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Best Scores of 2014 – Spain

January 14, 2015 Leave a comment Go to comments

My fourth article in my Review of the Year 2014 looks at the Best Scores from Spain. It’s pretty common knowledge that I consider Spain to be one of the world’s great hotbeds of excellent film scoring, and 2014 continues to affirm that this is the case. This year’s group of scores from the Iberian peninsula runs the gamut of genres, from dramas to comedies to horror scores to contemporary thrillers, and features music from some of from the best regional composers working today, including Roque Baños, Arnau Bataller, Zacarías M. de la Riva, and Federico Jusid.

AUTÓMATA – Zacarías M. de la Riva

automataAutómata is a Spanish-made English-language post-apocalyptic science fiction film directed by Gabe Ibáñez, starring Antonio Banderas. Set in a world where solar flares have killed 99% of the world’s population, and robots undertake all of the remaining population’s manual labor, Banderas plays Jacq Vaucan, a futuristic insurance agent for a robotics corporation who investigates cases of robots violating their two primary protocols – they must not harm humans, and the must not alter themselves. While on a routine assignment to find a robot who apparently injured a cop, Jacq discovers a terrible secret that will have profound consequences for the future of humanity. The film also stars Dylan McDermott, Melanie Griffith, Robert Forster the voice of Javier Bardem, and has an original score by the young Spanish composer Zacarías M. de la Riva.

Zacarías de la Riva has written some great scores in his short career to date, notably the horror thriller Imago Mortis (2009), the children’s animated film Copito de Nieve (2011), and the teenage adventure Las Aventuras de Tadeo Jones (2012), but Autómata might be his most impressive work to date.

Though it is set in the future overrun with robots, Autómata features a rich orchestral score with a haunting choir lending an epic quality to the story.  Rather than scoring the futuristic setting (although there are a few concessions to that), de la Riva instead scores the emotion, with a combination of vivid, soulful writing for the Bulgarian Symphony Orchestra and its highlighted solo cello, and heavenly choral work performed by the Swedish choir Johannebergs Vokalensemble, which often sings in Latin. Cues such as “The Earth”, “We Want to Live”, “Apology”, “Desperation”, “Birth of a New Robot”, and many others, are almost defiantly humanistic; de la Riva scores the tragedy of the situation, and the heartbreaking plight of Earth’s mechanical inhabitants, with a near-religious intensity that at times threatens to become overwhelming. The “Autómata Requiem” which concludes the album is sensational, breathtaking stuff.

What I like about the choral writing especially is how varied it is; sometimes it is simply providing an angelic tone, sometimes it is actually singing in Latin, and sometimes it provides a rhythmic element, almost moving into Danny Elfman la-la-la territory. De la Riva has stated that the was specifically inspired by classical composer Morten Lauridsen’s “Lux Aeterna”, which gives you some idea of the sort of music to expect.

Some cues do offer some more challenging textures, such as the impressionistic and dissonant opening to “The Earth” and parts of “The Precedent”, the spiky and slightly frantic choral work in cues like “Robot on Fire” and “Into the Desert”, and the vaguely Vangelis/Tangerine Dream-esque electronic tones of “A Night Out Dancing” or “Meeting Cleo”. There is some propulsive action music too, in the second half of “Apology” and in “The Canyon”, and some music which almost enters horror music territory in “Badly Wounded”, but for the most part Autómata is a score which unashamedly revels in heightened emotions and intelligent, complex contemporary orchestral and choral compositional stylistics that are very impressive indeed.

I have to admit, it took me a while to connect with Autómata and its unexpectedly bold and emotional tone, but once it works its spell on you, it’s a score which stays with you for quite some time afterwards. In a year filled with excellent scores from unexpected places, Autómata is yet another entry into the pantheon of superb Spanish film scores that have been written over the last 5-10 years, and Zacarías M. de la Riva is clearly a composer worth keeping an eye on.

Track Listing: 1. The Earth (1:52), 2. We Want to Live (2:50), 3. Robot on Fire (1:00), 4. Apology (4:28), 5. Desperation (3:30), 6. Birth of a New Robot (4:14), 7. Good Luck Jack (2:28), 8. The Precedent (4:26), 9. A Night Out Dancing (4:53), 10. The Canyon, Part 1 (2:06), 11. The Canyon, Part 2 (3:52), 12. Meeting Cleo (2:45), 13. Into the Desert (3:30), 14. I’m Burnt Out (1:58), 15. Locker (2:44), 16. New Robot Appears (1:30), 17. Badly Wounded (1:43), 18. Automata Requiem (4:22). Moviescore Media MMS-14020, 54 minutes 14 seconds.

 

CANTINFLAS – Roque Baños

cantinflasThe actor and comedian Cantinflas was known as the Charlie Chaplin of Mexico, an inspirational and groundbreaking figure who pioneered improvements in Mexican cinema, was an influential political activist, and even broke into the ‘promised land’ of Hollywood, winning a Golden Globe for Around the World in 80 Days in 1956. This film of his life, directed by Sebastián Del Amo, stars Óscar Jaenada in the title role, was a critical and commercial success in its native country, and is Mexico’s official entry for the upcoming Academy Awards in the Best Foreign Language Film category.

The score for Cantinflas is by Spanish composer Roque Baños, and he used his enormous talent to pay musical homage to Hollywood’s Golden Era. The commercial soundtrack for Cantinflas contains just three tracks of Baños’s score, amounting to just 5 minutes of music on an album otherwise full of tracks by Latino artists, but a promo containing 35 minutes of score was prepared by the composer for consideration by various awards bodies, and it is this longer presentation that should be experienced if at all possible.

Classic, big orchestral fanfares in the style of Max Steiner and Alfred Newman typify many cues, notably; these combine with light-hearted, theme-filled, defiantly old-fashioned light jazz pieces full of bright horns and trilling woodwinds, similar in tone to classic Hollywood musicals of the 1950s, or the music Ludovic Bource won his Oscar for in 2011.

The score is generally monothematic throughout much of its length, but the theme is superb, able to be manipulated around into numerous different variations as Baños requires. It gets a fun variation for an old stand-up Joanna in “Track 3”, hearkening back to the earliest days of the silent movie era. Further performances of the theme include a sentimental rendition for piano and woodwinds in “Track 5”, a bittersweet violin solo that morphs into lounge jazz in “Track 6”, a couple of doses of laid-back nightclub cool in “Track 10” and “Track 13”, and as part of an unexpectedly vibrant and percussion heavy action cue in the first half of “Track 11”.

Other cues feature lush and romantic piano solos (“Track 2”), gloriously flamboyant Mexican trumpets and castanets (“Track 4”), more soulful and almost Morricone-esque trumpet performance (“Track 9”), each providing a rich flavor of aspects of Cantinflas’s life as it develops. “Track 12” provides the darkest and most intimate performance of the main theme, with a hesitant solo piano and a moody string wash, before the whole thing concludes with an upbeat sense of optimism and charm through the two conclusive cues. There is perhaps one slight missed opportunity in that Baños was not able to somehow reference Victor Young’s classic Oscar-winning score for Around the World in 80 Days, but this is a very minor quibble to what is otherwise a very strong piece of work.

Although the score does not have formal cue titles, and although it may be difficult to come by, it more than reinforces the reasons why Roque Baños remains one of Spain’s foremost film music composers, and why – finally – he seems to be making in-roads into the American mainstream.

Track Listing (Commercial Release): 1. Score 01 (1:56), 2. Quizás, Quizás (performed by Denise Gutiérrez) (3:39), 3. Ríete De Amor Hasta Que Mueras (performed by Aleks Syntek) (3:38), 4. Rigoletito (performed by Mauricio Sánchez) (1:54), 5. Tu Vida Es Un Escenario (performed by La Santa Cecilia) (3:19), 6. El Cisne (performed by Mauricio Sánchez) (2:17), 7. Vete De Mi (performed by Enrique Bunbury) (3:34), 8. Carpa Valentina (performed by Paté de Fuá) (1:57), 9. Score 02 (1:09), 10. Se Va Moviendo (performed by Los Claxons) (3:23), 11. Hermosa Rusita (performed by Paté de Fuá) (1:28), 12. Score 03 (1:54). Venemusic, 30 minutes 08 seconds.

Track Listing (Score Promo): 1. Track 1 (1:47), 2. Track 2 (2:33), 3. Track 3 (1:22), 4. Track 4 (2:33), 5. Track 5 (2:24), 6. Track 6 (2:21), 7. Track 7 (1:15), 8. Track 8 (2:39), 9. Track 9 (1:26), 10. Track 10 (3:09), 11. Track 11 (2:58), 12. Track 12 (4:09), 13. Track 13 (2:00), 14. Track 14 (3:11), 15. Track 15 (1:52). Promo, 35 minutes 45 seconds.

 

LA HERMANDAD – Arnau Bataller

lahermandadLa Hermandad (“The Brotherhood”) is a Spanish Gothic horror movie directed by Julio Martí, starring Lydia Bosch as Sara, a successful horror novelist who survives an accident just outside a secluded Benedictine monastery in northern Italy. While recuperating inside the anachronistic building, Sara begins to discover terrifying and dark secrets about the monastery and the history of the priests responsible for her care. The score for his terrifying film is by composer Arnau Bataller, who is an old hand at this sort of thing, having impressed with his scores for La Herencia Valdemar and La Sombra Prohibida in 2010.

Performed by Barcelona’s Liceu Opera House Symphony Orchestra and Choir in their first ever film score recording, Arnau Bataller’s music for La Hermandad combines dark orchestral textures with a more thematic approach characterized by the evocative choral writing inspired by the story’s religious setting. All this typified by the opening cue, the “Main Titles”, which have a strident string rhythm overlaid by lots of mournful, liturgical choral chants and plenty of power and menace, and goes on to be performed with great gusto in one of the score’s central action set-pieces, the thunderous “Get Them!”

Another interesting choral touch is that of a female soprano soloist singing Latin phrases – most noticeably the line ‘miserere dominus’ (‘Lord Have Mercy’) – accompanied by a more longing, haunting string melody. This idea first appears in the second half of the main title, and goes on to feature throughout the score in cues such as “Discovering the Past”, “Isolated”, “It Can’t Be” and the soaring “The Confession”, where it is often performed contrapuntally against a series of dark, brooding piano lines.

Bataller engages in some more textural, dissonant writing in cues like “First Departure”, “Investigations” which are quite creepy, especially with regard to the eerie string textures, the chaotic orchestral explosions of sound, and the disorienting glassy electronic noises. This is counterbalanced by some lighter writing featuring harps, chimes and gongs in cues like “I Have Heard Children”, more lyrical melodies for piano in “There Are Children”, and a sublime cello and woodwind duet in “My Daughter”. Some of these cues remind me very much of Christopher Young’s writing style for this genre, which from my point of view is a very good thing indeed.

La Hermandad sat on the shelf for almost two years before finally being released in cinemas in Spain last March, and it didn’t do especially well at the Spanish box office, but we have to thank Mikael Carlsson and his Screamworks Records subsidiary for doing what he always does: rescuing little-known scores for marginal movies that need to be experienced by the wider soundtrack-buying world. La Hermandad will undoubtedly appeal to anyone with a penchant for big, Gothic orchestral horror scores.

Track Listing: 1. Main Titles (2:50), 2. Discovering the Past (2:07), 3. First Departure (4:48), 4. I Have Heard Children (2:21), 5. Eli’s Book (3:30), 6. There Are Children (1:53), 7. Investigations (4:12), 8. Isolated (3:32), 9. Get Them! (2:55), 10. My Daughter (4:10), 11. It Can’t Be (3:35), 12. The Confession (6:18), 13. The Brotherhood (3:57). Moviescore Media/Screamworks Records SWR-14008, 46 minutes 05 seconds.

 

LA IGNORANCIA DE LA SANGRE – Federico Jusid

laignoranciadelasangreLa Ignorancia de la Sangre (“The Ignorance of Blood”) is a Spanish-language action thriller directed by Manuel Gómez Pereira and starring Juan Diego Botto as Javier Falcón, the Chief of the Homicide Division in Seville. Falcón finds himself involved in two apparently unrelated cases – trying to stop the son of an old friend being recruited by an Islamic terrorist cell, and the kidnapping of a child by the Russian mafia which he is investigating – but the more he delves into the investigation, the more the lines between the cases become blurred. The film co-stars Paz Vega, Alberto San Juan, Cuca Escribano, Francesc Garrido, and Pilar Mayo, and has an original score by the outstanding young Argentine composer Federico Jusid.

If your only exposure to Jusid’s work has been via his lushly classical scores for the TV series Isabel, then La Ignorancia de la Sangre may comes as something as a surprise – although it still conforms to Jusid’s orchestral sensibilities, it is a much darker work, with several stylistics that fit within the world of modern thriller scores. Despite expanding his palette with some electronics, to represent the contemporary setting of the story, some of his orchestrational ideas are superb, and his composing idiom somehow manages to reflect something of a Russian tone that is very appropriate for the film.

There is something of a tragic sweep to several cues, notably “Yacub’s Call”, the morosely beautiful pair “Drawings” and “I Will Never Change My Mind”, and especially the magnificently tragedy-laden “Yacub’s Choice”, where the violins emerge from beneath the low-key, tension-filled scoring with an impressive flourish. Action music plays a big part too, in cues like “The Russians”, the throbbing “The Exchange”, and the vivid and exciting “Shooting”. Rapid, dissonant rhythmic ideas, often filtered through low-end woodwinds, add a sense of murky mystery – listen to what the oboes are doing throughout “Shooting” – while James Horner fans will get a kick out of the piano clusters in “No Regrets”.

The 8-minute finale cue, “The Plan”, is a real powerhouse, containing some of the score’s most powerful and exciting action writing, especially when the timpanis and the surging string rhythms kick in just after the 5:00 mark; there’s even a touch of a balalaika or a mandolin, giving it a smooth regional flavor. In truth, the entire score makes excellent use of all parts of the orchestra, often in unexpected ways that one would not usually think to find in a score for this type of genre film, further highlighting Jusid’s credentials in his regard.

Unfortunately, Jusid’s score is only available as a promo which the composer put together for consideration for the 2014 Goya Awards (although some of it can be streamed from the composer’s personal Soundcloud page); despite this, I would definitely recommend seeking it out and listening to it if you ever get the chance.

Track Listing: 1. Cemetery (2:28), 2. The Russians (3:22), 3. Yacub’s Call (3:21), 4. Drawings (1:58), 5. The Exchange (4:12), 6. Shooting (4:53), 7. Yacub’s Choice (3:06), 8. No Regrets (2:36), 9. I Will Never Change My Mind (1:52), 10. The Plan (8:36). Promo, 36 minutes 29 seconds.

 

KAMIKAZE – Manel Santisteban

kamikazeKamikaze is a jet black comedy from Spain, directed by Álex Pina, starring Álex García as Slatan, a wannabe suicide bomber intending to blow himself up while on board a flight from Moscow to Madrid. However, when a snowstorm delays the flight, Slatan finds himself staying in the same hotel as the other passengers on the flight, and as he speaks and interacts with his 332 potential victims, he begins to wonder whether ending the lives of all these innocent people is the right thing do to. The film co-stars Leticia Dolera, Verónica Echegui and Carmen Machi, and has an original score by Spanish composer Manel Santisteban.

Much like the film, Santisteban’s score is a combination of the light-hearted and the deadly-serious; a curious mix of styles for a film which is all about extremes. The main theme, as heard in the opening cue, is a light-hearted and playful piece for accordions and orchestra, which goes through several variations for sprightly woodwinds, dancing and prancing strings, and even a balalaika, contributing some regional musical flavor to the film’s Russian aspect. This light comedy and unashamed sentimentality continues through the pretty and hesitantly romantic “Track 6” and “Track 11”, the more openly sentimental and sensual second half of “Track 7”, and the intimate pianos and heartfelt cellos of “Track 8” and “Track 10”, all of which really showcases Santisteban’s thematic and melodic talents.

At the other end of the scale are the much more serious cues, speaking to the very real threats the world faces from suicide bombing and religious fanaticism. Middle Eastern textures, augmented by contemporary synth ideas, are present in cues like “Track 3”, some of which remind me of Alexandre Desplat’s score for Argo. Later, “Track 5” has some interestingly moody piano writing, the first half of “Track 7” embraces a sense of isolation through its spare ethnic woodwind textures, while the epic 9-minute “Track 9” covers may of the score’s significant elements, including the ethnic woodwinds, synth textures, some propulsive action moments, and even a new sequence for a classically rich violin performance, in one all-encompassing cue that stands as the best cut of the entire score.

Sometimes the juxtaposition of serious and comedic comes within the same cue – “Track 2”, for example, initially adopts a more serious tone through introspective piano and string writing and some more contemporary synth ideas, but gradually develops into a second light, pretty performance of the main theme, again with balalaikas and a gentle string accompaniment. Such is Santisteban’s talent that he is able to balance these different musical styles and tones without undermining one in favor of the other, and without making the abrupt tonal shifts too jarring.

Unfortunately, Santisteban’s score is only available as a promo which the composer put together for consideration for the 2014 Goya Awards, but I would definitely recommend seeking it out and listening to it if you ever get the chance.

Track Listing: 1. Track 1 (2:45), 2. Track 2 (2:44), 3. Track 3 (6:54), 4. Track 4 (0:58), 5. Track 5 (2:27), 6. Track 6 (1:10), 7. Track 7 (8:09), 8. Track 8 (3:40), 9. Track 9 (9:09), 10. Track 10 (1:14), 11. Track 11 (1:29), 12. Track 12 (1:17), 13. Track 13 (0:48). Promo, 42 minutes 49 seconds.

 

LASA Y ZABALA – Pascal Gaigne

lasayzabalaJoxean Lasa and Joxi Zabala were two men, allegedly members of the Basque independence miltant group ETA, who were kidnapped, tortured and executed in 1983 by members of GAL, a paramilitary death squad established illegally by officials of the Spanish government under the guise of combating domestic terrorism; although the two policemen who committed the murders were found guilty and sentenced to prison, the incident remains one of the most notorious parts of the entire Basque conflict,. Director Pablo Malo’s dramatic film looks at the story with new eyes, stars Iñaki Ricarte and Cristian Mercha as Lasa and Zabala respectively, and has an original score by French-born composer Pascal Gaigne.

Performed by the Bulgarian Symphony Orchestra under the baton of Claudio Ianni, the score is a perfect example of a modern thriller score full of interesting orchestrational and instrumental ideas, and plenty of emotional weight. Gaigne has written a lot of interesting under-the-radar scores all across Europe over the last few years, including Matka Edeniin from Finland in 2011, Katmandú: Un Espejo en el Cielo from Spain in 2012, Chaika from Kazakhstan also in 2012, and the Basque film Amaren Eskuak (Las Manos de Mi Madre) in 2013. Despite all this excellent history, Lasa y Zabala may be his most accessible, crowd-pleasing score yet – it’s certainly my favorite of everything I have heard from him to date.

The opening “Justicia” is a thrilling, punchy action cue full of thrusting string rhythms counterpointed by a more noble horn line, piano scales, and woodwind accents. Gaigne is clearly intending to present the death of Lasa and Zabala as a miscarriage of justice, and paint them as the heroes of the piece. The thrills and spills continue throughout the score, in the darkly menacing “Lasa y Zabala – Títulos”, the occasionally quite brutal “Acción-Reacción”, the tide-turning “Adiós a Joxean y Joxi”, and the conclusive “Sentencia Final”, which revists the material from the first cue. Some of the brass writing in these cues is superb, driving the story forward with interesting rhythmic ideas and contrapuntal lines that often work in layers of percussion, both metallic and otherwise.

More introverted, understated string writing typifies cues like “Fuya de Goves”, “Identificación”, which are subtle and tension-filled, while other cues like “Raptados” and “Desaparecidos” are quite challenging and dissonant, musically capturing the fear of the two men at the center of the story, and their ultimate fate. The two “La Cumbre” cues are slow meditations on the topic at hand, and feature some interesting, difficult brass writing, while “Introspección” has exactly the sort of feeling one would expect, featuring a soft piano melody accompanied by thoughtful, enigmatic string wash.

If you haven’t explored the work of Pascal Gaigne before, I recommend Lasa y Zabala is being a great place to start. Like I said, I think it’s his most accessible and crowd-pleasing score to date, and it’s combination of driving action and solemn emotion will appeal to anyone who enjoys music with a darker edge. The score is available from Quartet Records – as is a large part of his back catalogue –for decent prices, and comes with a strong recommendation from me as one of the best thriller scores of 2014.

Track Listing: 1. Justicia (3:05), 2. Lasa y Zabala – Títulos (2:11), 3. Fuya de Goves (1:46), 4. Baiona Ttipia (0:43), 5. Vigilados (0:36), 6. Raptados (1:22), 7. Desaparecidos (1:25), 8. Acción-Reacción (3:01), 9. Coincidencias (1:50), 10. Identificación (1:17), 11. Adiós a Joxean y Joxi (4:03), 12. La Trama (1:35), 13. La Cumbre (Parte 1) (4:49), 14. La Cumbre (Parte 2) (3:06), 15. Eskizofrenia (1:39), 16. Dudas Razonables (0:45), 17. Amenazas (2:22), 18. Nuevos Indicios (2:08), 19. ¡Aitor! (1:17), 20. Un Dia Normal (1:10), 21. Espera Tensa (0:29), 22. Subliminal (0:40), 23. Introspección (3:53), 24. Renuncia (1:38), 25. Revelación (1:28), 26. Sentencia Final (2:21). Quartet Records, 50 minutes 59 seconds.

 

TOKAREV – Laurent Eyquem

tokarevTokarev (released as “Rage” in the United States) is a Spanish-funded English-language revenge thriller directed by Paco Cabezas, starring Nicolas Cage as Paul Maguire, a former member of the Irish mob who retires from his life of crime after a successful heist involving the Russian mafia. Years later, Paul is running a successful legitimate construction business, is married, and dotes on his step-daughter Caitlin. However, things go wrong for Paul when Caitlin is kidnapped and subsequently murdered; believing that the Russians are responsible, and that the murder was a reprisal for his criminal activities years previously, Paul decides to ignore the advice of the police and seek revenge himself.

The film, which co-stars Rachel Nichols, Peter Stormare and Danny Glover, unfortunately received rather dismal reviews following its release in Spanish cinemas in June, and went straight-to-DVD in pretty much every other market. However, the score, by French composer Laurent Eyquem, is a different matter; it’s a classy contemporary action/thriller score, recorded in Skopje with the Macedonian Symphonic Radio Orchestra under the baton of conductor Oleg Kondratenko, which is significantly more worthwhile than the film it accompanies.

Listeners who are only familiar with Eyquem’s lush work on scores like Copperhead or Winnie Mandela will be surprised to hear him writing in a much more modern idiom here; although the score is still predominantly orchestral, there are a great deal of electronic enhancement to be heard, often by way of rhythmic ostinatos and vaguely industrial sounding effects which lay on top of the music. Usually, this sort of thing annoys the heck out of me, but Eyquem does it with much more panache and artistry than many of his contemporaries – his obvious knowledge of the orchestra, and the way the two aspects of the score actually blend together rather than competing for dominance against each other, allows the score to breathe and develop naturally.

The score’s main theme features prominently throughout the score, in cues like the first half “Trying to Understand”, the depressingly lovely “Body Found”, “A Box Full of Memories” and “The Accident/I’m So Sorry”, many of which feature the elegant, wistful piano writing for which he is becoming famous. “All is Lost/The Funeral” works in a lonely-sounding female vocalist to really drive home the main character’s sense of despair; later, the female vocals combine with the ethnic sounds of a Russian balalaika in “You Killed My Brother” and “A Child Should Never Pay”, giving the score a touch of regional specificity to illustrate the heritage of the film’s primary antagonists, while conclusive cues like “Death Sentence/The Clue” and “Tokarev” have an elegance to them, with lush string lines that are both beautiful and solemn simultaneously.

Elsewhere, cues like “The Kidnapping” are fiercely dramatic, thrusting and churning and giving the film a real sense of driving energy. Even cues like the second half of “Trying to Understand”, “The Foot Chase” and “Room By Room”, which embrace heavy electronic textures in an almost dance music-like way, show a great deal of creativity in the percussion programming, with interesting rhythmic ideas and clever layering of sounds against the bustling orchestral rhythms.

Tokarev was released by the German soundtrack label Caldera by producers Stephan Eicke and John Elborg. and features detailed liner notes by Gergely Hubai and elegant artwork by Luis Miguel Rojas. Despite the general disdain the film itself has received, Eyquem’s score is worth investigating, both as an exploration of a different side of his musical personality, and as an example of some of the best quality writing for this film genre in 2014.

Track Listing: 1. Opening (1:12), 2. The Kidnapping (1:46), 3. Trying to Understand (1:27), 4. Body Found (1:03), 5. All Is Lost/The Funeral (3:06), 6. A Box Full of Memories (2:10), 7. The Foot Chase (1:36), 8. The Pain (1:35), 9. Room By Room (2:27), 10. The Russians Get The News (1:42), 11. You Killed My Brother (2:53), 12. Confrontation (3:08), 13. A Child Should Never Pay/Showdown (2:14), 14. Death Sentence/The Clue (2:16), 15. The Accident/I’m So Sorry (4:31), 16. I Let You Down (2:47), 17. Tokarev (3:27), 18. Audio Commentary by Laurent Eyquem [BONUS] (6:48). Caldera Records C6005, 46 minutes 17 seconds.

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