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Best Scores of 2018, Part II

January 22, 2019 Leave a comment Go to comments

This is the second installment in my annual series of articles looking at the best “under the radar” scores from around the world. As was the case before, rather than doing the scores on a geographical basis, this year I decided to simply preset the scores in a random order. This second batch includes six scores: two superb scores from Spain – a fantasy drama and a period thriller – a children’s animated film from Norway, a children’s adventure film from Sweden, a family adventure film from France, and a big-screen version of a beloved children’s story from Germany.

EN LAS ESTRELLAS – Iván Palomares

En Las Estrellas – In the Stars – is a Spanish drama movie directed by Zoe Berriatúa. It tells the story of Victor, a film director, who has become desperately depressed due to his alcoholism, his unemployment, and the fact that he has just become a widower. The only joy in his life is his nine-year-old son, who he regales with fantastical tales of movies he wants to direct. Eventually father and son begin travelling around the world visiting the locations where Victor plans to shoot his films, and slowly the bonds of their relationship allows them to heal. The film stars Jorge Andreu and Luis Callejo, and has an original score by the young Spanish composer Iván Palomares.

Although Palomares has been working as a composer since the early 2000s, his work has been limited mostly to short films and documentaries. He wrote music for 138 episodes of the TV series Ciega a Citas in 2014, but En Las Estrellas is for all intents and purposes his first major theatrical film – and it could very well be his breakthrough score. It’s certainly been well-received in Spain, receiving a Goya nomination for Best Score.

If I was to compare Palomares’s score to someone else’s work, it would be that of Ennio Morricone, or perhaps Nicola Piovani, whose score for nostalgic evocations of European fantasy are so well loved. Palomares conducted the RTVE Symphony Orchestra himself, and the resultant score is really beautiful, moving effortlessly between piano intimacy and fully orchestral beauty. The “Main Theme” is a gorgeous, unadorned piano solo, and features strongly in subsequent cues, especially the wistful “The Vertov Theatre,” the mordant “In the Pub,” the charming “Shooting a Movie in the Street,” the gently beguiling and childlike “Toys,” and many others. It’s final reprise in the “End Credits” is especially lovely, especially when it adopts a rich orchestral sweep.

In addition to the main theme, some cues are clearly inspired by John Williams’s 1980s evocations of childhood whimsy – the combination woodwind and string writing in “Cinema and Escape From the Landfill” and “Escape From the Gym Class” is especially delightful – while others, like “Neighbourhood of Old Times” have the unmistakable sheen of, and a clear love for, classic Hollywood. “Angela in the Garbage and the Kiss” explodes into a glorious romantic theme after a minute or so of ambient build-up, “Pictures” has a cello solo of great depth and beauty, and there are even some moments of horror and tension in cues like “House on Fire,” which bring Victor’s flights of fancy back to Earth with a resounding crash. The pathos in the aftermath of the fire, especially in the darkly emotional “Victor in His Scorched Home” is palpable.

The whole experience is lyrical, emotional, passionate, a clear love letter to the cinema and all its trappings, with a composer who appears to be as much enamored with the genre’s conventions as his listeners. The score is available from the Spanish record label Quartet Records, and is especially recommended to anyone whose childhood cinematic experiences still provoke waves of wonder and nostalgia.

Track Listing: 1. Main Theme (2:31), 2. Cinema and Escape From the Landfill (1:14), 3. Neighbourhood of Old Times (1:41), 4. The Vertov Theatre (1:20), 5. In the Pub (1:43), 6. Angela in the Garbage and the Kiss (2:45), 7. Victor Drunk in his Puddle (0:59), 8. Shooting a Movie in the Street (0:44), 9. Victor and Angela Dancing on the Moon (0:53), 10. Tell Me More About the Story, Victor (0:47), 11. Ingmar Sleeps (0:52), 12. Angela in the Bathub (1:58), 13. Toys (1:04), 14. House on Fire (1:40), 15. Victor in His Scorched Home (1:33), 16. Victor in His Scorched Home – Alternate (1:11), 17. Angela in the Burnt Remnants (1:02), 18. Escape From the Gym Class (1:50), 19. On the Road 1 (0:37), 20. Dodging the Police (1:05), 21. Ye Old Manor (0:43), 22. Pictures (0:53), 23. On the Road 2 (0:44), 24. The Dystopian Movie Set (1:30), 25. Did You Forget About Me? (3:56), 26. I Don’t Love You Anymore (2:59), 27. Memories in the Stars (2:18), 28. End Credits (4:15). Quartet Records, 45:02.

 

HALVDAN VIKING – Gaute Storaas

Halvdan Viking is a Swedish historical family action film directed by Gustaf Åkerblom, based on a popular series of books by Martin Widmark and Mats Vänehem. Set at the height of Viking culture, it follows the adventures of a young boy named Halvdan, who has become something of an outcast in his village since his father left on an overseas raid and never returned. Halvdan’s village has been at war with a rival village on the other side of a river for generations, but when Halvdan meets and makes friends with Meia – the young daughter of the rival village’s chieftain – things look as though they might change. The film stars Vilgot Hedtjärn, Ellinea Siambalis, and Peter Haber, and has a wonderful original score by the Norwegian composer Gaute Storaas.

Anyone who heard Storaas’s score for Birkebeinerne in 2016 will know what sort of composer he is; he writes bold, rich orchestral music infused with the musical cultural heritage of Scandinavia, employing a range of solo instruments to excellent effect. Halfdan Viking is very much the same: it’s a less intense, much lighter score than Birkebeinerne, but some of its orchestral passages are quite lovely, and when he makes use of specialty instruments like the hardanger fiddle, a Swedish keyed fiddle, something called a bockhorn which looks like it is made from a sheep’s horn, and various Nordic flutes, the whole thing shines.

The whole thing is anchored by a superb main theme, introduced in the opening cue “Valsgärde, En Delad By,” and which gets especially outstanding renditions in subsequent cues like “Halvdan Och Meja Rymmer” and “Ut På Havet” where it fills the senses with warmth and friendship. There’s lots of exciting action too; cues like “Amasonen” pick up a head of steam and feature some especially florid woodwind writing, while pieces like “Röksignaler” and “Till Gömstället” are bold and adventurous. “Stridsförberedelser” keeps threatening to bust out into Cutthroat Island, and the bombastic “Den Stora Striden” clearly has Jerry Goldsmith’s First Knight in its heritage. Listen also for the wonderful brass triplets in “Flykten Från Fängelset”.

These upbeat, exciting romps are tempered by moments of calm, evoking the wind-swept landscape, especially in cues such as the lovely “Halvdan Och Meja”. Occasionally Storaas gets into the world of fantastical whimsy, with pieces like “Mejas Idé” having a wonderful magical sound filled with fluttering orchestral textures and magical chimes. There are even some evocations of traditional Viking music, celebratory and dance-like, in pieces like “Vikingafärden” and the conclusive “Vikingafest,” which are just superb.

Scandinavian film music has been having one of the strongest periods in its history of late, and composers like Gaute Storaas are very much on the forefront of that renaissance. Halvdan Viking may be an obscure Swedish children’s adventure film, but the music that accompanies it is exemplary, and is especially recommended to anyone with an affinity for strong themes, unique regional orchestrations, and a vibrant emotional score. It’s available as a digital download from most online retailers, on the Music Super Circus label.

Track Listing: 1. Valsgärde, En Delad By (2:07), 2. Amasonen (1:26), 3. Halvdan Och Meja (2:20), 4. Röksignaler (2:43), 5. Den Försvunna Dottern (1:58), 6. Pilar Från Väst (1:58), 7. Halvdan Och Meja Rymmer (2:09), 8. Ut På Havet (1:56), 9. Svårt Att Sova (1:14), 10. Munkens Ankomst (1:50), 11. Halvdans Vandringar (2:10), 12. Svansjakt (0:53), 13. Vikingafärden (0:48), 14. Flykten Från Fängelset (2:17), 15. Tänk Om De Har Hittat Maten? (2:00), 16. Bäst På Egen Hand (0:50), 17. Hälften Var (1:09), 18. En Vän Från Östbyn (2:07), 19. Mejas Idé (2:23), 20. Över Älven (1:16), 21. Till Gömstället (1:22), 22. Pilen (0:50), 23. På Återseende (1:01), 24. Stridsförberedelser (1:51), 25. Yxan (1:25), 26. Den Stora Striden (2:33), 27. Guds Planer (1:54), 28. Vikingafest (1:36). Music Super Circus, 48 minutes 36 seconds.

 

JIM KNOPF UND LUKAS DER LOKOMOTIVFÜHRER – Ralf Wengenmayr

A German fantasy adventure film for children, Jim Knopf und Lukas der Lokomotivführer (Jim Button and Luke the Engine Driver) is adapted from a massively popular book by Michael Ende, the author of The Neverending Story. It’s a thinly-veiled criticism of Nazi-fuelled racism made more understandable for younger readers, and tells the story of the of a young black-skinned orphan boy named Jim, who grows up on a tiny island called Lummerland. After the king of Lummerland expresses concern that the island home will be too small for Jim when he grows up, Jim leaves the island in the company of Lukas and his locomotive, Emma, and embarks on a series of adventures that takes him to China and gets him involved with kidnapped princesses, dragons, pirates, and much more. The film stars Solomon Gordon and Henning Baum, and was directed by Dennis Hansel; it’s also the first live action adaptation of Ende’s story, but the fourth overall, following the massively popular original 1960s marionette-puppet version, and two animated TV series, one in 1974 and one in 1998.

The score for Jim Knopf und Lukas der Lokomotivführer is by German composer Ralf Wengenmayr, who has been active in German cinema since the mid-1990s, and has scored numerous successful films in combination with actor-comedian Michael ‘Bully’ Herbig, notably Erkan & Stefan (2000), Der Schuh des Manitu (2001), Traumschiff Surprise (2004), Lissi und der Wilde Kaiser (2007), and Wickie und die Starken Männer (2009), but is virtually unknown outside his domestic industry. The music in this score could very well prove to be a revelation for many, because it really outstanding.

The whole thing is built around its theme song, the Lummerlandlied by Hermann Amann, which will be immediately recognizable by most German speaking children. Wisely, Wengenmayr re-purposes it throughout this score, and arranges it for a full orchestra (the Deutsches Filmorchester Babelsberg) with an epic sweep – there are especially notable renditions in the gorgeous title track, “Jim Knopf und Lukas der Lokomotivführer,” and later in the sentimental and playful “Lummerland,” the warmly magical but bittersweet “Goodbye Lummerland,” the heroic and noble “Gestrandet,” the action arrangement buried deep with the Holst-inspired “Flucht aus der Drachenstadt,” and the moving finale “Wiedersehen in Lummerland”.

The rest of the score is no less entertaining; it’s filled with wonderful moments of fantasy and adventure, quieter pieces which play almost like lullabies from a music box, darker textures for the more dangerous moments, rousing action, and regional exotica from China which adds a touch of the Orient to Wengenmayr’s rich classical orchestrations. I’m especially fond of the rolling, churning, powerful seafaring action in “Storm Auf Hoher See” – those trumpet triplets! – as well as later action efforts in cues such as the dramatic and percussive “Das Tal der Dämmerung,” the sweeping and adventurous “Eisige Kälte” which makes use of metallic textures to intimate ice and snow. The Chinese instruments blended with the orchestra and choir make both “Mandala” and “Abschied aus Mandala” sound quite wonderful. The moody “Auf dem Weg in die Drachenstadt” sets the scene for the final confrontation between Jim and Lukas and the evil Frau Mahlzahn, whose dragons threaten Lummerland; the subsequent “Ich Bin Frau Mahlzahn” rises to some portentous heights as it progresses.

The score for Jim Knopf is available a CD import from Germany on the Ratside Records label, running for just a little over an hour; the digital version expands to 48 tracks and over 90 minutes in length, but unfortunately appears to only be available in Germany and some have reported difficulty in obtaining it in other countries. However, if you can, it is absolutely recommended that you do so – the score is one of the best and most rewarding adventure scores of the year.

Track Listing: 1. Die Wilde 13 (2:05), 2. Jim Knopf und Lukas der Lokomotivführer (1:23), 3. Das hübscheste Paket, das ich je gesehen hab (0:56), 4. Lummerland (2:19), 5. Auf dem Dachboden (1:38), 6. Emma muss weg (1:27), 7. Ich gehe mit dir! (1:21), 8. Goodbye Lummerland (2:34), 9. Sturm auf hoher See (2:02), 10. Gestrandet (1:55), 11. Mandala (2:14), 12. Prinzessin Li Si (1:53), 13. Abschied aus Mandala (2:54), 14. Das Tal der Dämmerung (3:41), 15. Tauchgang und Fata Morgana (4:29), 16. Tur Tur (2:17), 17. Eisige Kälte (3:27), 18. Nepomuk (1:31), 19. Camouflage (1:13), 20. Auf dem Weg in die Drachenstadt (3:32), 21. ICH bin Frau Mahlzahn! (6:01), 22. Flucht aus der Drachenstadt (3:11), 23. Papa! (1:54), 24. Der goldene Drache der Weisheit (1:41), 25. Können sie mir noch eine Frage beantworten? (1:28), 26. Wiedersehen in Lummerland (4:06), 27. Li Si & Jim (1:40), 28. Molly (1:01), 29. Ihr seid meine Familie und Lummerland ist meine Heimat (1:47). Ratside Records, 67 minutes 55 seconds.

 

MÅNELYST I FLÅKLYPA – Knut Avenstroup Haugen

Månelyst i Flåklypa, known in English as Louis and Luca: Mission to the Moon, is the latest in the long running series of animated films from Norway based on the extremely popular ‘Pinchcliffe’ stories by Kjell Aukrist; the first, Flåklypa Grand Prix from 1975, is arguably the most popular Norwegian movie of all time, while recent efforts have included Solan og Ludvig: Jul i Flåklypa in 2013 and Solan og Ludvig: Herfra til Flåklypa in 2015. In this latest movie the main characters, Solan the magpie and Ludvig the hedgehog, build a rocket and fly to the moon, but run into trouble when they find a stowaway who has a plan to transport moon rocks back to their home village of Flåklypa and use them for nefarious purposes. The film is directed by Rasmus Sivertsen, and has an original score by composer Knut Avenstroup Haugen.

Haugen is a terrifically talented composer who first came to international prominence in 2008 with his amazing video game score Age of Conan: Hyborian Adventures, but recently he has been working extensively for the production company Maipo Film, and is now the established composer for the Pinchcliffe films. Månelyst i Flåklypa is his third score for them, and it’s just as good as his previous two. Like those that preceded it, it’s a fully orchestral score, filled with themes and energy and good humor, and clear and appropriate homages to great scores of the past, as well as a number of sophisticated compositional techniques that belie its childish origins.

A number of cues stand out as being especially noteworthy. The “Main Titles” has all the noble horn-led solemnity often associated with music about the Space Race, and introduces the recurring main theme that crops up throughout much of the score. “Prøveoppskytning” is a delightfully classical scherzo that somehow combines Wagner with John Williams. “Raketten Bygges” is a clear – and very well put together – homage to Bill Conti’s Rocky score. “Lift Off” builds on the horn writing from the first cue and gradually becomes a heroic anthem that comes across as a combination of Hans Zimmer’s Backdraft and James Horner’s Apollo 13; this track concludes with the first of several interludes for a church organ which might be a reference to Interstellar, and which return in several subsequent cues, notably “Verdensrommet” and the excellent “Et Stort Skritt for Byråkratiet”.

There’s some vibrant action music in “Ute av Kontroll,” “Ludvig Jager Roboten,” and “Robot-Trøbbel,” the former of which features some unusual but quite thrilling rhythmic ideas which jump between clarinets and xylophones, the latter of which is wonderfully detailed in the way the full orchestra is used to add texture and depth to the rhythmic core. “Romvandring” moves through several emotional ideas ranging from intimate piano textures to more energetic orchestral action music filled with snare drum textures, rousing heroic brass fanfares, and more church organ. The big dark crescendos in “Blindpassasjer” and “Roboten” herald the appearance of the stowaway, while the conclusive “Inn i Atmosfæren” features a number of big, imposing chords that feel like a mash-up of Bernard Herrmann’s Cape Fear and John Williams’s Jaws, and is quite gripping and tense.

Unfortunately the score for Månelyst i Flåklypa does not appear to have a soundtrack release – this promo was prepared for awards consideration purposes – and at the time of writing there aren’t even any samples from the score on Haugen’s website (http://www.knutavenstrouphaugen.com/). However, as is always the case, this review is intended to be a plea to film music album producers to somehow make this score available to the public – it’s far too good to be overlooked.

Track Listing: 1. Main Titles (1:11), 2. Enkefruen (0:48), 3. Prøveoppskytning (1:11), 4. Raketten Bygges (2:45), 5. Lift Off (2:40), 6. Ute av Kontroll (1:49), 7. Vektløs (1:29), 8. Verdensrommet (1:27), 9. Romvandring (2:58), 10. Blindpassasjer (1:44), 11. Roboten (1:46), 12. Et Stort Skritt for Byråkratiet (3:08), 13. Ludvig Jager Roboten (1:00), 14. Robot-Trøbbel (3:12), 15. Inn i Atmosfæren (2:02), 16. Aldri Mer (1:29). Promo, 30 minutes 40 seconds.

 

RÉMI SANS FAMILLE – Romaric Laurence

Rémi Sans Famille is a French family adventure film directed by Antoine Blossier, based on the classic 1878 French novel by Hector Malot. The film stars Daniel Auteuil, Jacques Perrin, and Maleaume Paquin and tells the story of a young boy named Rémi who, after being sold to an orphanage by his adoptive father, eventually finds himself in the company of a travelling musician named Vitalys, a dog, and a monkey. As the little quartet travels from town to town, Rémi gets into all sorts of adventures. The music for the film is by the up-and-coming French composer Romaric Laurence, who began his career writing orchestral arrangements for popular music before moving into film; his previous work includes films such as the popular Thai martial arts movie Ong-Bak, and the action-comedies Taxi 4 and Le Boulet.

Laurence’s music for Rémi Sans Famille is symphonic, sweeping, and thematic; the composer says he intentionally channeled the styles of French industry legends Michel Legrand and Vladimir Cosma, as well as Hollywood superstars John Williams and Danny Elfman. The resulting work is really quite outstanding; it’s built around a simply gorgeous waltz-like main theme, introduced in the opening cue, which has a yearning quality that somehow combines childhood fantasy with fairy-tale magic. Piano, soft strings, and a cooing choir often come together to excellent effect, and there are several quite beautiful reprises in “Départ Pour Chavanon,” the understated “Arrivée à Ussel,” the pretty and vibrant “L’Apprentissage,” the effortlessly charming “La Lettre de Lise,” and the finale cues “Rémi Retrouve Sa Mère” and “Rémi Sans Famille (Générique de Fin)”.

There’s more than a hint of Edward Scissorhands in some of the choral writing, as evidence by the textures in cues such as “Excursion Nocturne” and “Rémi Seul Chez Les Driscoll,” and there’s also an unusual hummed vocal performance, fragile and almost broken-sounding, which appears to be intended to be the ‘voice’ of Rémi, and provides an immediacy and fragility to cues like “Une Comptine Ma Comptine,” the two “Rémi et Roussette” pieces, “Rémi Chante Dans Les Champs,” and the bitterly emotional “L’Église Abandonnée”. I also noted a piano theme in “Lise et Rémi” which sounds very much like one of the minor themes from Alan Silvestri’s Forrest Gump, and is quite lovely,

Some of the score features turbulent action music led by fast-paced churning cellos, illustrating some of the more intense moments of danger Rémi encounters – parts of “Rémi et Roussette, Pt. 1,” the subsequent “Attaque des Loups,” and the second half of “Rémi Seul Chez Les Driscoll,” are especially impressive in this regard – and there’s drama too, in cues like “Vitalis Emprisonné,” which re-work the pianos and strings to offer darker textures.

Overall, this is a quite outstanding work, which could allow its composer to follow in the footsteps of countrymen like Alexandre Desplat and Philippe Rombi and pick up a much more prominent international profile. The score is available as an import CD on Milan Records, and as a digital download from most reputable online retailers and streaming services.

Track Listing: 1. Rémi Sans Famille (Générique Début) (2:09), 2. Excursion Nocturne (1:14), 3. Une Comptine Ma Comptine (3:15), 4. Rémi et Roussette, Pt. 1 (3:37), 5. Rémi et Roussette, Pt. 2 (2:05), 6. Départ Pour Chavanon (3:13), 7. Vitalis Emmène Rémi (1:30), 8. Arrivée à Ussel (1:31), 9. La Marche Musicale (1:27), 10. L’Apprentissage (2:20), 11. Cauchemar de Vitalis (2:03), 12. Rémi Chante Dans Les Champs (2:19), 13. Rencontre de Lise (1:39), 14. Vitalis Emprisonné (3:28), 15. Lise et Rémi (1:31), 16. Retour de Vitalis (0:46), 17. Rémi Quitte Lise (2:07), 18. Attaque des Loups (2:07), 19. Concerto Opus 64 (2:07), 20. La Dame de l’Aauberge et Joli-Cœur (3:23), 21. La Lettre de Lise (2:22), 22. Arrivée Chez Les Driscoll (1:21), 23. Vitalis Quitte Rémi (1:45), 24. Rémi Seul Chez Les Driscoll (8:24), 25. L’Église Abandonnée (4:00), 26. Rémi Retrouve Sa Mère (5:21), 27. Garde Confiance (2:01), 28. Rémi Sans Famille (Générique de Fin) (2:19), 29. Lise et Rémi (Thème au Piano) (1:41). Milan Records, 73 minutes 03 seconds.

 

LA SOMBRA DE LA LEY – Manuel Riveiro

La Sombra de la Ley – also known as Gun City – is a Spanish period action thriller set in the 1920s. Luis Tosar plays Anibal Uriarte, a dogged detective who is sent from Madrid to Barcelona to infiltrate the world of Spanish gangsters, specifically those who have been accused of stealing a shipment of military weapons. The film is directed by Dani de la Torre, co-stars Michelle Jenner, Vicente Romero, and Manolo Solo, and has a fabulous original score by the up-and-coming composer Manuel Riveiro, who prior to this was best known for his scores for the films Green Inferno and El Desconocido. It has been very well received in its native country, having recently received a Goya nomination for Best Score, and it’s not difficult to see why.

There’s a real sophistication to Riveiro’s music that is apparent right from the first cue, “Barcelona 1921,” which is full of string-led drama and portentousness. This first cue also introduces the main theme, a five-note flourish that moves between strings and brass, which can be heard regularly throughout the score in cues like the tragedy-laden “Vamos a Tomar el Aire” and the more intense “Las Armas”. Riveiro’s writing for solo cello is especially strong, as heard in cues like “Prefiero Prosperar Por Mi Cuenta,” “Buscando a Elisa,” and others. There is also a beautiful but under-utilized love theme for strings and piano, best heard in “La Playa”.

It’s also worth noting the action and suspense music in tracks like “Asalto a la Ferretería,” the doom-laden “La Pelea,” and the superb pair “Atraco al Banco” and “Persecución,” and the conclusive cue “Intervención,” which does a great job at interpolating the main five-note theme into its action stylings. Many of these cues are powerfully percussive and have a distinct contemporary edge through the inclusion of some subtle electronic elements alongside the orchestra; there was a danger that this music could have been anachronistic when heard in context, but it is to Riveiro’s credit that everything flows beautifully.

Three additional cues on the soundtrack were written by fellow Spanish composer Xavier Font: “Eden Concert,” “La Pulga,” and “Big Band Charleston”. These three are essentially original source music pieces, fun diversions into the world of big band jazz and swing with period-appropriate orchestrations and a fun, frivolous tone. As good as they are, though, the pieces do break up the flow of Riveiro’s serious work, and are best experiences separately.

However, the masterpiece cue is undoubtedly “Hasta El Último Suspiro,” which takes a part of the main theme, adds a gorgeous wordless vocal performed by Spanish soprano Ainhoa Arteta, increases the emotional content a thousandfold, and builds over the course of almost four minutes into something quite astonishingly beautiful; stylistically, it reminds me the aria of John Williams’s A. I., and that is entirely meant to be a compliment.

Unfortunately – and somewhat shockingly – the score for La Sombra de la Ley is not available for commercial purchase at this time, although some excerpts from it are available on Youtube courtesy of Mundo BSO (https://www.youtube.com/watch?v=FW0-C-fd5PI). It’s also worth mentioning that full operatic version of “Hasta El Último Suspiro”, with lyrics and a broad classical sweep performed by Arteta, can be heard at https://www.youtube.com/watch?v=8HV8Ad355qY – this really gives you an idea of what sort of emotional punch the cue contains.

These one or two extracts notwithstanding, the fact that the full score for La Sombra de la Ley is not available is an oversight that needs to be corrected immediately; this is one of the best scores to emerge from the Iberian Peninsula in 2018, is one of the best scores of its genre, and establishes Manuel Riveiro as yet another outstanding composer from that part of the world who should be on everyone’s list of artists to follow.

Track Listing: 1. Barcelona 1921 (2:12), 2. Vamos a Tomar el Aire (2:06), 3. Prefiero Prosperar Por Mi Cuenta (2:05), 4. Eden Concert (written by Xavier Font) (2:37), 5. La Pulga (written by Xavier Font) (2:11), 6. Asalto a la Ferretería (1:47), 7. Buscando a Elisa (2:22), 8. Fatal Desenlace (2:25), 9. Atentado en el Bar (1:16), 10. El Barón Asciende (1:03), 11. La Pelea (1:51), 12. Sigilosa (3:03), 13. Atraco al Banco (2:33), 14. El Escondite (2:48), 15. Persecución (3:04), 16. La Playa (1:51), 17. Reencuentro (1:59), 18. Curando la Herida (2:22), 19. Casa del Comisario (1:53), 20. Las Armas (1:40), 21. Hasta El Último Suspiro (3:53), 22. El Funeral (3:10), 23. Big Band Charleston (written by Xavier Font) (2:08), 24. Intervención (5:34). Promo, 59 minutes 04 seconds.

  1. Tianze
    January 23, 2019 at 12:18 am

    The last one in the review is now listed as “coming soon” on Quartet Records website, so I guess it’s some good news

  1. February 1, 2019 at 9:07 am

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