I have long loved the joyous music of the great Malian singer, Oumou Sangaré, and had been wondering when she would release another record.
Above is a new video featuring the song Kamelemba from her album, Mogoya (2017). As usual, a class act, and for those inclined to explore the exquisite auditory sensations of alternative intonations, there’s plenty to relish here, as well as on her amazing back catalog.
Recently got to see last year’s, The Girl On The Train (2016), a dark psychological crime thriller (starring Emily Blunt, Haley Bennett, Justin Theroux, Luke Evans and Allison Janneyand) and was completely swept away by the great score by Danny Elfman.
I’m always keen to listen deeply for the microtones and nuances of pitch that are often a feature of his film scores, as in for example, A Simple Plan (1998), and in this new one, microtonal inflections are expertly and tastefully woven into the fabric of the film, deepening the sense of drama (and dread) of the story line.
Gorgeous orchestral, string and synth composition throughout; the intonational template – to these ears – featuring a foundation of ED2-12 with some microtonal-tuned parts (it would be interesting to know more about the specifics of the microtuning used in this film). The synth and sampling sound-design is amazing and I really appreciated the tasteful and compositional use of saturation in some of the timbres and textures.
Being one that always relishes the end credit music in films, it’s worth mentioning that here the music is truly spectacular and is also where even more microtonal textures unfold that encapsulate the emotion of all that came before. As the end credits roll by, one will notice that Elfman is also credited with playing synthesizer, which, as explained in the LA Times feature linked below, are clearly among the sound sources for the microtones featured throughout the film. Really impeccable work.
The Girl On The Train (2016) | Danny Elfman | OST On YouTube:
“I basically can hear the piece already. This work begins before the audience entrance. Each string player has a microtonally tuned second instrument. The musicians are on a gallery – or in the back of the hall or surrounding the audience – playing with their second instruments, open strings, harmonics. On stage at that moment: a harp player with 2 microtonal tuned harps and the conductor, leading the music by playing the piano. And the straight-tuned string instruments are placed on the musicians chairs – ready to be played. Once the audience has taken their chairs, the musicians start appearing on stage taking their own instruments, the conductor switches to the conductors desk. After another five minutes the situation has changed, the concert/piece has started. The piece is about breath. About spiritual experience. About the search for ecstasy.”