and very short time-frames to compose in, especially if the dramatic/visual material you have is powerful.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That’s a really interesting point as I think that challenge has drawn a number of artists into crossing over into scoring for film. I can’t help but think of <a title=\"Clint Mansell\" href=\"http://www.clintmansell.com/\" target=\"_blank\">Clint Mansell</a> in this regard, who went from the chaotic pop maximalism of Pop Will Eat Itself to producing the gorgeous, restrained score to <a title=\"Moon\" href=\"https://www.youtube.com/watch?v=twuScTcDP_Q\" target=\"_blank\"><em>Moon </em></a>(amongst others, of course).\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Yes, it seems like limitations often bring out amazing and surprising creative results. I wonder if some artists are so drawn to film because as well as the challenge of it and wanting to develop as writers, there’s also this common discipline in some pop music of creating intense imagery and atmosphere. Not that other composers don’t do that, just that in pop you learn to do it within a very short time-frame, so to a pop artist being given a 90-minute film to score would seem like a luxuriously long amount of time to work with, but each cue has to create immediate atmosphere, so it also has that familiar discipline. But maybe also it’s easier in pop to put artists into boxes and not expect them to change what they do too much, so film-scoring would be incredibly liberating in that way too for someone who felt frustrated by that. It’s great also to discover that you can actually compose to a deadline if you’re used to spending years on an album like I am! That sense of urgency can sometimes generate wonderful creativity too.\r\n\r\nHarle has also described himself as ‘a romantic, both as a player and a composer’ and I think that’s a big part of why I’m so drawn to his music. There’s a strong modal component to this score, with the plainchant, the folksongs and the sax playing what sometimes sound like virtuosic jazz improvisations – and I’m very drawn to that modality too, it’s how I write my own songs. He uses a lot of pure tones, both with his sax playing and with the early music vocalists who use hardly any vibrato, and I’m really interested in the juxtaposition of these tones put together with lush, jazz-influenced harmony. I also have a strong classical foundation and love jazz harmony and folk melody, so it’s probably inevitable that I love Harle’s music! I didn’t think to try working with saxophone myself until my latest album, when Ted Watson, a superb musician, offered to play for me – so I was finally able to experiment with writing for and singing with soprano sax, which was just fantastic and a lovely new direction for me.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/141504756&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>\r\nGabriel Yared: <em>The English Patient</em></strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I was a fan of <a title=\"Gabriel Yared\" href=\"http://www.gabrielyared.com\" target=\"_blank\">Gabriel Yared</a> before seeing this film as I’d fallen in love with the soundtrack he wrote for <a title=\"Betty Blue\" href=\"http://www.imdb.com/title/tt0090563/\" target=\"_blank\"><em>Betty Blue</em></a>, which I listened to for years before actually seeing the film. I think maybe the chemistry of Yared’s creative partnership with <a title=\"Anthony Minghella\" href=\"http://www.imdb.com/name/nm0005237/\" target=\"_blank\">Anthony Minghella</a> is a vital part of the magic of this score. When I discovered that Yared had been part of the filmmaking process right from the start it really made sense – there’s just a feeling that the music and the film developed together in a really organic way and that it’s all intensely driven by the emotion that’s at the heart of the film. Minghella said afterwards, ‘There was a sense of us being unusually connected’. He was a musician himself and also said that he approached his filmmaking ‘as much from musical form as conventional storytelling’ – which is really interesting. It was Minghella who suggested that Yared use the Aria from the Bach Goldberg Variations and also the incredibly beautiful, haunting Hungarian folksong sung by <a title=\"Márta Sebestyén Singing in The English Patient\" href=\"https://www.youtube.com/watch?v=rAUJgjxNGd8\" target=\"_blank\">Márta Sebestyén</a>.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> That kind of partnership between the creative drivers of vision and sound in films seems to be so natural and right it’s almost disappointing that it isn’t de rigueur in the film-making process. That’s not to say most directors wouldn’t have a pure vision (!) for the sonic and musical elements needed for the film, but having that collaborative partnership up front could sometimes bring so much more.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I totally agree. It’s been so interesting doing this feature finding that most of the soundtracks I really love have emerged from these partnerships. <a title=\"Joe Wright\" href=\"http://www.imdb.com/name/nm0942504/\" target=\"_blank\">Joe Wright</a> and <a title=\"Dario Marianelli (Pride and Prejudice Soundtrack)\" href=\"https://www.youtube.com/watch?v=TBT0VLFzaYo\" target=\"_blank\">Dario Marianelli </a>is another wonderful one. His score for <em>Pride and Prejudice</em> had to begin even before shooting started and ended up being a phenomenally successful soundtrack. I just don’t understand why music is sometimes added during the last few weeks of editing. Maybe it works for some films and for some composers who thrive on that challenge, but it seems like a wasted opportunity to me.\r\n\r\nI love the way that Yared uses the Bach, orchestrating it, and writing the most beautiful pastiche that adds a deeply romantic lushness, without sentimentalising it or sounding naff. A lot of my early learning of the piano involved playing Bach, so I feel like that music is an old friend. I’m really interested in pastiche and the difference between writing say a baroque-sounding piece or a piece that reminds you of baroque but also takes you somewhere else. When I was commissioned to compose a score for a re-working of a ballet by Kurt Jooss from the 1930s, the choreographer asked for a contemporary score that would still hark back to that era. I really wanted to evoke an atmosphere that hinted at the 1930s rather than write full-on pastiche, so I tried to get a sense of composers like Weill and Walton into the music by using certain rhythms and instrumentation and then actually used a few chords from Stravinsky’s ‘Petrushka’ – I knew I could never compose like Stravinsky, but using his chords really pushed me to write music that I never thought I could and definitely took me right out of my comfort zone.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong> </span>Have you found that this need to conceptualise when approaching score work is something that feeds back into your work as an artist, or is it something innate in the way you approach music as a whole?\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m not sure if it feeds back, or if that’s just how I am – it’s mostly ideas that make me feel creative, so yeah, it probably is the way I approach my music. Except for improvising, when I play the piano to express something immediately and for as long as I want! I’m much more aware of what I’m doing as a songwriter now, but sometimes I’ll write and finish a song in a few hours, and sometimes in months, so it’s a different process every time. I do usually like to have an idea to form the music around though. Usually it’s an idea that comes packed with powerful emotion or imagery and that resonates with what I’m feeling and wanting to express. What I love is to create these self-contained little worlds and atmospheres, so I’m drawn to vivid symbolism and imagery and stories.\r\n\r\nIt feels to me that Juliette Binoche is the heart of this film and it’s her character who has the Bach theme – I think it makes her character’s experience feel timeless, as well as redemptive because Bach has that spiritual link to church music, but it’s also timeless in its humanity and beauty too. There’s so much suffering and tragedy in the different narratives, but hers has this gorgeous lightness and hope to it. The scene in the church where her lover Kip transports her around the walls on a rope to look at the frescoes with a flaming torch is just so beautiful. At the moment when Kip lifts her off the ground Yared uses pizzicato strings and then brings in his beautiful Bach pastiche in the bowed strings with harp gliss as well, and it’s just perfect for the scene. There’s such joy in that music, but there is also melancholy there and this heartbreaking fragility and lightness, so you know her joy is probably temporary and that it’s come after so much devastating loss. All the strands of creativity going on – the music, Binoche’s utterly beautiful acting, the way we lift off with her and the timing of the scene within the whole film – it just really gets me every time!\r\n\r\n<iframe src=\"//www.youtube.com/embed/aniXbKM3ez8?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h4><strong>\r\nHans Zimmer: <em>Interstellar</em> (contains spoilers)</strong></h4>\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>I’m quite surprised to find myself talking about <a title=\"Hans Zimmer\" href=\"http://www.hans-zimmer.com/\" target=\"_blank\">Hans Zimmer</a>. I wouldn’t really have put him as one of my top favourite film composers before, but this soundtrack did really take me over during the film and I found it very powerful stuff. It’s a combination of electronic elements with orchestra/choir/organ and piano. He had no less than six orchestrators working with him on this score and it really does sound like a massive team effort. I felt like I was just taken captive by this film and manipulated and spun off into all sorts of different emotional states – and the music was a huge part of that. It’s fantastically epic but also has a lot of tension and meditative space in it too and underpins the emotional core of the father/daughter relationship with its long separation, sense of loss and also deep love and connectedness. This theme is beautiful I think, a combination of quite cold, slightly threatening soundscape with what becomes a melancholy piano/organ piece. Apparently Zimmer composed the score over a period of two years alongside the director <a title=\"Christopher Nolan\" href=\"http://www.imdb.com/name/nm0634240/\" target=\"_blank\">Christopher Nolan</a> shooting/scripting the movie, so it sounds like another case of a strong emotional, creative connectedness between director and composer.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Considering the scope of this film it seems fitting to have such an involved and long-range approach to the score. You can’t help but appreciate the kind of nuances that can be afforded with such a long-term involvement in the musical and sonic aspects of the film.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Absolutely. I wonder if this kind of long-term involvement happens more in TV music where composers are on board for long series and really get to have that intense collaborative process – like <a title=\"Bear McCreary\" href=\"http://www.bearmccreary.com/\" target=\"_blank\">Bear McCreary</a> with <em>Battlestar</em>, or <a title=\"Jeff Beal\" href=\"http://www.jeffbeal.com/\" target=\"_blank\">Jeff Beal</a> with <em>House of Cards</em>. I really love both those soundtracks and also <a title=\"Frans Bak\" href=\"http://fransbak.com/\" target=\"_blank\">Frans Bak</a>’s score for <em>The Killing</em>. Even though they’re having to write extremely quickly, these composers are developing music alongside the show with this long development arc – it must be great to do.\r\n\r\nThe moment in the cinema when I thought ‘this music is just brilliant’ was the scene where Matthew McConaughey’s character is driving his car through the fields on his way to fly the spaceship and the music just rachets up notch by notch until it actually sounds like rocket-launching music while he’s still driving the car – it’s such a clever moment and just got me totally emotionally involved with the film from that point on. I love repetitive patterns in music, used a lot in film scores, and this one is one of the best examples of that kind of rhythmic instrumentation in the style of Reich or Glass, being built on and lushed out, that I’ve heard in a while.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/125268635&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h4><strong>\r\nAnthony Gonzalez from M83/Joseph Trapanese: <em>Oblivion</em> </strong></h4>\r\nAnother sci-fi, but I reckon this film is all about nostalgia and I think that’s probably why I really liked the soundtrack by <a title=\"M83\" href=\"http://ilovem83.com/\" target=\"_blank\">M83</a> and <a title=\"Joseph Trapanese\" href=\"http://joecomposer.com/\" target=\"_blank\">Joseph Trapanese</a>. There is beautifully futuristic imagery in this film, but the overall feel is one of almost unbearable melancholy and nostalgia I found. It’s partly the fact that it’s Tom Cruise in the lead, occasionally on a motorbike, giving this nostalgic tilt towards his movies of the ’80s, but it also made me think of <em>Blade Runner</em>. The soundtrack also triggers these references, as it’s so reminiscent of <a title=\"Tangerine Dream\" href=\"http://www.tangerinedream.org/\" target=\"_blank\">Tangerine Dream</a> and <a title=\"Vangelis\" href=\"http://elsew.com/\" target=\"_blank\">Vangelis</a>. There’s pastoralism too, as Cruise’s character goes back to his cabin by a lake on a pristine bit of Earth – it’s this gorgeous contrast with the post-apocalyptic bleakness of the destroyed land and the sharp shiny minimalist sky-pods they live in. Of course, when he goes back to his cabin it has his collection of vinyl records of Tangerine Dream and Blue Oyster Cult and he lies by the lake listening to Led Zeppelin and Procol Harum. It’s not just a yearning in the context of the film for a pre-war Earth-home, it feels like a heartfelt yearning of now for 20/30 years ago.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Cam:</strong></span> Perhaps the Tangerine Dream vinyl was a nod to the <em>Risky Business</em> soundtrack! The temporal mis-match of Cruise’s character’s nostalgic musical yearning is interesting – this would have been the music of his great great great grandparents, I assume. Yet the film-maker makes a choice to work with the audience’s collective musical notions of nostalgia. I guess it’s all part of the beautiful trickery that is cinema.\r\n\r\n<span style=\"color: #c0c0c0;\"><strong>Chloë: </strong></span>Ah yes, I hadn’t thought of that! It definitely worked on me, anyway! Nostalgia and music is so intriguing – seems that sometimes it’s within the music itself and sometimes triggered by it and all the cultural memories around it. I often actually feel nostalgic for eras and places I never even knew or went to, just through music – which is very strange! It happens when I hear film soundtracks from the ’50s and ’60s, for instance, or even jazz from the ’40s. I don’t really know what’s going on there, maybe that’s a common thing – I’m not sure!\r\n\r\nI’m really interested in the way that this synth-driven soundtrack is used as a kind of humanising element in the film – there is a lot of orchestration and piano motifs, but it’s when the synths have full rein that you feel really connected to Cruise’s character I think. Maybe it’s because we now have this long history of synth-centred music and it’s actually a warm familiar genre now and a communal memory for us, rather than the futuristic-seeming sound it was in the ’70s and ’80s. Now maybe it’s associated with a kind of technological innocence, which is a pretty strange thing. When I listened to Tangerine Dream as a teenager I just found it completely hypnotic, exciting and all-enveloping. The first time I actually played a synth was when I was 15 and my sister’s boyfriend left one in our house for a few weeks. I composed this soundtrack inspired by a sculpture that an artist in residence had made at school. It was a fantastic feeling to be able to access all the different pads and multi-track and get these really deep evocative sounds and I think that’s where my love-affair with making electronic music started.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/81935741&amp;color=ff5500&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Sound and Scene with Chloe March','','inherit','closed','closed','','11620-revision-v1','','','2015-01-14 11:23:19','2015-01-14 03:23:19','',11620,'http://www.hiddenshoal.com/11620-revision-v1/',0,'revision','',0),(11648,1,'2015-01-14 11:26:36','2015-01-14 03:26:36','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/12/HS_Logo_Only_Black.jpg\"><img class=\"alignleft wp-image-11518 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/12/HS_Logo_Only_Black-160x300.jpg\" alt=\" free YouTube music licensing\" width=\"84\" height=\"158\" /></a>Hidden Shoal is very excited to announce our free <a title=\"YouTube\" href=\"http://www.youtube.com\" target=\"_blank\">YouTube</a> music <a title=\"YouTube Licensing\" href=\"http://www.hiddenshoal.com/licensing/free-youtube-licensing/\" target=\"_blank\">licensing initiative</a>. Tracks from the Hidden Shoal Publishing catalogue are now available for free use within personal YouTube videos. We openly encourage you to utilise our wonderful catalogue in your YouTube works, whether it be your latest experimental short film, an audio only video/playlist or god forbid, a <a title=\"YouTube Cats\" href=\"https://www.youtube.com/watch?v=Kdgt1ZHkvnM\" target=\"_blank\">cat video</a>. We\'ve got <a title=\"YouTube Licensing\" href=\"http://www.hiddenshoal.com/licensing/free-youtube-licensing/\">a page</a> that covers the details and also provides a small sample of downloadable tracks to get you started. So what are you waiting for?\r\n\r\nAnd as always if you\'re looking for music for film, tv and commercial/budgeted web projects then be sure to <a title=\"Contact Hidden Shoal\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> so we can help you sync some beautiful tracks to your beautiful moving image works.','Free YouTube Music Licensing','','inherit','closed','closed','','11559-revision-v1','','','2015-01-14 11:26:36','2015-01-14 03:26:36','',11559,'http://www.hiddenshoal.com/11559-revision-v1/',0,'revision','',0),(11649,1,'2015-01-14 11:30:29','2015-01-14 03:30:29','<img class=\"alignleft wp-image-9295 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Umpire_11-300x240.jpg\" alt=\"Umpire\" width=\"235\" height=\"188\" />We’re very excited to announce that the stunning debut releases by Perth bands <a title=\"Mukaizake\" href=\"http://www.hiddenshoal.com/project/mukaizake/\">Mukaizake</a> and <a title=\"Umpire\" href=\"http://www.hiddenshoal.com/project/umpire/\">Umpire</a> – originally released in 2003 and 2009 respectively – have now joined our publishing catalogue. Umpire\'s self-titled EP and Mukaizake\'s <em>Mapping the Static</em> are each such accomplished debuts – and round out both outfits\' discographies for Hidden Shoal. Fans of both bands will know of the shared membership, and having all four releases by the two outfits together sets up wonderful trajectories and crossovers between them. These releases are mathy, rocky, languid and melodically rich.\r\n\r\nCheck out Umpire\'s debut EP and album <a title=\"Umpire\" href=\"http://www.hiddenshoal.com/project/umpire/\">here</a>, and do the same for both Mukaizake albums <a title=\"Mukaizake\" href=\"http://www.hiddenshoal.com/project/mukaizake/\">here</a>. The tracks from all four releases are available for licensing (master &amp; sync cleared) for film, tv, web, games and more. Please don’t hesitate to <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with any licensing enquiries.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/180474844&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Debut Umpire and Mukaizake Releases Join the Hidden Shoal Catalogue','','inherit','closed','closed','','11466-revision-v1','','','2015-01-14 11:30:29','2015-01-14 03:30:29','',11466,'http://www.hiddenshoal.com/11466-revision-v1/',0,'revision','',0),(11650,1,'2015-01-14 11:31:40','2015-01-14 03:31:40','<img class=\"alignright wp-image-9304 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Umpire-Band-Photo-350px-300x262.jpg\" alt=\"Umpire\" width=\"146\" height=\"128\" />On Umpire\'s \'Spotlights\', it\'s all about the slow-burn, the withholding – and the showstopping vocal from Geoff Symons. Minus the full band behind him, Symons and his downtuned SG create a heartbreaking little universe that speaks volumes. (Fun Umpire fact: At one stage, this was to be the opening track of their superb album Now We\'re Active, but was switched to the penultimate spot for maximum impact.)\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/179398928&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Umpire \'Spotlights\'','','inherit','closed','closed','','11383-revision-v1','','','2015-01-14 11:31:40','2015-01-14 03:31:40','',11383,'http://www.hiddenshoal.com/11383-revision-v1/',0,'revision','',0),(11651,1,'2015-01-14 11:32:44','2015-01-14 03:32:44','<img class=\"alignright wp-image-9304 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Umpire-Band-Photo-350px-300x262.jpg\" alt=\"Umpire\" width=\"146\" height=\"128\" />On Umpire\'s \'Spotlights\', it\'s all about the slow-burn, the withholding – and the showstopping vocal from Geoff Symons. Minus the full band behind him, Symons and his downtuned SG create a heartbreaking little universe that speaks volumes. (Fun Umpire fact: At one stage, this was to be the opening track of their superb album <em>Now We\'re Active</em>, but was switched to the penultimate spot for maximum impact.)\n\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/179398928&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Umpire \'Spotlights\'','','inherit','closed','closed','','11383-autosave-v1','','','2015-01-14 11:32:44','2015-01-14 03:32:44','',11383,'http://www.hiddenshoal.com/11383-autosave-v1/',0,'revision','',0),(11652,1,'2015-01-14 11:33:00','2015-01-14 03:33:00','<img class=\"alignright wp-image-9304 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Umpire-Band-Photo-350px-300x262.jpg\" alt=\"Umpire\" width=\"146\" height=\"128\" />On Umpire\'s \'Spotlights\', it\'s all about the slow-burn, the withholding – and the showstopping vocal from Geoff Symons. Minus the full band behind him, Symons and his downtuned SG create a heartbreaking little universe that speaks volumes. (Fun Umpire fact: At one stage, this was to be the opening track of their superb album <em>Now We\'re Active</em>, but was switched to the penultimate spot for maximum impact.)\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/179398928&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track - Umpire \'Spotlights\'','','inherit','closed','closed','','11383-revision-v1','','','2015-01-14 11:33:00','2015-01-14 03:33:00','',11383,'http://www.hiddenshoal.com/11383-revision-v1/',0,'revision','',0),(11653,1,'2015-01-14 11:41:32','2015-01-14 03:41:32','[et_pb_section][et_pb_row][et_pb_column type=\"3_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Features</h1>\r\nEvery few weeks we ask one of the Hidden Shoal artists to choose three questions from a list of many and answer them as they wish - mini music interviews! A little bit of fun mixed with a little bit of insight – and a nice preview to the full-length interviews we have lined up throughout the year with all the Hidden Shoal artists.\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"on\" /][et_pb_blog admin_label=\"Blog\" fullwidth=\"on\" posts_number=\"10\" include_categories=\"2137\" meta_date=\"M j, Y\" show_thumbnail=\"off\" show_content=\"on\" show_author=\"off\" show_date=\"on\" show_categories=\"off\" show_pagination=\"on\" background_layout=\"dark\" /][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" /][/et_pb_column][/et_pb_row][/et_pb_section]','3 Questions','','inherit','closed','closed','','11426-revision-v1','','','2015-01-14 11:41:32','2015-01-14 03:41:32','',11426,'http://www.hiddenshoal.com/11426-revision-v1/',0,'revision','',0),(11654,1,'2015-02-03 10:38:59','2015-02-03 02:38:59','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>The October Solution</h1>\r\n<img class=\"alignleft wp-image-11656 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-Band-Pic-300x224.jpg\" alt=\"The October Solution\" width=\"260\" height=\"194\" />Dream-rock architects The October Solution are Drew Sullivan (<a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow Dancing Society</a>, <a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a>) and Jarrod Manuel (<a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a>). While steeped in ’80s nostalgia, their music moves beyond familiar tropes to stand as defiantly futuristic and progressive. Their songs resonate with soaring guitars, ethereal vocals, and deftly woven pop melodies, melding the incandescent ambient sounds of Slow Dancing Society within the propulsive songcraft of City of Satellites.\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/OctoberSolution\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/EOtheband\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/theoctobersolution\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://the-october-solution.tumblr.com/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<span style=\"color: #000000;\">-</span>\r\n<h4>Axis Swim Scar</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 406px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=619551158/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://theoctobersolution.bandcamp.com/album/axis-swim-scar\">Axis Swim Scar by The October Solution</a></iframe>\r\nApril 2015\r\n\r\nWhile steeped in ’80s nostalgia, their music moves beyond familiar tropes to stand as defiantly futuristic and progressive, no better exemplified than on single ‘1984’, which draws upon the sweeping grandeur of Disintegration-era Cure. <em>Axis Swim Scar</em> resonates with soaring guitars,ethereal vocals, and deftly woven pop melodies, melding the incandescent ambient sounds of Slow Dancing Society within the propulsive song-craft of City of Satellites.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nThe October Solution – Drew Sullivan (<a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow Dancing Society</a>, City of Satellites) and Jarrod Manuel (<a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a>) – originally formed as EO in 2011, releasing two EPs, <i>Breathe Your Air</i> and <i>Somewhere Human</i>, before changing their name to The October Solution in 2013. While the duo operate at opposite ends of the globe – with Manuel based in Adelaide, Australia and Sullivan in Spokane, USA – this independent collaboration was born from a City of Satellites production meet-up in the US, where the pair bonded over their shared love of ’80s and ’90s pop music and shoegaze.\r\n\r\nThe October Solution\'s debut album <i>Axis Swim Scar</i> (mastered by <a title=\"Jonas Munk\" href=\"https://soundcloud.com/jonas-munk\" target=\"_blank\">Jonas Munk</a>) will see release through Hidden Shoal on 15th April 2015, followed by a deluxe compilation re-issue of their first two EPs later in the year.\r\n\r\n&nbsp;\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=the-october-solution-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=the-october-solution-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n\r\nNo reviews yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Lyrics\"]\r\n<h3>Lyrics</h3>\r\n&nbsp;\r\n<h4>Axis Swim Scar</h4>\r\n<h5>All Lyrics by Jarrod Manuel</h5>\r\n&nbsp;\r\n<h5>1984</h5>\r\nYou know I torture myself\r\nBecause I can never go back\r\nTo 1984\r\nAs I remember it then\r\nLet me go\r\n\r\nYou know I torture myself\r\n‘Cause I can never go back\r\nAnd the words that we said\r\nAnd the things that I did\r\nThey were wrong\r\n\r\n<hr />\r\n\r\n&nbsp;\r\n<h5>Lost</h5>\r\nI don’t want to feel like this\r\nI want to be like this\r\nI don’t want to feel so lost tonight\r\n\r\nI could never let you know that\r\nI could never let you go (and)\r\nI don’t want to feel so dark inside\r\n\r\nI’ve been waiting for a train\r\nIn a funny world I can’t explain\r\nYou never look inside my mind\r\nWhen they try and cut you down\r\nYou never turned around\r\nI never looked inside your eyes\r\n\r\n<hr />\r\n\r\n&nbsp;\r\n<h5>Stolen</h5>\r\nFound myself on your front porch again\r\nStolen lie\r\nI know everything\r\nWalked away you knew my grace\r\nFill in time\r\nYour empty face\r\n\r\nYou won’t take me\r\nYou won’t take me away\r\n\r\nBroken town live on this edge\r\nKnow this town\r\nKnow everything\r\n\r\nYou won’t take me\r\nYou won’t take me away\r\n\r\nFound myself on your front porch again……..\r\n\r\nYou won’t take me\r\n\r\n<hr />\r\n\r\n&nbsp;\r\n<h5>Softly</h5>\r\nI’m back on the edge\r\nI told you twice\r\nI’m building the buildings\r\nInside my mind\r\n\r\nThe future memory\r\nI cannot define\r\nIt’s hidden in\r\nThe road outside\r\n\r\nAnd I was walking\r\nHome tonight\r\nI can’t fight the feeling\r\nYou burned the sky?\r\n\r\nHolding on the edge\r\nA pretender friend\r\nI try and understand\r\nWhat is happening?\r\n\r\nWhere were you when I was hurting?\r\n\r\nEverytime I say I try to get away\r\nI’m built inside a maze\r\nWhy don’t you understand\r\n\r\nWhere were you when I was hurting?\r\n\r\nFighting on the edge I can’t see a thing\r\nYou never said to me\r\nI could be anything but\r\n\r\nWhere were you when I was hurting?\r\n\r\nLook in to my eyes don’t you realise\r\nYou never understand\r\nWhat is happening?\r\n\r\nWhere were you when I was hurting?\r\n\r\n<hr />\r\n\r\n&nbsp;\r\n<h5>You I Miss</h5>\r\nThe streets were wrong\r\nThey never made much sense at all\r\n\r\nThose ruined nights\r\nI shouldn’t feel so bad tonight\r\n\r\nI miss you\r\nI miss you hard….\r\n\r\nI was on my way back out of town\r\nCan I see you?\r\nCan I see you?\r\n\r\nThose ruined nights\r\nI shouldn’t feel so bad tonight\r\n\r\nI miss you\r\nI miss you hard\r\n\r\nI was on my way back out of town\r\nCan I see you?\r\nCan I see you?\r\nWalking to a beat that never agrees\r\nCan I see you?\r\nCan I see you?\r\nNo I don’t want to change\r\nOr want to fear anything\r\n\r\nI was on my way back out of town\r\nCan I see you?\r\nCan I see you?\r\nWalking to a beat that never agrees\r\nCan I see you?\r\nCan I see you?\r\n\r\n<hr />\r\n\r\n&nbsp;\r\n<h5>Alone In The Grey</h5>\r\nAlone in the grey again\r\nMe and my shadow\r\n\r\nI’ll never give it up\r\nSometimes they go too slow\r\nMe and my shadow\r\n\r\nWalking all night again\r\n‘Cause I got no place to go\r\n\r\nI never give it up\r\nSometimes I feel so low\r\nJust me and my shadow\r\n\r\n<hr />\r\n\r\n&nbsp;\r\n<h5>Paper Rider</h5>\r\nI’ve been running for ages\r\nSlowly split my time\r\n\r\nI anchor the world but\r\nIt only slides, slide\r\n\r\nI’m leaving the memories\r\nTo a plastic man\r\nHe tried to bury his soul but\r\nIt only slides, slide\r\n\r\nI’ve been crying but laughing\r\nAt a mental world\r\nTime ticks on and\r\nI only slide, slide\r\n\r\nThe stars have been falling\r\nThe light is still on\r\nI wonder if the spacemen\r\nCan only slide, slide\r\n\r\n<hr />\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h5>Traffic Tonight</h5>\r\nC’mon let’s go\r\nJust drive……\r\n\r\nI want to chase the traffic tonight\r\nC’mon let’s go\r\nI want to count the stars\r\n\r\nC’mon let’s go\r\nJust drive……\r\n\r\nI want to chase the traffic tonight\r\nC’mon let’s go\r\nI want to watch the stars\r\n\r\nI was feeling just a little alone\r\nStill I knew you were there\r\nI was waiting for the phone to call\r\nI was waiting for the phone\r\n\r\nI was feeling just a little alone\r\nI was waiting for the phone to call\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"11706,11705,11704,11794,11793\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"https://www.youtube.com/embed/f8FxkxG62og?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nThe October Solution\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','The October Solution','','draft','closed','closed','','october-solution','','','2017-02-28 12:24:24','2017-02-28 04:24:24','',0,'http://www.hiddenshoal.com/?post_type=project&#038;p=11654',0,'project','',0),(12235,1,'2015-04-15 07:19:22','2015-04-14 23:19:22','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>The October Solution</h1>\r\n<img class=\"alignleft wp-image-11656 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-Band-Pic-300x224.jpg\" alt=\"The October Solution\" width=\"300\" height=\"224\" />Dream-rock architects The October Solution are Drew Sullivan (<a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow Dancing Society</a>, <a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a>) and Jarrod Manuel (<a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a>). While steeped in ’80s nostalgia, their music moves beyond familiar tropes to stand as defiantly futuristic and progressive. Their songs resonate with soaring guitars, ethereal vocals, and deftly woven pop melodies, melding the incandescent ambient sounds of Slow Dancing Society within the propulsive songcraft of City of Satellites. <strong><a title=\"Facebook\" href=\"https://www.facebook.com/OctoberSolution\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/EOtheband\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/theoctobersolution\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://the-october-solution.tumblr.com/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<span style=\"color: #000000;\">-</span>\r\n<h4>Axis Swim Scar</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 406px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=619551158/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://theoctobersolution.bandcamp.com/album/axis-swim-scar\">Axis Swim Scar by The October Solution</a></iframe> April 2015 While steeped in ’80s nostalgia, their music moves beyond familiar tropes to stand as defiantly futuristic and progressive, no better exemplified than on single ‘1984’, which draws upon the sweeping grandeur of Disintegration-era Cure. Axis Swim Scar resonates with soaring guitars,ethereal vocals, and deftly woven pop melodies, melding the incandescent ambient sounds of Slow Dancing Society within the propulsive song-craft of City of Satellites.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nThe October Solution – Drew Sullivan (<a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow Dancing Society</a>, City of Satellites) and Jarrod Manuel (<a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a>) – originally formed as EO in 2011, releasing two EPs, <i>Breathe Your Air</i> and <i>Somewhere Human</i>, before changing their name to The October Solution in 2013. While the duo operate at opposite ends of the globe – with Manuel based in Adelaide, Australia and Sullivan in Spokane, USA – this independent collaboration was born from a City of Satellites production meet-up in the US, where the pair bonded over their shared love of ’80s and ’90s pop music and shoegaze.\r\n\r\nThe October Solution\'s debut album <i>Axis Swim Scar</i> (mastered by <a title=\"Jonas Munk\" href=\"https://soundcloud.com/jonas-munk\" target=\"_blank\">Jonas Munk</a>) will see release through Hidden Shoal on 15th April 2015, followed by a deluxe compilation re-issue of their first two EPs later in the year.\r\n\r\n&nbsp;\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=the-october-solution-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=the-october-solution-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n\r\nNo reviews yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\nNo press releases yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"11706,11705,11704,11794,11793\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\nNo videos yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nThe October Solution\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','The October Solution','','inherit','closed','closed','','11654-revision-v1','','','2015-04-15 07:19:22','2015-04-14 23:19:22','',11654,'http://www.hiddenshoal.com/11654-revision-v1/',0,'revision','',0),(11657,1,'2015-01-14 13:46:43','2015-01-14 05:46:43','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>The October Solution</h1>\r\n<img class=\"alignleft wp-image-11656 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-Band-Pic-300x224.jpg\" alt=\"The October Solution\" width=\"300\" height=\"224\" />\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nAntonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','The October Solution','','inherit','closed','closed','','11654-revision-v1','','','2015-01-14 13:46:43','2015-01-14 05:46:43','',11654,'http://www.hiddenshoal.com/11654-revision-v1/',0,'revision','',0),(11655,1,'2015-01-14 12:24:43','2015-01-14 04:24:43','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Antonymes</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft wp-image-6978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1-300x300.jpg\" alt=\"Antonymes\" width=\"250\" height=\"250\" /></a><em>“sound sketches of enormous, if fragile, beauty”</em> –<strong> The Silent Ballet </strong> The music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations that have piled up and broken down around it. <strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nAntonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','The October Solution','','inherit','closed','closed','','11654-revision-v1','','','2015-01-14 12:24:43','2015-01-14 04:24:43','',11654,'http://www.hiddenshoal.com/11654-revision-v1/',0,'revision','',0),(11656,1,'2015-01-14 13:20:27','2015-01-14 05:20:27','','The October Solution','','inherit','closed','closed','','the-october-solution-band-pic','','','2015-01-14 13:34:21','2015-01-14 05:34:21','',11654,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-Band-Pic.jpg',0,'attachment','image/jpeg',0),(11658,1,'2015-01-30 10:21:53','2015-01-30 02:21:53','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Willem Gator</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11757\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/willem_gator_profile_pic.jpg\" alt=\"Willem Gator\" width=\"183\" height=\"214\" /></a><em>\"Willem Gator focuses on the larger impact. Letting each song gradually increase in emotional intensity helping it incorporate both rock and electronic aspects.\"</em> - <strong>Beach Slot</strong> Willem Gator creates a unique blend of downtempo beats, fat basslines and a multitude of oriental and orchestral instruments. He creates music that is not only about ‘place’, but also deeply embedded in its own place of construction and composition. His pivotal 2011 album <em>Hong Kong Express</em> is testament to this approach, composed while the artist lived in a ‘cubby hole’ apartment in Kowloon. <strong><a title=\"Facebook\" href=\"https://www.facebook.com/willemgator\" target=\"_blank\"> <br /></a><a href=\"https://geo.itunes.apple.com/us/artist/willem-gator/id405690956?at=11lRii&amp;mt=1&amp;app=music\"><img class=\"alignnone size-full wp-image-12412\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/05/badge_itunes-sm.png\" alt=\"iTunes\" width=\"44\" height=\"15\" /></a>  <a title=\"Facebook\" href=\"https://www.facebook.com/willemgator\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/willemgator\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/willemgator\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.willemgator.com/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<div></div>\r\n<h4>Hong Kong Express</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 406px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=45489366/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://willemgator.bandcamp.com/album/hong-kong-express\">Hong Kong Express by Willem Gator</a></iframe>\r\n2011\r\n<div></div>\r\nIn \"Hong Kong Express\" fat basslines create Berliner style patterns pulsating through landscapes of oriental instruments such as the Erhu, Zheng, Sanxian and swarms of Chinese percussions. While you listen to these tracks, you\'ll be able to see and feel the places, faces and ambience of the streets in Hong Kong and of the smothering cubby-hole in Kowloon where they were conceived and almost completed.\r\n<div></div>\r\n<div></div>\r\n<h4></h4>\r\n<h4>Touch me and i will save you</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 472px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1677147963/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://willemgator.bandcamp.com/album/touch-me-and-i-will-save-you\">Touch me and i will save you by Willem Gator</a></iframe>\r\n2008\r\n<div></div>\r\n<em>Touch me and i will save you</em> is Guiseppe Musmeci\'s sophomore release under the Willem Gator moniker, preceded by the debut <em>Musica Orchestrale per sordi. </em>The album is a gorgeous tapestry of atmospheric down-tempo counterpointed by a number of more urgent and angular electronic beat driven explorations. As with each Willem Gator release <em>Touch me and i will save you</em> has a unique wholeness to it and expands when given the full album listening experience.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nWillem Gator is Giuseppe Musmeci, self-taught composer, guitarist, electronic musician and member of the Italian post-rock outfit HC-B. Musmeci\'s rich background in electronic music production and keen sense of texture sees him creating highly distinctive music under his Willem Gator moniker: “My music is photography of a time, of the people I met and the emotion they gave to me.\" Willem Gator has performed throughout Europe, sharing the stage with musicians such as FM Einhet (Einsturzende Neubauten), Flying Luttenbachers, Unsane, DJ Spooky, Pansonic, Nobokazu Takemura, U-Cef, Battles and Art Brut.[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=willem-gator-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=willem-gator-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n\r\nNo reviews yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\nNo press releases, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"11661,11662,11663,11665,11664\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"https://www.youtube.com/embed/njiTa55qp3I?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<iframe src=\"//www.youtube.com/embed/2CbQ06ohutI?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nWillem Gator\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Willem Gator','','publish','closed','closed','','willem-gator','','','2016-10-03 08:33:50','2016-10-03 00:33:50','',0,'http://www.hiddenshoal.com/?post_type=project&#038;p=11658',0,'project','',0),(11756,1,'2015-01-23 12:18:09','2015-01-23 04:18:09','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Willem Gator</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-11659\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/Willem-Gator-1-226x300.jpg\" alt=\"Willem Gator\" width=\"200\" height=\"265\" /></a>Willem Gator creates a unique blend of downtempo beats, fat basslines and a multitude of oriental and orchestral instruments. He creates music that is not only about ‘place’, but also deeply embedded in its own place of construction and composition. His pivotal 2011 album <em>Hong Kong Express</em> is testament to this approach, composed while the artist lived in a ‘cubby hole’ apartment in Kowloon.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>Hong Kong Express</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 406px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=45489366/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://willemgator.bandcamp.com/album/hong-kong-express\">Hong Kong Express by Willem Gator</a></iframe>\r\n2011\r\n<div></div>\r\nIn \"Hong Kong Express\" fat basslines create Berliner style patterns pulsating through landscapes of oriental instruments such as the Erhu, Zheng, Sanxian and swarms of Chinese percussions. While you listen to these tracks, you\'ll be able to see and feel the places, faces and ambience of the streets in Hong Kong and of the smothering cubby-hole in Kowloon where they were conceived and almost completed.\r\n<div></div>\r\n<div></div>\r\n<h4>Touch me and i will save you</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 472px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1677147963/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://willemgator.bandcamp.com/album/touch-me-and-i-will-save-you\">Touch me and i will save you by Willem Gator</a></iframe>\r\n2008\r\n<div></div>\r\n<em>Touch me and i will save you</em> is Guiseppe Musmeci\'s sophomore release under the Willem Gator moniker, preceded by the debut <em>Musica Orchestrale per sordi. </em>The album is a gorgeous tapestry of atmospheric down-tempo counterpointed by a number of more urgent and angular electronic beat driven explorations. As with each Willem Gator release <em>Touch me and i will save you</em> has a unique wholeness to it and expands when given the full album listening experience.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nWillem Gator is Giuseppe Musmeci, self-taught composer, guitarist, electronic musician and member of the Italian post-rock outfit HC-B. Musmeci\'s rich background in electronic music production and keen sense of texture sees him creating highly distinctive music under his Willem Gator moniker: “My music is photography of a time, of the people I met and the emotion they gave to me.\" Willem Gator has performed throughout Europe, sharing the stage with musicians such as FM Einhet (Einsturzende Neubauten), Flying Luttenbachers, Unsane, DJ Spooky, Pansonic, Nobokazu Takemura, U-Cef, Battles and Art Brut.[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=willem-gator-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=willem-gator-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\nNo press releases, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"11661,11662,11663,11665,11664\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/2CbQ06ohutI?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nWillem Gator\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Willem Gator','','inherit','closed','closed','','11658-revision-v1','','','2015-01-23 12:18:09','2015-01-23 04:18:09','',11658,'http://www.hiddenshoal.com/11658-revision-v1/',0,'revision','',0),(11667,1,'2015-01-15 11:49:21','2015-01-15 03:49:21','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Willem Gator</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-11659\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/Willem-Gator-1-226x300.jpg\" alt=\"Willem Gator\" width=\"226\" height=\"300\" /></a><em>“XXXXX”</em> –<strong> XXXX</strong>\r\n\r\nWillem Gator aka Giuseppe Musmeci is a self-taught composer, guitarist, electronic musician and member of the Italian post-rock outfit HC-B. Under his Willem Gator moniker he creates a unique blend of acid house kicks, downtempo beats with junglesque phat basslines, oriental moods and overlapped with a multitude of orchestral instruments. He creates music that is not only about \"place\" but that is also deeply embedded in its own place of construction and composition. His pivotal 2011 work <em>Hong Kong Express</em> is testament to this approach, composed while the artist lived in a \"cubby hole\" apartment in Kowloon.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>Hong Kong Express</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 406px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=45489366/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://willemgator.bandcamp.com/album/hong-kong-express\">Hong Kong Express by Willem Gator</a></iframe>\r\n2011\r\n<div></div>\r\nIn \"Hong Kong Express\" fat basslines create Berliner style patterns pulsating through landscapes of oriental instruments such as the Erhu, Zheng, Sanxian and swarms of Chinese percussions. While you listen to these tracks, you\'ll be able to see and feel the places, faces and ambience of the streets in Hong Kong and of the smothering cubby-hole in Kowloon where they were conceived and almost completed.\r\n<div></div>\r\n<div></div>\r\n<h4>Touch me and i will save you</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 472px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1677147963/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://willemgator.bandcamp.com/album/touch-me-and-i-will-save-you\">Touch me and i will save you by Willem Gator</a></iframe>\r\n2008\r\n<div></div>\r\n<em>Touch me and i will save you</em> is Guiseppe Musmeci\'s sophomore release under the Willem Gator moniker, preceded by the debut <em>Musica Orchestrale per sordi. </em>The album is a gorgeous tapestry of atmospheric down-tempo counterpointed by a number of more urgent and angular electronic beat driven explorations. As with each Willem Gator release <em>Touch me and i will save you</em> has a unique wholeness to it and expands when given the full album listening experience.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nWillem Gator aka Giuseppe Musmeci is a self-taught composer, guitarist, electronic musician and member of the Italian post-rock outfit HC-B. Musmeci\'s rich background in electronic music production and keen sense of texture sees him creating highly distinctive grooves and sonic pallettes under his Willem Gator moniker. This approach is no more evidenced than on his 2011 release <em>Hong Kong Express </em>where fat basslines create Berliner style patterns pulsating through landscapes of oriental instruments such as the Erhu, Zheng, Sanxian and swarms of Chinese percussions. Muscmeci says of his work, <em>“My music is a photography of a time, of the people I met and the emotion they gave to me\".</em> <em>Hong Kong Express</em> is about being able to see and feel the places, faces and ambience of the streets in Hong Kong and of the smothering cubby-hole in Kowloon where they were conceived and almost completed.\r\n\r\nWillem Gator has performed hundreds of concerts four tours throughout Europe, sharing the stage with musicians such as FM Einhet (Einsturzende Neubauten), Flying Luttenbachers, Unsane, DJ Spooky, Pansonic, Nobokazu Takemura, U-Cef, Battles, Art Brut, etc.\r\n\r\n&nbsp;\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=willem-gator-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=willem-gator-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\nNo press releases, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"11661,11662,11663,11665,11664\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\nNo music videos yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nWillem Gator\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Willem Gator','','inherit','closed','closed','','11658-revision-v1','','','2015-01-15 11:49:21','2015-01-15 03:49:21','',11658,'http://www.hiddenshoal.com/11658-revision-v1/',0,'revision','',0),(11666,1,'2015-01-15 11:43:14','2015-01-15 03:43:14','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Willem Gator</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-11659\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/Willem-Gator-1-226x300.jpg\" alt=\"Willem Gator\" width=\"226\" height=\"300\" /></a><em>“XXXXX”</em> –<strong> XXXX</strong>\r\n\r\nWillem Gator aka Giuseppe Musmeci is a self-taught composer, guitarist, electronic musician and member of the Italian post-rock outfit HC-B. Under his Willem Gator moniker he creates a unique blend of acid house kicks, downtempo beats with junglesque phat basslines, oriental moods and overlapped with a multitude of orchestral instruments. He creates music that is not only about \"place\" but that is also deeply embedded in its own place of construction and composition. His pivotal 2011 work <em>Hong Kong Express</em> is testament to this approach, composed while the artist lived in a \"cubby hole\" apartment in Kowloon.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>Hong Kong Express</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 406px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=45489366/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://willemgator.bandcamp.com/album/hong-kong-express\">Hong Kong Express by Willem Gator</a></iframe>\r\n2011\r\n<div></div>\r\nIn \"Hong Kong Express\" fat basslines create Berliner style patterns pulsating through landscapes of oriental instruments such as the Erhu, Zheng, Sanxian and swarms of Chinese percussions. While you listen to these tracks, you\'ll be able to see and feel the places, faces and ambience of the streets in Hong Kong and of the smothering cubby-hole in Kowloon where they were conceived and almost completed.\r\n<div></div>\r\n<div></div>\r\n<h4>Touch me and i will save you</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 472px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1677147963/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://willemgator.bandcamp.com/album/touch-me-and-i-will-save-you\">Touch me and i will save you by Willem Gator</a></iframe>\r\n2008\r\n<div></div>\r\n<em>Touch me and i will save you</em> is Guiseppe Musmeci\'s sophomore release under the Willem Gator moniker, preceded by the debut <em>Musica Orchestrale per sordi. </em>The album is a gorgeous tapestry of atmospheric down-tempo counterpointed by a number of more urgent and angular electronic beat driven explorations. As with each Willem Gator release <em>Touch me and i will save you</em> has a unique wholeness to it and expands when given the full album listening experience.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nWillem Gator aka Giuseppe Musmeci is a self-taught composer, guitarist, electronic musician and member of the Italian post-rock outfit HC-B. Musmeci\'s rich background in electronic music production and keen sense of texture sees him creating highly distinctive grooves and sonic pallettes under his Willem Gator moniker. This approach is no more evidenced than on his 2011 release <em>Hong Kong Express </em>where fat basslines create Berliner style patterns pulsating through landscapes of oriental instruments such as the Erhu, Zheng, Sanxian and swarms of Chinese percussions. Muscmeci says of his work, <em>“My music is a photography of a time, of the people I met and the emotion they gave to me\".</em> <em>Hong Kong Express</em> is about being able to see and feel the places, faces and ambience of the streets in Hong Kong and of the smothering cubby-hole in Kowloon where they were conceived and almost completed.\r\n\r\nWillem Gator has performed hundreds of concerts four tours throughout Europe, sharing the stage with musicians such as FM Einhet (Einsturzende Neubauten), Flying Luttenbachers, Unsane, DJ Spooky, Pansonic, Nobokazu Takemura, U-Cef, Battles, Art Brut, etc.\r\n\r\n&nbsp;\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=willem-gator-news content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=willem-gator-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\nNo press releases, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"11661,11662,11663,11665,11664\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Willem Gator','','inherit','closed','closed','','11658-revision-v1','','','2015-01-15 11:43:14','2015-01-15 03:43:14','',11658,'http://www.hiddenshoal.com/11658-revision-v1/',0,'revision','',0),(11660,1,'2015-01-15 11:13:07','2015-01-15 03:13:07','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Willem Gator</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-11659\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/Willem-Gator-1-226x300.jpg\" alt=\"Willem Gator\" width=\"226\" height=\"300\" /></a><em>“XXXXX”</em> –<strong> XXXX</strong>\r\n\r\nWillem Gator aka Giuseppe Musmeci is a self-taught composer, guitarist, electronic musician and member of the Italian post-rock outfit HC-B. Under his Willem Gator moniker he creates a unique blend of acid house kicks, downtempo beats with junglesque phat basslines, oriental moods and overlapped with a multitude of orchestral instruments. He creates music that is not only about \"place\" but that is also deeply embedded in its own place of construction and composition. His pivotal 2011 work <em>Hong Kong Express</em> is testament to this approach, composed while the artist lived in a \"cubby hole\" apartment in Kowloon.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nWillem Gator aka Giuseppe Musmeci is a self-taught composer, guitarist, electronic musician and member of the Italian post-rock outfit HC-B. Musmeci\'s rich background in electronic music production and keen sense of texture sees him creating highly distinctive grooves and sonic pallettes under his Willem Gator moniker. This approach is no more evidenced than on his 2011 release <em>Hong Kong Express </em>where fat basslines create Berliner style patterns pulsating through landscapes of oriental instruments such as the Erhu, Zheng, Sanxian and swarms of Chinese percussions. Muscmeci says of his work, <em>“My music is a photography of a time, of the people I met and the emotion they gave to me\".</em> <em>Hong Kong Express</em> is about being able to see and feel the places, faces and ambience of the streets in Hong Kong and of the smothering cubby-hole in Kowloon where they were conceived and almost completed.\r\n\r\nWillem Gator has performed hundreds of concerts four tours throughout Europe, sharing the stage with musicians such as FM Einhet (Einsturzende Neubauten), Flying Luttenbachers, Unsane, DJ Spooky, Pansonic, Nobokazu Takemura, U-Cef, Battles, Art Brut, etc.\r\n\r\n&nbsp;\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Willem Gator','','inherit','closed','closed','','11658-revision-v1','','','2015-01-15 11:13:07','2015-01-15 03:13:07','',11658,'http://www.hiddenshoal.com/11658-revision-v1/',0,'revision','',0),(11659,1,'2015-01-15 10:44:33','2015-01-15 02:44:33','','Willem Gator','','inherit','closed','closed','','willem-gator-1','','','2015-01-15 10:44:44','2015-01-15 02:44:44','',11658,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/Willem-Gator-1.jpg',0,'attachment','image/jpeg',0),(11661,1,'2015-01-15 11:33:05','2015-01-15 03:33:05','','Willem Gator','','inherit','closed','closed','','willem-gator-1-2','','','2015-01-15 11:42:14','2015-01-15 03:42:14','',11658,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/Willem-Gator-11.jpg',0,'attachment','image/jpeg',0),(11662,1,'2015-01-15 11:33:10','2015-01-15 03:33:10','','Giuseppe Musmeci','','inherit','closed','closed','','willem-gator-2','','','2015-02-11 11:27:28','2015-02-11 03:27:28','',11658,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/Willem-Gator-2.jpg',0,'attachment','image/jpeg',0),(11663,1,'2015-01-15 11:33:14','2015-01-15 03:33:14','','Willem Gator','','inherit','closed','closed','','willem-gator-3','','','2015-01-15 11:42:20','2015-01-15 03:42:20','',11658,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/Willem-Gator-3.jpg',0,'attachment','image/jpeg',0),(11664,1,'2015-01-15 11:33:21','2015-01-15 03:33:21','','Willem Gator','','inherit','closed','closed','','willem-gator-4','','','2015-01-15 11:42:24','2015-01-15 03:42:24','',11658,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/Willem-Gator-4.jpg',0,'attachment','image/jpeg',0),(11665,1,'2015-01-15 11:33:28','2015-01-15 03:33:28','','Willem Gator','','inherit','closed','closed','','willem-gator-5','','','2015-01-15 11:42:28','2015-01-15 03:42:28','',11658,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/Willem-Gator-5.jpg',0,'attachment','image/jpeg',0),(11668,1,'2015-01-15 12:41:07','2015-01-15 04:41:07','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Positive-Haywires-Front-Cover-1000px.jpg\"><img class=\"alignleft size-thumbnail wp-image-10728\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Positive-Haywires-Front-Cover-1000px-150x150.jpg\" alt=\"Positive Haywires\" width=\"150\" height=\"150\" /></a><a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie\" target=\"_blank\">The Underground of Happiness</a> radio show and blog is a firm favourite here at Hidden Shoal so it\'s always an honour to get some love and kudos from it\'s host, the lovely Conor O\'Toole. And what nicer kudos to receive than seeing four Hidden Shoal artists in their best of 2014 lists. <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\">Brother Earth</a>, <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloe March</a>, <a title=\"Elisa Luu\" href=\"http://www.hiddenshoal.com/project/elisa-luu/\">Elisa Luu</a> and <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">Markus Mehr</a> all made The Underground of Happiness best of lists this year along with a range of other wonderful artists. Check out Chloe\'s, Elisa\'s and Markus\'s mentions <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\">here</a> and then Brother Earth\'s <a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-3-psychkrautrockpunkb.html\" target=\"_blank\">here</a>.','Hidden Shoal Artists in Underground of Happiness Best of 2014','','publish','closed','closed','','hidden-shoal-artists-underground-happiness-best-2014','','','2016-02-03 15:51:49','2016-02-03 07:51:49','',0,'http://www.hiddenshoal.com/?p=11668',0,'post','',0),(11669,1,'2015-01-15 12:36:51','2015-01-15 04:36:51','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Positive-Haywires-Front-Cover-1000px.jpg\"><img class=\"alignleft size-thumbnail wp-image-10728\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Positive-Haywires-Front-Cover-1000px-150x150.jpg\" alt=\"Positive Haywires\" width=\"150\" height=\"150\" /></a><a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie\" target=\"_blank\">The Underground of Happiness</a> radio show and blog is a firm favourite here at Hidden Shoal so it\'s always an honour to get some love and kudos from it\'s host, the lovely Conor O\'Toole. And what nicer kudos to receive than seeing four of artists in their best of 2014 lists. Brother Earth, Chloe March, Elisa Luu and Markus Mehr all made The Underground of Happiness\' best of lists this year along with a range of other wonderful artists. Check out Chloe, Elisa and Markus\'s mentions <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\">here</a> and then Brother Earth\'s <a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-3-psychkrautrockpunkb.html\" target=\"_blank\">here</a>.','Hidden Shoal Artists in Underground of Happiness Best of 2014','','inherit','closed','closed','','11668-revision-v1','','','2015-01-15 12:36:51','2015-01-15 04:36:51','',11668,'http://www.hiddenshoal.com/11668-revision-v1/',0,'revision','',0),(11670,1,'2015-01-15 12:38:10','2015-01-15 04:38:10','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Positive-Haywires-Front-Cover-1000px.jpg\"><img class=\"alignleft size-thumbnail wp-image-10728\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Positive-Haywires-Front-Cover-1000px-150x150.jpg\" alt=\"Positive Haywires\" width=\"150\" height=\"150\" /></a><a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie\" target=\"_blank\">The Underground of Happiness</a> radio show and blog is a firm favourite here at Hidden Shoal so it\'s always an honour to get some love and kudos from it\'s host, the lovely Conor O\'Toole. And what nicer kudos to receive than seeing four of artists in their best of 2014 lists. <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\">Brother Earth</a>, <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloe March</a>, <a title=\"Elisa Luu\" href=\"http://www.hiddenshoal.com/project/elisa-luu/\">Elisa Luu</a> and <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">Markus Mehr</a> all made The Underground of Happiness\' best of lists this year along with a range of other wonderful artists. Check out Chloe, Elisa and Markus\'s mentions <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\">here</a> and then Brother Earth\'s <a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-3-psychkrautrockpunkb.html\" target=\"_blank\">here</a>.','Hidden Shoal Artists in Underground of Happiness Best of 2014','','inherit','closed','closed','','11668-revision-v1','','','2015-01-15 12:38:10','2015-01-15 04:38:10','',11668,'http://www.hiddenshoal.com/11668-revision-v1/',0,'revision','',0),(11671,1,'2015-01-15 12:38:49','2015-01-15 04:38:49','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Positive-Haywires-Front-Cover-1000px.jpg\"><img class=\"alignleft size-thumbnail wp-image-10728\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Positive-Haywires-Front-Cover-1000px-150x150.jpg\" alt=\"Positive Haywires\" width=\"150\" height=\"150\" /></a><a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie\" target=\"_blank\">The Underground of Happiness</a> radio show and blog is a firm favourite here at Hidden Shoal so it\'s always an honour to get some love and kudos from it\'s host, the lovely Conor O\'Toole. And what nicer kudos to receive than seeing four of artists in their best of 2014 lists. <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\">Brother Earth</a>, <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloe March</a>, <a title=\"Elisa Luu\" href=\"http://www.hiddenshoal.com/project/elisa-luu/\">Elisa Luu</a> and <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">Markus Mehr</a> all made The Underground of Happiness best of lists this year along with a range of other wonderful artists. Check out Chloe\'s, Elisa\'s and Markus\'s mentions <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\">here</a> and then Brother Earth\'s <a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-3-psychkrautrockpunkb.html\" target=\"_blank\">here</a>.','Hidden Shoal Artists in Underground of Happiness Best of 2014','','inherit','closed','closed','','11668-revision-v1','','','2015-01-15 12:38:49','2015-01-15 04:38:49','',11668,'http://www.hiddenshoal.com/11668-revision-v1/',0,'revision','',0),(11672,1,'2015-01-15 12:40:52','2015-01-15 04:40:52','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Positive-Haywires-Front-Cover-1000px.jpg\"><img class=\"alignleft size-thumbnail wp-image-10728\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Positive-Haywires-Front-Cover-1000px-150x150.jpg\" alt=\"Positive Haywires\" width=\"150\" height=\"150\" /></a><a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie\" target=\"_blank\">The Underground of Happiness</a> radio show and blog is a firm favourite here at Hidden Shoal so it\'s always an honour to get some love and kudos from it\'s host, the lovely Conor O\'Toole. And what nicer kudos to receive than seeing four Hidden Shoal artists in their best of 2014 lists. <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\">Brother Earth</a>, <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloe March</a>, <a title=\"Elisa Luu\" href=\"http://www.hiddenshoal.com/project/elisa-luu/\">Elisa Luu</a> and <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">Markus Mehr</a> all made The Underground of Happiness best of lists this year along with a range of other wonderful artists. Check out Chloe\'s, Elisa\'s and Markus\'s mentions <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\">here</a> and then Brother Earth\'s <a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-3-psychkrautrockpunkb.html\" target=\"_blank\">here</a>.','Hidden Shoal Artists in Underground of Happiness Best of 2014','','inherit','closed','closed','','11668-revision-v1','','','2015-01-15 12:40:52','2015-01-15 04:40:52','',11668,'http://www.hiddenshoal.com/11668-revision-v1/',0,'revision','',0),(11673,1,'2015-01-15 12:44:59','2015-01-15 04:44:59','\"A welcome return last year for two of Hidden Shoal’s family of stalwart and brilliantly individual electronic artists.  Rome native Elisa Luu produced another delirious mix of found sounds and ambient haze with a sprinkling of space dust on her appropriately titled <i>Enchanted gaze</i> album.  What’s so great about this particular track is how she takes something as familiar as an acoustic guitar riff and brushed drums into unexpected and even alien new directions. Delightfully unpredictable.\"\r\n\r\n- <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\"><strong>The Underground of Happiness</strong> </a>','Elisa Luu \'Shebeen\' In The Underground of Happiness Best of 2014','','publish','closed','closed','','elisa-luu-shebeen-underground-happiness-best-2014','','','2015-01-15 12:44:59','2015-01-15 04:44:59','',0,'http://www.hiddenshoal.com/?p=11673',0,'post','',0),(11674,1,'2015-01-15 12:44:54','2015-01-15 04:44:54','\"A welcome return last year for two of Hidden Shoal’s family of stalwart and brilliantly individual electronic artists.  Rome native Elisa Luu produced another delirious mix of found sounds and ambient haze with a sprinkling of space dust on her appropriately titled <i>Enchanted gaze</i> album.  What’s so great about this particular track is how she takes something as familiar as an acoustic guitar riff and brushed drums into unexpected and even alien new directions. Delightfully unpredictable.\"\r\n\r\n- <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\"><strong>The Underground of Happiness</strong> </a>','Elisa Luu \'Shebeen\' In The Underground of Happiness Best of 2014','','inherit','closed','closed','','11673-revision-v1','','','2015-01-15 12:44:54','2015-01-15 04:44:54','',11673,'http://www.hiddenshoal.com/11673-revision-v1/',0,'revision','',0),(11675,1,'2015-01-15 12:46:59','2015-01-15 04:46:59','\"Brilliantly coiled and deceptively low key psych folk beast by Todd Tobias and Steve Five from their album <i>Positive Haywires</i>. I particularly love the way this song feels like it’s about to fall apart around the midpoint. It holds its shit together but the suspense created by that freakout hangs in the air long after its last moments.\"\r\n\r\n<strong>- <a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-3-psychkrautrockpunkb.html\" target=\"_blank\">The Underground of Happiness</a></strong>','Brother Earth \'Out Like a Lion\' In The Underground of Happiness Best of 2014','','publish','closed','closed','','brother-earth-like-lion-underground-happiness-best-2014','','','2015-01-15 12:46:59','2015-01-15 04:46:59','',0,'http://www.hiddenshoal.com/?p=11675',0,'post','',0),(11676,1,'2015-01-15 12:46:59','2015-01-15 04:46:59','\"Brilliantly coiled and deceptively low key psych folk beast by Todd Tobias and Steve Five from their album <i>Positive Haywires</i>. I particularly love the way this song feels like it’s about to fall apart around the midpoint. It holds its shit together but the suspense created by that freakout hangs in the air long after its last moments.\"\r\n\r\n<strong>- <a title=\"The Underground of Happiness\" href=\"http://theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-3-psychkrautrockpunkb.html\" target=\"_blank\">The Underground of Happiness</a></strong>','Brother Earth \'Out Like a Lion\' In The Underground of Happiness Best of 2014','','inherit','closed','closed','','11675-revision-v1','','','2015-01-15 12:46:59','2015-01-15 04:46:59','',11675,'http://www.hiddenshoal.com/11675-revision-v1/',0,'revision','',0),(11677,1,'2015-01-15 12:49:28','2015-01-15 04:49:28','\"A gorgeous chamber piano miniature with shades of Ryuichi Sakamoto, another singular Hidden Shoal release last year.  It\'s dreamy (as you might expect with a title like that), rich, luxurious even like the lyric near the end.  That piano basically, I could listen to it all day.\"\r\n\r\n<strong>- <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\">The Underground of Happiness</a></strong>','Chloe March \'Eucalyptus Night\' In The Underground of Happiness Best of 2014','','publish','closed','closed','','chloe-march-eucalyptus-night-underground-happiness-best-2014','','','2015-01-15 12:49:28','2015-01-15 04:49:28','',0,'http://www.hiddenshoal.com/?p=11677',0,'post','',0),(11678,1,'2015-01-15 12:49:28','2015-01-15 04:49:28','\"A gorgeous chamber piano miniature with shades of Ryuichi Sakamoto, another singular Hidden Shoal release last year.  It\'s dreamy (as you might expect with a title like that), rich, luxurious even like the lyric near the end.  That piano basically, I could listen to it all day.\"\r\n\r\n<strong>- <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\">The Underground of Happiness</a></strong>','Chloe March \'Eucalyptus Night\' In The Underground of Happiness Best of 2014','','inherit','closed','closed','','11677-revision-v1','','','2015-01-15 12:49:28','2015-01-15 04:49:28','',11677,'http://www.hiddenshoal.com/11677-revision-v1/',0,'revision','',0),(11679,1,'2015-01-15 12:52:33','2015-01-15 04:52:33','\"North to Augsburg in Germany, and Markus Mehr moved his singular vision on another notch by exploring what you might call the personal soundscapes around each of us. This track is a great example. Machine whirr. Grinding industrial ebb and flo. Lush piano chords. Traffic sirens. Someone playing a trumpet. Snatches of conversation. Footsteps. The sighs and breaths of the city at work. I hear it as a smaller-scale companion to Roll The Dice above. Which is to say, immersive and entirely engrossing.\"\r\n\r\n<strong>- <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\">The Underground of Happiness</a></strong>','Markus Mehr \'In The Palm of Your Hand\' In The Underground of Happiness Best of 2014','','publish','closed','closed','','markus-mehr-palm-hand-underground-happiness-best-2014','','','2015-01-15 12:52:33','2015-01-15 04:52:33','',0,'http://www.hiddenshoal.com/?p=11679',0,'post','',0),(11680,1,'2015-01-15 12:52:33','2015-01-15 04:52:33','\"North to Augsburg in Germany, and Markus Mehr moved his singular vision on another notch by exploring what you might call the personal soundscapes around each of us. This track is a great example. Machine whirr. Grinding industrial ebb and flo. Lush piano chords. Traffic sirens. Someone playing a trumpet. Snatches of conversation. Footsteps. The sighs and breaths of the city at work. I hear it as a smaller-scale companion to Roll The Dice above. Which is to say, immersive and entirely engrossing.\"\r\n\r\n<strong>- <a title=\"The Underground of Happiness\" href=\"http://www.theundergroundofhappiness.blogspot.ie/2015/01/best-of-2014-part-4-jazzchamberorchestr.html\" target=\"_blank\">The Underground of Happiness</a></strong>','Markus Mehr \'In The Palm of Your Hand\' In The Underground of Happiness Best of 2014','','inherit','closed','closed','','11679-revision-v1','','','2015-01-15 12:52:33','2015-01-15 04:52:33','',11679,'http://www.hiddenshoal.com/11679-revision-v1/',0,'revision','',0),(11681,1,'2015-01-15 15:58:28','2015-01-15 07:58:28','\"This is the fifth solo album from former guitarist for The Unemployed Ministers, Markus Mehr. Across the eight tracks, the German experimental artist covers all manner of strange and confronting sounds while maintaining an underlying ambiance throughout.\r\n\r\nThere is a spacey droney introduction to the album through the two minute Buoy flowing into In the palm of your hands which then takes on a repetitive droney trip hop sound with various subtle samples in the background. Pedestrians consists of a miss mash of various electrical devices going off together, from the modern, to the fax machine and various other computers. Living on tape is a collection of answering machine messages from a guy named Bob to a guy named Louis demanding money, threatening legal action, and generally being aggressive. This is backed up by an industrial David Lynch-esq soundtrack. Gymnasium​/​Swarms sees the ambient and industrial droning sounds fair together with the track swaying from light vapor like sounds to harsh bursts of rage.\r\n\r\nPower plant drifts towards the ambient side of things with light droning sounds wondering through. The result is something that is strangely relaxing.\r\n\r\nThis is a courageous release that really pushes the ideas of sounds and music with intriguing and sometimes confronting effect. At the same time there is a certain sense of placidity amongst the experimentation, allowing you to lay back and let the music take you away.\"\r\n\r\n<strong>- <a title=\"Tomatrax\" href=\"https://tomatrax.wordpress.com/2014/12/18/cd-review-markus-mehr-binary-rooms/\" target=\"_blank\">Tomatrax</a></strong>','Markus Mehr \"Binary Rooms\" Reviewed at Tomatrax','','publish','closed','closed','','markus-mehr-binary-rooms-reviewed-tomatrax','','','2015-01-15 15:58:28','2015-01-15 07:58:28','',0,'http://www.hiddenshoal.com/?p=11681',0,'post','',0),(11682,1,'2015-01-15 15:58:17','2015-01-15 07:58:17','\"This is the fifth solo album from former guitarist for The Unemployed Ministers, Markus Mehr. Across the eight tracks, the German experimental artist covers all manner of strange and confronting sounds while maintaining an underlying ambiance throughout.\r\n\r\nThere is a spacey droney introduction to the album through the two minute Buoy flowing into In the palm of your hands which then takes on a repetitive droney trip hop sound with various subtle samples in the background. Pedestrians consists of a miss mash of various electrical devices going off together, from the modern, to the fax machine and various other computers. Living on tape is a collection of answering machine messages from a guy named Bob to a guy named Louis demanding money, threatening legal action, and generally being aggressive. This is backed up by an industrial David Lynch-esq soundtrack. Gymnasium​/​Swarms sees the ambient and industrial droning sounds fair together with the track swaying from light vapor like sounds to harsh bursts of rage.\r\n\r\nPower plant drifts towards the ambient side of things with light droning sounds wondering through. The result is something that is strangely relaxing.\r\n\r\nThis is a courageous release that really pushes the ideas of sounds and music with intriguing and sometimes confronting effect. At the same time there is a certain sense of placidity amongst the experimentation, allowing you to lay back and let the music take you away.\"\r\n\r\n<strong>- <a title=\"Tomatrax\" href=\"https://tomatrax.wordpress.com/2014/12/18/cd-review-markus-mehr-binary-rooms/\" target=\"_blank\">Tomatrax</a></strong>','Markus Mehr \"Binary Rooms\" Reviewed at Tomatrax','','inherit','closed','closed','','11681-revision-v1','','','2015-01-15 15:58:17','2015-01-15 07:58:17','',11681,'http://www.hiddenshoal.com/11681-revision-v1/',0,'revision','',0),(11683,1,'2015-01-16 11:34:33','2015-01-16 03:34:33','<img class=\"alignleft size-medium wp-image-9201\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/T-Star_Band_Photo2-300x181.jpg\" alt=\"Tangled Star\" width=\"300\" height=\"181\" />I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work with the <a title=\"The Bamboos\" href=\"http://en.wikipedia.org/wiki/The_Bamboos_%28rock_band%29\" target=\"_blank\">Bamboos</a> back in the 80\'s to the Healers, Outstation, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\" target=\"_blank\">The Slow Beings</a> and to his current <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic alt-country title track from Tangled Star\'s 2007 mini-album <a title=\"It\'s Now or Later\" href=\"http://www.hiddenshoal.com/project/tangled-star/\"><em>It\'s Now or Later</em></a>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across a more than seven minute terrain. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes and the exultant shifts and wandering detours in the song bear witness to this. To top it all off Hallsworth\'s wonderful turn of phrase infuses the music with curling narratives that take the song to another level again. Sublime.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/186279943%3Fsecret_token%3Ds-QWOcq&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track – Tangled Star \'It\'s Now or Later\'','','publish','closed','closed','','featured-track-tangled-star-now-later','','','2016-06-20 10:42:01','2016-06-20 02:42:01','',0,'http://www.hiddenshoal.com/?p=11683',0,'post','',0),(11684,1,'2015-01-15 22:30:26','2015-01-15 14:30:26','','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-15 22:30:26','2015-01-15 14:30:26','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11685,1,'2015-01-15 22:57:32','2015-01-15 14:57:32','I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work in the Bamboos back in the 80\'s to the Healers, Outstation, The Slow Beings to his current Tangled Star project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the title track of Tangled Star\'s 2007 mini-album <em>It\'s Now or Later.</em>\r\n\r\n&nbsp;\r\n\r\nthat take known rock tropes and gently twists them just enough','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-15 22:57:32','2015-01-15 14:57:32','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11686,1,'2015-01-16 10:46:08','2015-01-16 02:46:08','I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work in the Bamboos back in the 80\'s to the Healers, Outstation, The Slow Beings and to his current Tangled Star project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic title track of Tangled Star\'s 2007 mini-album <em>It\'s Now or Later</em>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across it\' s more than seven minute terrain. <em>\r\n</em>\r\n\r\n&nbsp;\r\n\r\nthat take known rock tropes and gently twists them just enough','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 10:46:08','2015-01-16 02:46:08','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11687,1,'2015-01-16 10:53:15','2015-01-16 02:53:15','I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work in the Bamboos back in the 80\'s to the Healers, Outstation, The Slow Beings and to his current Tangled Star project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic title track of Tangled Star\'s 2007 mini-album <em>It\'s Now or Later</em>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across it\' s more than seven minute terrain. <em>It’s Now or Later</em> charts a journey across once familiar land yet through its exultant shifts and wandering detours manages to make everything feel new again. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes. Along with this comes his wonderful turn of phrase','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 10:53:15','2015-01-16 02:53:15','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11688,1,'2015-01-16 10:56:44','2015-01-16 02:56:44','I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work in the Bamboos back in the 80\'s to the Healers, Outstation, The Slow Beings and to his current Tangled Star project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic title track of Tangled Star\'s 2007 mini-album <em>It\'s Now or Later</em>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across it\' s more than seven minute terrain. <em>It’s Now or Later</em> charts a journey across once familiar land yet through its exultant shifts and wandering detours manages to make everything feel new again. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes. Along with this comes his wonderful turn of phrase that infuses the music with curling narratives and takes the song to another level again.','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 10:56:44','2015-01-16 02:56:44','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11689,1,'2015-01-16 11:03:57','2015-01-16 03:03:57','I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work in the Bamboos back in the 80\'s to the Healers, Outstation, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\" target=\"_blank\">The Slow Beings</a> and to his current <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic title track of Tangled Star\'s 2007 mini-album <em>It\'s Now or Later</em>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across it\' s more than seven minute terrain. <em>It’s Now or Later</em> charts a journey across once familiar land yet through its exultant shifts and wandering detours manages to make everything feel new again. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes. Along with this comes his wonderful turn of phrase that infuses the music with curling narratives and takes the song to another level again.','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 11:03:57','2015-01-16 03:03:57','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11690,1,'2015-01-16 11:05:53','2015-01-16 03:05:53','<img class=\"alignleft size-medium wp-image-9201\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/T-Star_Band_Photo2-300x181.jpg\" alt=\"Tangled Star\" width=\"300\" height=\"181\" />I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work in the Bamboos back in the 80\'s to the Healers, Outstation, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\" target=\"_blank\">The Slow Beings</a> and to his current <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic title track of Tangled Star\'s 2007 mini-album <em>It\'s Now or Later</em>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across it\' s more than seven minute terrain. <em>It’s Now or Later</em> charts a journey across once familiar land yet through its exultant shifts and wandering detours manages to make everything feel new again. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes. Along with this comes his wonderful turn of phrase that infuses the music with curling narratives and takes the song to another level again.','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 11:05:53','2015-01-16 03:05:53','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11691,1,'2015-01-16 11:06:41','2015-01-16 03:06:41','<img class=\"alignleft size-medium wp-image-9201\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/T-Star_Band_Photo2-300x181.jpg\" alt=\"Tangled Star\" width=\"300\" height=\"181\" />I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work in the Bamboos back in the 80\'s to the Healers, Outstation, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\" target=\"_blank\">The Slow Beings</a> and to his current <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic title track of Tangled Star\'s 2007 mini-album <em>It\'s Now or Later</em>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across it\' s more than seven minute terrain. <em>It’s Now or Later</em> charts a journey across once familiar land yet through its exultant shifts and wandering detours manages to make everything feel new again. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes. Along with this comes his wonderful turn of phrase that infuses the music with curling narratives and takes the song to another level again.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/186279943%3Fsecret_token%3Ds-QWOcq&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 11:06:41','2015-01-16 03:06:41','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11692,1,'2015-01-16 11:18:00','2015-01-16 03:18:00','<img class=\"alignleft size-medium wp-image-9201\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/T-Star_Band_Photo2-300x181.jpg\" alt=\"Tangled Star\" width=\"300\" height=\"181\" />I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work with the Bamboos back in the 80\'s to the Healers, Outstation, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\" target=\"_blank\">The Slow Beings</a> and to his current <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic title track from Tangled Star\'s 2007 mini-album <a title=\"It\'s Now or Later\" href=\"http://www.hiddenshoal.com/project/tangled-star/\"><em>It\'s Now or Later</em></a>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across a more than seven minute terrain. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes and the exultant shifts and wandering detours in the song bear witness to this. To top it all off Hallsworth\'s wonderful turn of phrase infuses the music with curling narratives that take the song to another level again. Sublime!<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/186279943%3Fsecret_token%3Ds-QWOcq&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 11:18:00','2015-01-16 03:18:00','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11693,1,'2015-01-16 11:18:25','2015-01-16 03:18:25','<img class=\"alignleft size-medium wp-image-9201\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/T-Star_Band_Photo2-300x181.jpg\" alt=\"Tangled Star\" width=\"300\" height=\"181\" />I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work with the Bamboos back in the 80\'s to the Healers, Outstation, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\" target=\"_blank\">The Slow Beings</a> and to his current <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic title track from Tangled Star\'s 2007 mini-album <a title=\"It\'s Now or Later\" href=\"http://www.hiddenshoal.com/project/tangled-star/\"><em>It\'s Now or Later</em></a>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across a more than seven minute terrain. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes and the exultant shifts and wandering detours in the song bear witness to this. To top it all off Hallsworth\'s wonderful turn of phrase infuses the music with curling narratives that take the song to another level again. Sublime!\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/186279943%3Fsecret_token%3Ds-QWOcq&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 11:18:25','2015-01-16 03:18:25','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11694,1,'2015-01-16 11:32:41','2015-01-16 03:32:41','<img class=\"alignleft size-medium wp-image-9201\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/T-Star_Band_Photo2-300x181.jpg\" alt=\"Tangled Star\" width=\"300\" height=\"181\" />I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work with the Bamboos back in the 80\'s to the Healers, Outstation, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\" target=\"_blank\">The Slow Beings</a> and to his current <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic title track from Tangled Star\'s 2007 mini-album <a title=\"It\'s Now or Later\" href=\"http://www.hiddenshoal.com/project/tangled-star/\"><em>It\'s Now or Later</em></a>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across a more than seven minute terrain. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes and the exultant shifts and wandering detours in the song bear witness to this. To top it all off Hallsworth\'s wonderful turn of phrase infuses the music with curling narratives that take the song to another level again. Sublime.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/186279943%3Fsecret_token%3Ds-QWOcq&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 11:32:41','2015-01-16 03:32:41','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11695,1,'2015-01-16 11:33:19','2015-01-16 03:33:19','<img class=\"alignleft size-medium wp-image-9201\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/T-Star_Band_Photo2-300x181.jpg\" alt=\"Tangled Star\" width=\"300\" height=\"181\" />I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work with the Bamboos back in the 80\'s to the Healers, Outstation, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\" target=\"_blank\">The Slow Beings</a> and to his current <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic alt-country title track from Tangled Star\'s 2007 mini-album <a title=\"It\'s Now or Later\" href=\"http://www.hiddenshoal.com/project/tangled-star/\"><em>It\'s Now or Later</em></a>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across a more than seven minute terrain. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes and the exultant shifts and wandering detours in the song bear witness to this. To top it all off Hallsworth\'s wonderful turn of phrase infuses the music with curling narratives that take the song to another level again. Sublime.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/186279943%3Fsecret_token%3Ds-QWOcq&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 11:33:19','2015-01-16 03:33:19','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11696,1,'2015-01-16 11:34:24','2015-01-16 03:34:24','<img class=\"alignleft size-medium wp-image-9201\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/T-Star_Band_Photo2-300x181.jpg\" alt=\"Tangled Star\" width=\"300\" height=\"181\" />I\'ll make no bones about it, Craig Hallsworth is a songwriting genius in my book. From his work with the <a title=\"The Bamboos\" href=\"http://en.wikipedia.org/wiki/The_Bamboos_%28rock_band%29\" target=\"_blank\">Bamboos</a> back in the 80\'s to the Healers, Outstation, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\" target=\"_blank\">The Slow Beings</a> and to his current <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> project, Hallsworth has continued to craft brilliant rock and pop music. This week\'s feature sees us dig back to the epic alt-country title track from Tangled Star\'s 2007 mini-album <a title=\"It\'s Now or Later\" href=\"http://www.hiddenshoal.com/project/tangled-star/\"><em>It\'s Now or Later</em></a>. Whilst it may sound trite there is something innately Australian about this song as it weaves and winds it\'s way across a more than seven minute terrain. Hallsworth manages to takes known rock tropes and gently twist them into his own shapes and the exultant shifts and wandering detours in the song bear witness to this. To top it all off Hallsworth\'s wonderful turn of phrase infuses the music with curling narratives that take the song to another level again. Sublime.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/186279943%3Fsecret_token%3Ds-QWOcq&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Featured Track – Tangled Star \'It\'s Now or Later\'','','inherit','closed','closed','','11683-revision-v1','','','2015-01-16 11:34:24','2015-01-16 03:34:24','',11683,'http://www.hiddenshoal.com/11683-revision-v1/',0,'revision','',0),(11697,1,'2015-01-16 11:47:44','2015-01-16 03:47:44','[et_pb_section background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_row][et_pb_column type=\"3_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Hidden Shoal News</h1>\r\n[/et_pb_text][et_pb_blog admin_label=\"Blog\" fullwidth=\"on\" posts_number=\"10\" include_categories=\"5\" meta_date=\"M j, Y\" show_thumbnail=\"off\" show_content=\"on\" show_author=\"off\" show_date=\"on\" show_categories=\"off\" show_pagination=\"on\" background_layout=\"dark\" /][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"right\" area=\"sidebar-1\" background_layout=\"light\" /][/et_pb_column][/et_pb_row][/et_pb_section]','News','','inherit','closed','closed','','8280-revision-v1','','','2015-01-16 11:47:44','2015-01-16 03:47:44','',8280,'http://www.hiddenshoal.com/8280-revision-v1/',0,'revision','',0),(11698,1,'2015-01-16 12:03:07','0000-00-00 00:00:00','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Antonymes</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft wp-image-6978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1-300x300.jpg\" alt=\"Antonymes\" width=\"250\" height=\"250\" /></a><em>“sound sketches of enormous, if fragile, beauty”</em> –<strong> The Silent Ballet </strong> The music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations that have piled up and broken down around it. <strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nAntonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Battlestations','','draft','closed','closed','','','','','2015-01-16 12:03:07','2015-01-16 04:03:07','',0,'http://www.hiddenshoal.com/?post_type=project&#038;p=11698',0,'project','',0),(11699,1,'2015-01-16 12:03:07','2015-01-16 04:03:07','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Antonymes</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft wp-image-6978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1-300x300.jpg\" alt=\"Antonymes\" width=\"250\" height=\"250\" /></a><em>“sound sketches of enormous, if fragile, beauty”</em> –<strong> The Silent Ballet </strong> The music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations that have piled up and broken down around it. <strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nAntonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Battlestations','','inherit','closed','closed','','11698-revision-v1','','','2015-01-16 12:03:07','2015-01-16 04:03:07','',11698,'http://www.hiddenshoal.com/11698-revision-v1/',0,'revision','',0),(11702,1,'2015-01-16 14:48:11','2015-01-16 06:48:11','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>The October Solution</h1>\r\n<img class=\"alignleft wp-image-11656 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-Band-Pic-300x224.jpg\" alt=\"The October Solution\" width=\"300\" height=\"224\" />Neo-rock architects The October Solution comprise the inimitable talents of Jarrod Manuel (City of Satellites) &amp; Drew Sullivan (Slow Dancing Society/City of Satellites). Their music resonates with a lush, incandescent sound rich with soaring guitars, ethereal vocals &amp; deftly woven pop melodies. This is daydream music soaked in 80\'s nostalgia.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/OctoberSolution\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/EOtheband\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nThe October Solution formed in 2011 by Jarrod Manuel (City of Satellites) &amp; Drew Sullivan (Slow Dancing Society/City of Satellites). The band originally released their debut under the moniker EO before changing their name to the The October Solution in 2013. Manuel and Sullivan operate at both ends of the globe with Manuel residing in Australia and Sullivan in the USA.\r\n\r\nTheir debut album resonates with a lush, incandescent sound rich with soaring guitars, ethereal vocals &amp; textural curtains of melody.\r\nThe October Solution sound like a daydream that you haven\'t had yet all the while anchoring yourself in the familiarity of lost sounds from yesteryear. However there is a soulgaze/nu-funk vibe that is undeniably, The October Solution\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','The October Solution','','inherit','closed','closed','','11654-revision-v1','','','2015-01-16 14:48:11','2015-01-16 06:48:11','',11654,'http://www.hiddenshoal.com/11654-revision-v1/',0,'revision','',0),(11700,1,'2015-01-16 12:15:02','2015-01-16 04:15:02','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>The October Solution</h1>\r\n<img class=\"alignleft wp-image-11656 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-Band-Pic-300x224.jpg\" alt=\"The October Solution\" width=\"300\" height=\"224\" />Neo-rock architects The October Solution comprise the inimitable talents of Jarrod Manuel (City of Satellites) &amp; Drew Sullivan (Slow Dancing Society/City of Satellites). Their music album resonates with a lush, incandescent sound rich with soaring guitars, ethereal vocals &amp; deftly woven pop melodies. This is daydream music soaked in 80\'s nostalgia.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nAntonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','The October Solution','','inherit','closed','closed','','11654-revision-v1','','','2015-01-16 12:15:02','2015-01-16 04:15:02','',11654,'http://www.hiddenshoal.com/11654-revision-v1/',0,'revision','',0),(11701,1,'2015-01-16 14:05:29','2015-01-16 06:05:29','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>The October Solution</h1>\r\n<img class=\"alignleft wp-image-11656 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-Band-Pic-300x224.jpg\" alt=\"The October Solution\" width=\"300\" height=\"224\" />Neo-rock architects The October Solution comprise the inimitable talents of Jarrod Manuel (City of Satellites) &amp; Drew Sullivan (Slow Dancing Society/City of Satellites). Their music resonates with a lush, incandescent sound rich with soaring guitars, ethereal vocals &amp; deftly woven pop melodies. This is daydream music soaked in 80\'s nostalgia.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/OctoberSolution\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/EOtheband\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nAntonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','The October Solution','','inherit','closed','closed','','11654-revision-v1','','','2015-01-16 14:05:29','2015-01-16 06:05:29','',11654,'http://www.hiddenshoal.com/11654-revision-v1/',0,'revision','',0),(11707,1,'2015-01-16 15:09:31','2015-01-16 07:09:31','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>The October Solution</h1>\r\n<img class=\"alignleft wp-image-11656 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-Band-Pic-300x224.jpg\" alt=\"The October Solution\" width=\"300\" height=\"224\" />Neo-rock architects The October Solution comprise the inimitable talents of Jarrod Manuel (City of Satellites) &amp; Drew Sullivan (Slow Dancing Society/City of Satellites). Their music resonates with a lush, incandescent sound rich with soaring guitars, ethereal vocals &amp; deftly woven pop melodies. This is daydream music soaked in 80\'s nostalgia.\r\n\r\nThe October Solution\'s sophomore album <em>Axis Swim Scar</em> will see release through Hidden Shoal on 15th April 2015 followed by a deluxe re-issue of the band\'s debut album <em>Somewhere Human</em> later in the year.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/OctoberSolution\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/EOtheband\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<em>Axis Swim Scar</em> will be released on the 15th April 2015 preceded by the first single in February.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nThe October Solution formed in 2011 by Jarrod Manuel (City of Satellites) &amp; Drew Sullivan (Slow Dancing Society/City of Satellites). The band originally released their debut under the moniker EO before changing their name to the The October Solution in 2013. Manuel and Sullivan operate at both ends of the globe with Manuel residing in Australia and Sullivan in the USA.\r\n\r\nTheir music resonates with a lush, incandescent sound rich with soaring guitars, ethereal vocals &amp; textural curtains of melody.\r\nThe October Solution sound like a daydream that you haven\'t had yet all the while anchoring yourself in the familiarity of lost sounds from yesteryear. However there is a soulgaze/nu-funk vibe that is undeniably, The October Solution\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=the-october-solution-news content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=the-october-solution-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\nNo press releases yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"11704,11705,11706\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\nNo videos yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nThe October Solution\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','The October Solution','','inherit','closed','closed','','11654-revision-v1','','','2015-01-16 15:09:31','2015-01-16 07:09:31','',11654,'http://www.hiddenshoal.com/11654-revision-v1/',0,'revision','',0),(11703,1,'2015-01-16 14:59:44','2015-01-16 06:59:44','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>The October Solution</h1>\r\n<img class=\"alignleft wp-image-11656 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-Band-Pic-300x224.jpg\" alt=\"The October Solution\" width=\"300\" height=\"224\" />Neo-rock architects The October Solution comprise the inimitable talents of Jarrod Manuel (City of Satellites) &amp; Drew Sullivan (Slow Dancing Society/City of Satellites). Their music resonates with a lush, incandescent sound rich with soaring guitars, ethereal vocals &amp; deftly woven pop melodies. This is daydream music soaked in 80\'s nostalgia.\r\n\r\nThe October Solution\'s sophomore album <em>Axis Swim Scar</em> will see release through Hidden Shoal on 15th April 2015 followed by a deluxe re-issue of the band\'s debut album <em>Somewhere Human</em> later in the year.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/OctoberSolution\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/EOtheband\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nThe October Solution formed in 2011 by Jarrod Manuel (City of Satellites) &amp; Drew Sullivan (Slow Dancing Society/City of Satellites). The band originally released their debut under the moniker EO before changing their name to the The October Solution in 2013. Manuel and Sullivan operate at both ends of the globe with Manuel residing in Australia and Sullivan in the USA.\r\n\r\nTheir music resonates with a lush, incandescent sound rich with soaring guitars, ethereal vocals &amp; textural curtains of melody.\r\nThe October Solution sound like a daydream that you haven\'t had yet all the while anchoring yourself in the familiarity of lost sounds from yesteryear. However there is a soulgaze/nu-funk vibe that is undeniably, The October Solution\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','The October Solution','','inherit','closed','closed','','11654-revision-v1','','','2015-01-16 14:59:44','2015-01-16 06:59:44','',11654,'http://www.hiddenshoal.com/11654-revision-v1/',0,'revision','',0),(11704,1,'2015-01-16 15:05:26','2015-01-16 07:05:26','','The October Solution','','inherit','closed','closed','','the-october-solution-band-pic-2','','','2015-01-16 15:08:57','2015-01-16 07:08:57','',11654,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-Band-Pic1.jpg',0,'attachment','image/jpeg',0),(11705,1,'2015-01-16 15:08:37','2015-01-16 07:08:37','','Drew Sullivan','','inherit','closed','closed','','drew-sullivan','','','2015-01-16 15:09:04','2015-01-16 07:09:04','',11654,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/Drew-Sullivan.jpg',0,'attachment','image/jpeg',0),(11706,1,'2015-01-16 15:08:43','2015-01-16 07:08:43','','Jarrod Manuel','','inherit','closed','closed','','jarrod-manuel','','','2015-01-16 15:09:11','2015-01-16 07:09:11','',11654,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/Jarrod-Manuel.jpg',0,'attachment','image/jpeg',0),(11711,1,'2015-01-19 11:02:38','2015-01-19 03:02:38','\"Another outstanding hybrid of electronica and ambient rock from one from the best modern exponents of a style that some also might call (ahem) shoegaze or (cough) post-rock. This is American composer Drew Sullivan\'s sixth release as Slow Dancing Society, once again coming to us from Australian-based indie label Hidden Shoal Recordings. I\'ve been a fan of his beautiful melancholy since his debut album The Sound Of Lights When Dim (2006). Not content to just create a chilled-out mood - which he does very well - his best music also tugs on an emotional level with remarkable depth.\r\n\r\nThe Cogent Sea is 12 carefully structured miniatures, ranging from muted, somber washes of synthetic sound to fully arranged rock instrumentals that are very slow and very beautiful. While Sullivan\'s personal sound is still very much in evidence, it\'s great to hear the artist still nudging ahead with fresh ideas. The muted fast-spinning pulses on \"Congency\" and \"Rising Dark; the morphing, ricocheting loops on \"Come The Morning Light\"; these sound like new elements in his music. Of course there\'s still lots of electric guitar - whether muted, shimmering chords or piercing, reverberating solos. And the wide variety of synthesised tones and strings is still used sparingly. With Slow Dancing Society less is more, space has meaning, and silence is golden.\r\n\r\nSlow Dancing Society averages one album every two years nowadays, which makes him a good deal less prolific than some of his contemporaries in this age of digital downloads and self-releasing. So let\'s celebrate quality over quantity, because The Cogent Sea stands easily alongside his best work. It\'s not a bad introduction either, though Under The Sodium Lights (2010) or his debut album would make equally good choices.\"\r\n\r\n<strong>- <a title=\"Ambient Music Guide\" href=\"http://www.ambientmusicguide.com/pages/features/bestOf2014.php\" target=\"_blank\">Ambient Music Guide</a>\r\n</strong>','Slow Dancing Society \"The Cogent Sea\" in Ambient Music Guide Best of 2014','','inherit','closed','closed','','11710-revision-v1','','','2015-01-19 11:02:38','2015-01-19 03:02:38','',11710,'http://www.hiddenshoal.com/11710-revision-v1/',0,'revision','',0),(11712,1,'2015-01-19 11:23:59','2015-01-19 03:23:59','\"Todd Tobias, best known for his time and work with Robert Pollard of Guided By Voices, recently released Impossible Cities, and now he offers a tasty new track, “Kur,” for free download. The song trudges at a steady pace with heavy drums and raging guitar while the dark mood hypnotizes. The choppy aspect of the drums and guitar following each other closely gives the music a powerful energy, and before you know it, it’s all over.\"\r\n\r\n- <a title=\"Magnet Magazine\" href=\"http://www.magnetmagazine.com/2015/01/02/mp3-at-3pm-todd-tobias/\" target=\"_blank\"><strong>Magnet Magazine</strong></a> <strong>MP3 at 3PM</strong>','Todd Tobias \'Kur\' Featured in Magnet Magazine\'s MP3 at 3PM','','publish','closed','closed','','todd-tobias-kur-featured-magnet-magazine','','','2015-01-19 11:51:22','2015-01-19 03:51:22','',0,'http://www.hiddenshoal.com/?p=11712',0,'post','',0),(11713,1,'2015-01-19 11:23:59','2015-01-19 03:23:59','\"Todd Tobias, best known for his time and work with Robert Pollard of Guided By Voices, recently released Impossible Cities, and now he offers a tasty new track, “Kur,” for free download. The song trudges at a steady pace with heavy drums and raging guitar while the dark mood hypnotizes. The choppy aspect of the drums and guitar following each other closely gives the music a powerful energy, and before you know it, it’s all over.\"\r\n\r\n- <a title=\"Magnet Magazine\" href=\"http://www.magnetmagazine.com/2015/01/02/mp3-at-3pm-todd-tobias/\" target=\"_blank\"><strong>Magnet Magazine</strong></a>','Todd Tobias \'Kur\' Featured at Magnet Magazine','','inherit','closed','closed','','11712-revision-v1','','','2015-01-19 11:23:59','2015-01-19 03:23:59','',11712,'http://www.hiddenshoal.com/11712-revision-v1/',0,'revision','',0),(11714,1,'2015-01-19 11:50:29','2015-01-19 03:50:29','\"Todd Tobias, best known for his time and work with Robert Pollard of Guided By Voices, recently released Impossible Cities, and now he offers a tasty new track, “Kur,” for free download. The song trudges at a steady pace with heavy drums and raging guitar while the dark mood hypnotizes. The choppy aspect of the drums and guitar following each other closely gives the music a powerful energy, and before you know it, it’s all over.\"\r\n\r\n- <a title=\"Magnet Magazine\" href=\"http://www.magnetmagazine.com/2015/01/02/mp3-at-3pm-todd-tobias/\" target=\"_blank\"><strong>Magnet Magazine</strong></a> <strong>MP3 at 3PM</strong>','Todd Tobias \'Kur\' Featured at Magnet Magazine','','inherit','closed','closed','','11712-revision-v1','','','2015-01-19 11:50:29','2015-01-19 03:50:29','',11712,'http://www.hiddenshoal.com/11712-revision-v1/',0,'revision','',0),(11715,1,'2015-01-19 11:51:13','2015-01-19 03:51:13','\"Todd Tobias, best known for his time and work with Robert Pollard of Guided By Voices, recently released Impossible Cities, and now he offers a tasty new track, “Kur,” for free download. The song trudges at a steady pace with heavy drums and raging guitar while the dark mood hypnotizes. The choppy aspect of the drums and guitar following each other closely gives the music a powerful energy, and before you know it, it’s all over.\"\r\n\r\n- <a title=\"Magnet Magazine\" href=\"http://www.magnetmagazine.com/2015/01/02/mp3-at-3pm-todd-tobias/\" target=\"_blank\"><strong>Magnet Magazine</strong></a> <strong>MP3 at 3PM</strong>','Todd Tobias \'Kur\' Featured at Magnet Magazine\'s MP3 at 3PM','','inherit','closed','closed','','11712-revision-v1','','','2015-01-19 11:51:13','2015-01-19 03:51:13','',11712,'http://www.hiddenshoal.com/11712-revision-v1/',0,'revision','',0),(11716,1,'2015-01-19 11:51:22','2015-01-19 03:51:22','\"Todd Tobias, best known for his time and work with Robert Pollard of Guided By Voices, recently released Impossible Cities, and now he offers a tasty new track, “Kur,” for free download. The song trudges at a steady pace with heavy drums and raging guitar while the dark mood hypnotizes. The choppy aspect of the drums and guitar following each other closely gives the music a powerful energy, and before you know it, it’s all over.\"\r\n\r\n- <a title=\"Magnet Magazine\" href=\"http://www.magnetmagazine.com/2015/01/02/mp3-at-3pm-todd-tobias/\" target=\"_blank\"><strong>Magnet Magazine</strong></a> <strong>MP3 at 3PM</strong>','Todd Tobias \'Kur\' Featured in Magnet Magazine\'s MP3 at 3PM','','inherit','closed','closed','','11712-revision-v1','','','2015-01-19 11:51:22','2015-01-19 03:51:22','',11712,'http://www.hiddenshoal.com/11712-revision-v1/',0,'revision','',0),(11717,1,'2015-01-19 12:08:02','2015-01-19 04:08:02','<img class=\"alignleft  wp-image-11402\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/12/duskrecital_300.jpg\" alt=\"The Dusk Recital\" width=\"87\" height=\"87\" />Kryshe\'s stunning <a title=\"Kryshe &quot;In Between&quot;\" href=\"http://www.hiddenshoal.com/project/kryshe/\"><em>In Between</em></a> EP and Slow Dancing Society\'s <a title=\"Slow Dancing Society - &quot;The Cogent Sea&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Cogent Sea</em></a> album and <a title=\"Slow Dancing Society - &quot;The Dusk Recital&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Dusk Recital</em></a> EP have landed in Igloo Magazine\'s Best of 2014 list. All three releases received glowing reviews at Igloo during 2014 thanks to the wonderful <a title=\"Nocturnal Ghost\" href=\"http://igloomag.com/author/nocturnal-ghost\" target=\"_blank\">Nocturnal Ghost</a>. Check out the list and review links <a title=\"Igloo Mag Best of 2014\" href=\"http://igloomag.com/features/best-of-2014\" target=\"_blank\">here</a> and listen to more <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a> here and more <a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow dancing Society</a> here.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164994994&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Slow Dancing Society & Kryshe in Igloo\'s Best of 2014 List','','publish','closed','closed','','slow-dancing-society-kryshe-igloos-best-2014-list','','','2016-08-23 17:38:30','2016-08-23 09:38:30','',0,'http://www.hiddenshoal.com/?p=11717',0,'post','',0),(11718,1,'2015-01-19 11:58:06','2015-01-19 03:58:06','Kryshe\'s stunning <a title=\"Kryshe &quot;In Between&quot;\" href=\"http://www.hiddenshoal.com/project/kryshe/\"><em>In Between</em></a> EP and Slow Dancing Society\'s <a title=\"Slow Dancing Society - &quot;The Cogent Sea&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Cogent Sea</em></a> album and <a title=\"Slow Dancing Society - &quot;The Dusk Recital&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Dusk Recital</em></a> EP have landed in Igloo Magazine\'s Best of 2014 list.','Slow Dancing Society & Kryshe in Igloo\'s Best of 2014 List','','inherit','closed','closed','','11717-revision-v1','','','2015-01-19 11:58:06','2015-01-19 03:58:06','',11717,'http://www.hiddenshoal.com/11717-revision-v1/',0,'revision','',0),(11719,1,'2015-01-19 12:02:57','2015-01-19 04:02:57','<img class=\"alignleft  wp-image-10470\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/In-Between-Cover-1000px-300x300.jpg\" alt=\"Kryshe - In Between\" width=\"186\" height=\"186\" />Kryshe\'s stunning <a title=\"Kryshe &quot;In Between&quot;\" href=\"http://www.hiddenshoal.com/project/kryshe/\"><em>In Between</em></a> EP and Slow Dancing Society\'s <a title=\"Slow Dancing Society - &quot;The Cogent Sea&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Cogent Sea</em></a> album and <a title=\"Slow Dancing Society - &quot;The Dusk Recital&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Dusk Recital</em></a> EP have landed in Igloo Magazine\'s Best of 2014 list. All three releases received glowing reviews at Igloo during 2014 thanks to the wonderful Nocturnal Ghost (Gad Kapulis). Check out the list and review links <a title=\"Igloo Mag Best of 2014\" href=\"http://igloomag.com/features/best-of-2014\" target=\"_blank\">here</a> and listen to more <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a> here and more <a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow dancing Society</a> here.','Slow Dancing Society & Kryshe in Igloo\'s Best of 2014 List','','inherit','closed','closed','','11717-revision-v1','','','2015-01-19 12:02:57','2015-01-19 04:02:57','',11717,'http://www.hiddenshoal.com/11717-revision-v1/',0,'revision','',0),(11720,1,'2015-01-19 12:06:27','2015-01-19 04:06:27','<img class=\"alignleft  wp-image-11402\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/12/duskrecital_300.jpg\" alt=\"The Dusk Recital\" width=\"141\" height=\"141\" />Kryshe\'s stunning <a title=\"Kryshe &quot;In Between&quot;\" href=\"http://www.hiddenshoal.com/project/kryshe/\"><em>In Between</em></a> EP and Slow Dancing Society\'s <a title=\"Slow Dancing Society - &quot;The Cogent Sea&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Cogent Sea</em></a> album and <a title=\"Slow Dancing Society - &quot;The Dusk Recital&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Dusk Recital</em></a> EP have landed in Igloo Magazine\'s Best of 2014 list. All three releases received glowing reviews at Igloo during 2014 thanks to the wonderful Nocturnal Ghost (Gad Kapulis). Check out the list and review links <a title=\"Igloo Mag Best of 2014\" href=\"http://igloomag.com/features/best-of-2014\" target=\"_blank\">here</a> and listen to more <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a> here and more <a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow dancing Society</a> here.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164994994&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Slow Dancing Society & Kryshe in Igloo\'s Best of 2014 List','','inherit','closed','closed','','11717-revision-v1','','','2015-01-19 12:06:27','2015-01-19 04:06:27','',11717,'http://www.hiddenshoal.com/11717-revision-v1/',0,'revision','',0),(11721,1,'2015-01-19 12:06:43','2015-01-19 04:06:43','<img class=\"alignleft  wp-image-11402\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/12/duskrecital_300.jpg\" alt=\"The Dusk Recital\" width=\"105\" height=\"105\" />Kryshe\'s stunning <a title=\"Kryshe &quot;In Between&quot;\" href=\"http://www.hiddenshoal.com/project/kryshe/\"><em>In Between</em></a> EP and Slow Dancing Society\'s <a title=\"Slow Dancing Society - &quot;The Cogent Sea&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Cogent Sea</em></a> album and <a title=\"Slow Dancing Society - &quot;The Dusk Recital&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Dusk Recital</em></a> EP have landed in Igloo Magazine\'s Best of 2014 list. All three releases received glowing reviews at Igloo during 2014 thanks to the wonderful Nocturnal Ghost (Gad Kapulis). Check out the list and review links <a title=\"Igloo Mag Best of 2014\" href=\"http://igloomag.com/features/best-of-2014\" target=\"_blank\">here</a> and listen to more <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a> here and more <a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow dancing Society</a> here.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164994994&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Slow Dancing Society & Kryshe in Igloo\'s Best of 2014 List','','inherit','closed','closed','','11717-revision-v1','','','2015-01-19 12:06:43','2015-01-19 04:06:43','',11717,'http://www.hiddenshoal.com/11717-revision-v1/',0,'revision','',0),(11722,1,'2015-01-19 12:06:59','2015-01-19 04:06:59','<img class=\"alignleft  wp-image-11402\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/12/duskrecital_300.jpg\" alt=\"The Dusk Recital\" width=\"87\" height=\"87\" />Kryshe\'s stunning <a title=\"Kryshe &quot;In Between&quot;\" href=\"http://www.hiddenshoal.com/project/kryshe/\"><em>In Between</em></a> EP and Slow Dancing Society\'s <a title=\"Slow Dancing Society - &quot;The Cogent Sea&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Cogent Sea</em></a> album and <a title=\"Slow Dancing Society - &quot;The Dusk Recital&quot;\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\"><em>The Dusk Recital</em></a> EP have landed in Igloo Magazine\'s Best of 2014 list. All three releases received glowing reviews at Igloo during 2014 thanks to the wonderful Nocturnal Ghost (Gad Kapulis). Check out the list and review links <a title=\"Igloo Mag Best of 2014\" href=\"http://igloomag.com/features/best-of-2014\" target=\"_blank\">here</a> and listen to more <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a> here and more <a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow dancing Society</a> here.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164994994&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Slow Dancing Society & Kryshe in Igloo\'s Best of 2014 List','','inherit','closed','closed','','11717-revision-v1','','','2015-01-19 12:06:59','2015-01-19 04:06:59','',11717,'http://www.hiddenshoal.com/11717-revision-v1/',0,'revision','',0),(11723,1,'2015-01-19 14:45:17','2015-01-19 06:45:17','<img class=\"alignleft  wp-image-9024\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/sixt_mehr_goeteborg_1-300x200.jpg\" alt=\"Markus Mehr &amp; Stefanie Sixt\" width=\"245\" height=\"163\" />The sublime audio-visual live experience that is <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">Markus Mehr</a> and <a title=\"Stefanie Sixt\" href=\"https://vimeo.com/sixtsense/\" target=\"_blank\">Stefanie Sixt</a> will deliver their magic at this years International Film Festival Rotterdam. They will perform as part of the Mind The Gap Nights put on in conjunction with the wonderful <a title=\"Gonzo Circus Magazine\" href=\"http://www.gonzocircus.com/\" target=\"_blank\">Gonzo Circus Magazine</a>. Mehr and Sixt perform Friday 23rd January at the WORM venue in Rotterdam.\r\n\r\nCheck out all the details <a title=\"Internation Film Festival Rotterdam\" href=\"https://www.iffr.com/en/events/mind-the-gap-nights-2015-vr-23-januari/\" target=\"_blank\">here</a> for the show and be sure to check out Mehr\'s most recent release <em>Binary Rooms</em> <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164970723&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Mehr and Sixt Play the International Film Festival Rotterdam','','publish','closed','closed','','mehr-sixt-play-international-film-festival-rotterdam','','','2016-02-03 15:51:49','2016-02-03 07:51:49','',0,'http://www.hiddenshoal.com/?p=11723',0,'post','',0),(11793,1,'2015-01-27 15:22:02','2015-01-27 07:22:02','','The October Solution','','inherit','closed','closed','','the-october-solution-1','','','2015-01-27 15:22:20','2015-01-27 07:22:20','',11654,'http://www.hiddenshoal.com/wp-content/uploads/2015/01/The-October-Solution-1.jpg',0,'attachment','image/jpeg',0),(11725,1,'2015-01-19 14:40:31','2015-01-19 06:40:31','The sublime audio-visual live experience that is Markus Mehr and Stefanie Sixt will deliver their magic at this years International Film Festival Rotterdam. They will perform as part of the Mind The Gap Nights put on in conjunction with the wonderful Gonzo Circus Magazine. Mehr and Sixt perform Friday 23rd January at the WORM venue in Rotterdam. Check out all the details <a title=\"Internation Film Festival Rotterdam\" href=\"https://www.iffr.com/en/events/mind-the-gap-nights-2015-vr-23-januari/\" target=\"_blank\">here</a>.','Mehr and Sixt Play the International Film Festival Rotterdam','','inherit','closed','closed','','11723-revision-v1','','','2015-01-19 14:40:31','2015-01-19 06:40:31','',11723,'http://www.hiddenshoal.com/11723-revision-v1/',0,'revision','',0),(11726,1,'2015-01-19 14:44:25','2015-01-19 06:44:25','<img class=\"alignleft  wp-image-9024\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/sixt_mehr_goeteborg_1-300x200.jpg\" alt=\"Markus Mehr &amp; Stefanie Sixt\" width=\"245\" height=\"163\" />The sublime audio-visual live experience that is <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">Markus Mehr</a> and <a title=\"Stefanie Sixt\" href=\"https://vimeo.com/sixtsense/\" target=\"_blank\">Stefanie Sixt</a> will deliver their magic at this years International Film Festival Rotterdam. They will perform as part of the Mind The Gap Nights put on in conjunction with the wonderful <a title=\"Gonzo Circus Magazine\" href=\"http://www.gonzocircus.com/\" target=\"_blank\">Gonzo Circus Magazine</a>. Mehr and Sixt perform Friday 23rd January at the WORM venue in Rotterdam.\r\n\r\nCheck out all the details <a title=\"Internation Film Festival Rotterdam\" href=\"https://www.iffr.com/en/events/mind-the-gap-nights-2015-vr-23-januari/\" target=\"_blank\">here</a> for the show and be sure to check out Mehr\'s most recent release Binary Rooms <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">here</a>.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164970723&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Mehr and Sixt Play the International Film Festival Rotterdam','','inherit','closed','closed','','11723-revision-v1','','','2015-01-19 14:44:25','2015-01-19 06:44:25','',11723,'http://www.hiddenshoal.com/11723-revision-v1/',0,'revision','',0),(11727,1,'2015-01-19 14:50:21','2015-01-19 06:50:21','<img class=\"alignleft  wp-image-9024\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/sixt_mehr_goeteborg_1-300x200.jpg\" alt=\"Markus Mehr &amp; Stefanie Sixt\" width=\"245\" height=\"163\" />The sublime audio-visual live experience that is <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">Markus Mehr</a> and <a title=\"Stefanie Sixt\" href=\"https://vimeo.com/sixtsense/\" target=\"_blank\">Stefanie Sixt</a> will deliver their magic at this years International Film Festival Rotterdam. They will perform as part of the Mind The Gap Nights put on in conjunction with the wonderful <a title=\"Gonzo Circus Magazine\" href=\"http://www.gonzocircus.com/\" target=\"_blank\">Gonzo Circus Magazine</a>. Mehr and Sixt perform Friday 23rd January at the WORM venue in Rotterdam.\r\n\r\nCheck out all the details <a title=\"Internation Film Festival Rotterdam\" href=\"https://www.iffr.com/en/events/mind-the-gap-nights-2015-vr-23-januari/\" target=\"_blank\">here</a> for the show and be sure to check out Mehr\'s most recent release <em>Binary Rooms</em> <a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164970723&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Mehr and Sixt Play the International Film Festival Rotterdam','','inherit','closed','closed','','11723-revision-v1','','','2015-01-19 14:50:21','2015-01-19 06:50:21','',11723,'http://www.hiddenshoal.com/11723-revision-v1/',0,'revision','',0),(11728,1,'2015-01-21 12:07:01','2015-01-21 04:07:01','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Les Limbes</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/Les-Limbes-2.jpg\"><img class=\"alignleft  wp-image-11747\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/01/Les-Limbes-2-300x246.jpg\" alt=\"Les Limbes\" width=\"244\" height=\"200\" /></a>French outfit Les Limbes are all about propulsion and atmosphere. Their brand of epic, rocket-fuelled post-rock\'n\'roll is woven together with heavy guitars, soaring strings and driving pianos. Their debut self-titled EP (April 17 2015) is testament to the band’s ability to not only write smart compositions, but also bring them to life with incredible energy and a stratospheric sound.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/leslimbes33\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Leslimbesmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/leslimbes\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a> <a title=\"Website\" href=\"http://www.leslimbes.fr/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a></strong>  <a href=\"https://geo.itunes.apple.com/us/album/les-limbes-ep/id995494680?uo=6&amp;at=11lRii\" target=\"itunes_store\"><img class=\"alignnone size-full wp-image-12412\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/05/badge_itunes-sm.png\" alt=\"iTunes\" width=\"44\" height=\"15\" /></a>\r\n\r\n&nbsp;\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n&nbsp;\r\n<h4>Les Limbes</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 274px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2486123016/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://leslimbes.bandcamp.com/album/les-limbes\">Les Limbes by Les Limbes</a></iframe>\r\nApril 2015\r\n\r\nLes Limbes’ debut self-titled EP is an exercise in intensely focused energy and atmosphere. Its four instrumental tracks are driven by dense, heavy guitars and a lithe, propulsive rhythm section, counterpointed with soaring strings and driving pianos. This mix of adrenalised rock heft with atmospheric pop dynamics is both mesmerising and incredibly visceral, no better exemplified than on new single ‘Hypersonic’.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nBorn from the ashes of a number of previously active bands from Bordeaux, south west France (Beautiful Lunar Landscape, Nihil, Nucold), several members of Les Limbes began working together in 2012. Initially the band jammed and recorded their ideas, which made it clear something special was brewing. The band grew to a five piece (Arnaud Sigonney, Yoann Roy, Daniel Guerin, Julien Favreau, Nicolas Pointeau), began playing shows in Bordeaux, and recorded their brilliant four-track self-titled debut EP, to be released through Hidden Shoal (May 2015). Fans of Beautiful Lunar Landscape, who also released their debut through Hidden Shoal in 2007, will recognise the epic atmospheric rock stylings that Les Limbes effortlessly exude. However, the band also bring a new level of energy to the table, propelling these compositions into the stratosphere. This is noisy, rocket-fuelled post-rock\'n\'roll at its finest.[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=les-limbes-news content=yes pagination=no title_tag=h4 title_class=lcp_title] [/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=les-limbes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title] [/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a title=\"Les Limbes EP\" href=\"http://www.hiddenshoal.com/publicity/les-limbes/Les_Limbes-Self_Titled_EP-Press_Release.pdf\"><em>Les Limbes </em>Debut EP Release</a>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"11746,11747\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/-T0mZSTBJ78?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nLes Limbes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Les Limbes','','publish','closed','closed','','les-limbes','','','2016-05-19 16:56:31','2016-05-19 08:56:31','',0,'http://www.hiddenshoal.com/?post_type=project&#038;p=11728',0,'project','',0),(11734,1,'2015-01-20 11:04:43','2015-01-20 03:04:43','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Les Limbes</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft wp-image-6978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1-300x300.jpg\" alt=\"Antonymes\" width=\"250\" height=\"250\" /></a>French outfit Les Limbes are all about propulsion and atmosphere. Their brand of epic, rocket-fuelled post-rock\'n\'roll is woven together with heavy guitars, soaring strings and driving pianos. Their debut self-titled EP (May 2015) is testament to the band’s ability to not only write smart compositions, but also bring them to life with incredible energy and a stratospheric sound.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div> Les Limbes self-titled debut EP will be released on 5th May 2015 with a single preceding it in March.</div>\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nBorn from the ashes of a number of previously active bands from Bordeaux, south west France (Beautiful Lunar Landscape, Nihil, Nucold), several members of Les Limbes began working together in 2012. Initially the band jammed and recorded their ideas, which made it clear something special was brewing. The band grew to a five piece (Arnaud Sigonney, Yoann Roy, Daniel Guerin, Julien Favreau, XXXX), began playing shows in Bordeaux, and recorded their brilliant four-track self-titled debut EP, to be released through Hidden Shoal (May 2015).\r\n\r\nFans of Beautiful Lunar Landscape, who also released their debut through Hidden Shoal in 2007, will recognise the epic atmospheric rock stylings that Les Limbes effortlessly exude. However, the band also bring a new level of energy to the table, propelling these compositions into the stratosphere. This is noisy, rocket-fuelled post-rock\'n\'roll at its finest.\r\n\r\n&nbsp;\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=les-limbes-news content=yes pagination=no title_tag=h4 title_class=lcp_title] [/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=les-limbes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title] [/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\nNo press releases yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\nNo videos yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nLes Limbes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Les Limbes','','inherit','closed','closed','','11728-revision-v1','','','2015-01-20 11:04:43','2015-01-20 03:04:43','',11728,'http://www.hiddenshoal.com/11728-revision-v1/',0,'revision','',0),