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I was emailed today by a man named François Rivière, an executive at Lympia Records who worked two years at Milan Music as an acquisition manager. Anybody heard of Lympia before today? I guess they’re new. Anyway, he wants a copy of the Stephen King ‘Dark Tower’ inspired soundtrack thing I made a while back and just finished mixing. He said he was interested in soundtrack-esque material (!!!). I suppose that’s pretty cool.
What do you think?
LYMPIA RECORDS? I GUESS THEY ARE POPULAR.
He gave me these links as to prove to validity of the company. It’s in French.
http://www.enfantdesloups.com/
http://www.lympia.net/P.S: Dan Goldwasser has requested a copy for review consideration so keep an eye on http://www.soundtrack.net
Closest I can find on the British Lib’s Sound Archive catalogue is “Lympia Music” – but this was classed as publisher, not record label. So might indeed be new. Mind you, the BL’s by no means the be-all and end-all of European releases (nor of film music, blast them – after Varese and Milan the coverage is patchy).
Blunt
That’s cool. Hey tell me what you think of this. It’s a full track from the CD. It’s a “horror scene”. How’s it sound?
http://www.ext13.com/flynn/clips/clip29.wma
Then there’s other styles, like in this clip…
>How’s it sound?
Like from a “horror scene”…
However, what really bothers me about this piece: Some of the sounds are very ‘real’ sounding (brass falls & glissandi & string effects at the beginning), but some of the instruments are sounding like samples, especially bowed strings and that “machine gun” piano. It doesn’t blend very well IMO.
I liked the beginning until about 0′ 32. But then, as soon as that strange piano kicked in, I lost interested in your piece.
Did you actually write down this pizzicati-/effect-/cluster-stuff at the beginning of the piece? Or does it come from a sampling CD? (You know, someting like “Peter Siedlaczek Vol.4 Brass&Effects”?)
It’s a combination of things. I was broad in the avant garde stuff. Penderecki and Ligeti just used to write “ad-lib” when adlibbing took place. My clustering was notated throughout but the random pizzicato effects usually aren’t notated (traditionally atleast) so I defined a range and wrote “ad-lib here” on the original sheetmusic. Most of the Effects were from sample CDs and apparently some were better than others (as you pointed out). Nigel Simmons sent me some of the samples (that rock, by the way!). I think I’m in his debt until death for that.
As in most movies scary-music does’t translate well to CD. I figured that would be the case here. There’s another track as well that does something similar. To be honest the piano stuff wasn’t great to my ear either but I just used it for it’s locamotive rythem. It is a realistic piano when played pp. I loved the high harmonic bass passage though with the high violin harmonics playing melody over.
That was on accident how good it sounded and sounded pretty cool I thought.I also thought the ending “Stravinsky-esque” low piano was pretty cool. But that’s just me. I like that kind of stuff anyway.
All in all, it may be too weird for most people.
Not sure how this relates to Danny Elfman – again, more blatant personal spam, Dawg Man – but Lympia Records is a very real french label who has released L’EFANT DES LOUPS, a fantastic score that everyone should check out. I’d have a review up on Cinemusic.net immediately if it weren’t for work…
Ryan
–“Lympia Records is a very real french label…”
Awesome.
hey Dawg Man, I just now realized that you linked me to your site back in my other post. Just listened, awesome awesome stuff, the first one had it’s moments, but the second one I really liked.. by the way, I think the reason your piano sounded like that was because you programmed it in MIDI and didn’t change around the velocities. No human can play at the same exact velocity each note, adding variations in volume and velocity add alot of realism. Also, I was wondering if you’ve heard of Gigastudio?
Congrats on the Lympia thing btw.
Hey, those sound pretty dang good, especially the 2nd one. Sounds like you’re using those soundfonts to good use!
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