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OST

Monster's Ball

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構成数 : 1
合計収録時間 : 00:00:00
In developing a musical concept for his first feature film, director Marc Forster opted for an approach that could be described (after its most visible practitioner) as the Thomas Newman aesthetic. This school of thought maintains that film music can enhance drama, add texture, and underline meaning, but it should never, ever tell the audience how to feel. The score for Monster's Ball, composed by the ambient band Asche and Spencer, adheres to that philosophy by making extremely sparing use of melody. Through much of the movie, music slides by mysteriously without drawing much attention to itself. The instrumentation is sparse -- primarily electric guitar, keyboard, bass, and marimba -- and geographically ambiguous. The score's three composers (Thad Spencer, Chris Beatty, and Richard Werbowenko) could have attempted to establish the film's Southern small-town setting by loading up on pedal steel. (That task is left to country & western pop songs by the Jayhawks, Red Meat, and Jimmie Dale Gilmore.) Or they could have emphasized the film's tragic events with dramatic, swelling strings. Instead, Asche and Spencer focus strictly on the muddier emotional journey of the narrative. When Billy Bob Thornton's character mourns the suicide of his son, the score is just as withdrawn and distant as the actor's performance. The music doesn't grieve, it doesn't tug at heartstrings. The guitar strokes are soft and reflective, but impassive -- the piece could legitimately be seen as either bleak or hopeful. Only in the final scene, as the story reaches resolution, does the ethereal noodling expand gradually and gracefully into melody. The game is over and the storytellers finally tip their emotional hand. But gently and thoughtfully; not so much manipulating as reflecting the emotions of the audience. ~ Evan Cater

  1. 1.[CDアルバム]
    1. 1.
      I'm Your Man
    2. 2.
      Broken Up And Blue
    3. 3.
      Your Love Is My Rest
    4. 4.
      I Couldn't Love You (More Than I Know)
    5. 5.
      Opening Title
    6. 6.
      Close Thirteen
    7. 7.
      Night Into Day
    8. 8.
      Resignation
    9. 9.
      Paying Respects
    10. 10.
      Tyrell
    11. 11.
      I Needed You
    12. 12.
      Hank's Transition
    13. 13.
      I Don't Want To Go Out Like This
    14. 14.
      Hit And Run
    15. 15.
      Under The Stars
    16. 16.
      End Title

商品の紹介

In developing a musical concept for his first feature film, director Marc Forster opted for an approach that could be described (after its most visible practitioner) as the Thomas Newman aesthetic. This school of thought maintains that film music can enhance drama, add texture, and underline meaning, but it should never, ever tell the audience how to feel. The score for Monster's Ball, composed by the ambient band Asche and Spencer, adheres to that philosophy by making extremely sparing use of melody. Through much of the movie, music slides by mysteriously without drawing much attention to itself. The instrumentation is sparse -- primarily electric guitar, keyboard, bass, and marimba -- and geographically ambiguous. The score's three composers (Thad Spencer, Chris Beatty, and Richard Werbowenko) could have attempted to establish the film's Southern small-town setting by loading up on pedal steel. (That task is left to country & western pop songs by the Jayhawks, Red Meat, and Jimmie Dale Gilmore.) Or they could have emphasized the film's tragic events with dramatic, swelling strings. Instead, Asche and Spencer focus strictly on the muddier emotional journey of the narrative. When Billy Bob Thornton's character mourns the suicide of his son, the score is just as withdrawn and distant as the actor's performance. The music doesn't grieve, it doesn't tug at heartstrings. The guitar strokes are soft and reflective, but impassive -- the piece could legitimately be seen as either bleak or hopeful. Only in the final scene, as the story reaches resolution, does the ethereal noodling expand gradually and gracefully into melody. The game is over and the storytellers finally tip their emotional hand. But gently and thoughtfully; not so much manipulating as reflecting the emotions of the audience. ~ Evan Cater|
Rovi

ハル・ベリーがアカデミー主演女優賞を とった、あの映画 「チョコレート」のサウンドトラック!! 幻想的なサウンドが優しくつつみこむ サウンドトラック。音楽というか、サウンド デザインは、アメリカはミネアポリスの デザイナー集団、アッシェ・アンド・スペンサー。 ついにデザイナーがサウンドトラックを作る 時代がやってきました(考えてみれば,それは 自然なことでしょうけれど)。ヒーリング・サウンド としても十分に機能する、不思議な音空間。 こちらも、「音響系サントラ」のファンの方に おすすめ!!!!かなり傑作!!! (C)馬場敏裕
タワーレコード(2004/09/28)

フォーマット CDアルバム
発売日 2002年06月06日
国内/輸入 輸入(イギリス盤)
レーベルSilva Screen
構成数 1
パッケージ仕様 -
規格品番 FILMCD361
SKU 738572036126

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