Home > Reviews > Under-the-Radar Round Up 2021, Part 3A

Under-the-Radar Round Up 2021, Part 3A

2021 is already more than half way done and, as the world of mainstream blockbuster cinema and film music continues to recover from the COVID-19 Coronavirus, we must again look to smaller international features not as reliant on massive theatrical releases to discover the best new soundtracks. As such I am very pleased to present the third installment (for this calendar year) in my ongoing series of articles looking at the best “under the radar” scores from around the world.

The six titles included here are a mixed bag of styles, genres, and national origins, and include a powerful drama from Palestine, a German fantasy adventure, an Egyptian action TV series, a children’s adventure film from Finland, a light French comedy-drama, and a beautiful nature documentary score from China.


200 METERS – Faraj Suleiman

200 Meters is a Palestinian drama film written and directed by Ameen Nayfeh, starring Ali Suliman, Anna Unterberger, and Doraid Liddawi. It tells the simple but emotionally devastating story of Mustafa, a Palestinian father who is trapped on the other side of a separation wall and is trying to reach the hospital – just 200 meters away – in order to save the life of his son. The score for the film is by the Palestinian-born composer and pianist Faraj Suleiman; it marks his debut scoring a full length narrative feature film, although he has previous experience scoring short films, writing songs for musical projects, writing music for the 2019 London Jazz Festival, and most recently releasing “Fahim,” an album of Arabic language songs for children.

When talking about the score for 200 Meters, Suleiman says: “In the beginning I thought it would be easy to deal with this story and to write music for the film, but then I realized that it was not like any another film about Palestine or about the occupation. The director did it in a very sensitive way far away from cliches, so I got the feeling that the music had to be quite minimal. The idea started with solo piano music for one scene, and then we developed the piano to be the main character for whole score. In this film I see the main character in the story represented by the piano, while the second main character, which for me is ‘the road,’ is represented by the oud. While the score is largely composed of shorter cues, the last scene allows for a tour-de-force piece that runs for 9 and a half minutes for the climatic finale.”

The score is indeed small-scale and intimate, and is built out of a fascinating and classically rich piano motif introduced in the opening cue, “Lights”. Somewhat unexpectedly, Suleiman then augments his piano with a moody countermelody for electric guitar, backed by a sampled string wash, resulting in an effect which is quite excellent. The way Suleiman passes his main melodic idea back and forth between the piano and the electric guitar is intriguing, and very clever. As the score develops a series of distinct emotional moods emerge; darkness and trepidation from cellos in “Checkpoint,” warmth coupled with an odd sense of loss and separation in “The Wall,” intensity from the increased percussive content and the first inclusion of the oud in “The Journey,” desolation and heightened emotion in “Goodbye Rami,” and a sense of something approaching brokenness in “Introspection”.

The finale cue, 200 Meters, is a 9½-minute extended exploration of the main theme with notable sequences where it is arranged for piano, electric guitar, sampled strings, sampled brass, and a more rhythmic interlude with a pulsating percussive element and a virtuoso oud performance. For me, at times it approaches something close to elegant rapture, and although it is perhaps a little repetitive, the whole thing appealed to my musical sensibility straight away. It’s really lovely.

The score for 200 Meters is less than 20 minutes long, but it’s worth taking the short journey to hear this debut score from a clearly very talented young composer, and I hope we hear much more from Faraj Suleiman soon. The score is available as a digital download from Moviescore Media, and to stream via most of the mainstream sites.

Track Listing: 1. Lights (1:33), 2. Checkpoint (0:53), 3. The Wall (1:15), 4. The Journey (0:54), 5. Goodbye Rami (2:23), 6. Introspection (1:07), 7. Finale: 200 Meters (9:29). Moviescore Media MMS-21061, 17 minutes 40 seconds.


CATWEAZLE – Philipp Noll

One of the strangest kids TV shows I watched growing up was Catweazle, created by Richard Carpenter, who was also responsible for other 1970s British TV series such as The Ghosts of Motley Hall, Dick Turpin, The Adventures of Black Beauty, and Robin of Sherwood. Catweazle was a fantasy series for children, which starred Geoffrey Bayldon, and told the story of a medieval wizard named Catweazle. One day, while Catweazle is being pursued by Norman soldiers through a wood, he says a spell as he jumps into a pond; when he emerges shortly afterwards he thinks he has made the wood and soldiers disappear, but in fact has jumped 900 years into the future. He befriends a boy who lives on a farm nearby, and together they figure out how to return him home. This new film directed by Sven Unterwaldt Jr. is a German version of same story, and stars the popular German comedian and musician Otto Waalkes as in the title role.

The score for Catweazle is by the exceptionally talented young German composer Philipp Noll, who previously impressed with his score for the fantasy drama Traumfabrik in 2019. Noll’s music is often unexpectedly grand in scope and approach, and often leans in to the pageantry and heraldic sound of classic fantasy music; there are glorious brass fanfares and chanted choral outbursts in the opening “Bringt Den Magier,” exciting fully orchestral action rhythms in “Fluch Vor Den Wachen,” and “Ankunft 2020” even approaches horror music territory when Catweazle emerges 900 years into the future and finds himself terrified of all the modern new technology he encounters.

However, once he has realized he has jumped forward in time, and made friends with young Benny, a theme for Catweazle himself emerges (“Catweazles Thema”), a warm and hopeful melody filled with wonderment, but also often tinged with the bittersweet melancholy of a man separated from his own time. This theme weaves through several cues – the mysterious “Ich Bin Catweazle,” the effervescent “Elektrik-Tricks, Wohin Man Schaut,” in an action arrangement in “Auf Zum Museum,” and with an unexpected touch of soft shuffle jazz at the beginning of “Wo Ist Kühlwalda,” among others – which allows the score to develop a clear identity of its own. I especially appreciate how Noll uses medieval-sounding chord progressions throughout his theme, ensuring that the listener is always aware of his origins.

The rest of Noll’s score runs the gamut, embracing more fantasy ideas (“Anwanadur,” “Was In Jener Nacht Geschah,” the soaring “Anawandur Ist Zurück,” the bombastic “Showdown”), moments of comedy (“Bei Familie Trautmann”), deeper emotions (“Gute Nacht, Mondgesicht,” the beautiful “Von Allen Freunden Verlassen,” “Benny Allein Im Baumhaus,” “Benny Und Catweazle Versöhnen Sich”), action capers (“Dr. Katharina Metzler,” “Die Chronik Von Derwitte,” the powerful “Der Plan,” the equally powerful “Die Pressekonferenz”), and more, all creating a fun and inventive tapestry that makes the somewhat preposterous central story seem more real. Some of the instrumental combinations Noll uses lean heavily on John Williams and Harry Potter, especially the repeated use of celesta, but overall his orchestrations are varied and imaginative, and make use of the instruments in effective ways.

In addition to the score there are four original songs, all performed in German by Otto Waalkes in character as Catweazle. The “Schulmmersong” is a gentle medieval madrigal, “Drunt Im Tal” is a brief burst of a popular song from Waalkes’s musical comedy albums used as an in-joke, “Kühlwaldas Abschied” is a quiet lament, and the two “Elektriktrick” songs are based on the idea that Catweazle is utterly fascinated with the concept of light bulbs! The bonus track at the end of the album, “Busy Boy,” is a new recording of the theme for the original British TV show, which was written by composer Ted Dicks, and is performed here by guitarist Richard Smith – a nice touch.

Catweazle is a terrific fully-orchestral score filled with energy, heart, a playful spirit, and a main theme that is superbly engaging and able to be adapted to suit a multitude of emotional needs. Having now impressed me with both his breakthrough score Traumfabrik, and now this effort, Philip Noll is quickly developing into one of my favorite young composers in the German market, and I can’t wait to see what he does next. The score is available to stream through Spotify, and to download from several online retailers.

Track Listing: 1. Bringt Den Magier! (1:41), 2. Catweazle Zaubert (1:38), 3. Flucht Vor Den Wachen (1:30), 4. Ankunft 2020 (2:59), 5. Catweazle Sucht Anawandur (3:04), 6. Ich Bin Catweazle (1:32), 7. Schlummersong (performed by Otto Waalkes) (0:34), 8. Drunt Im Tal (Catweazle-Mix) (performed by Otto Waalkes) (0:25), 9. Bei Familie Trautmann (2:17), 10. Elektrik-Tricks, Wohin Man Schaut (1:02), 11. Dr. Katharina Metzler (1:00), 12. Anawandur (0:28), 13. Eine Frau Mit Knöpfen (0:34), 14. Gute Nacht, Mondgesicht (1:18), 15. Catweazles Thema (1:03), 16. Die Chronik Von Derwitte (1:47), 17. Was In Jener Nacht Geschah (1:19), 18. Auf Zum Museum (0:53), 19. Anawandur Ist Zurück (1:13), 20. Metzler Hat Noch Einen Trumpf Im Ärmel (1:31), 21. Eine Unglaubliche Geschichte (0:29), 22. Von Allen Freunden Verlassen (0:46), 23. Benny Allein Im Baumhaus (1:39), 24. Vermisst Du Sie Denn Gar Nicht? (1:56), 25. Wo Ist Kühlwalda? (0:46), 26. Kühlwaldas Abschied (performed by Otto Waalkes) (0:58), 27. Benny Und Catweazle Versöhnen Sich (0:58), 28. Der Plan (1:32), 29. Die Pressekonferenz (2:45), 30. Leb Wohl, Mondgesicht! (1:16), 31. Showdown (1:31), 32. Catweazle Ist Ins Mittelalter Zurückgekehrt (0:42), 33. Otto’s Elektriktrick (performed by Otto Waalkes) (1:18), 34. Elektriktrick (performed by Otto Waalkes) (2:42), 35. Busy Boy (written by Ted Dicks, performed by Richard Smith) (0:50). WATT Musikverlag, 47 minutes 48 seconds.


THE CHOICE 2: MEN OF SHADOW – Khaled Al Kammar

In 2020 one of the most acclaimed Ramadan TV series was Al Ekhteyar, known in English as The Choice. Produced primarily in Egypt, the series old the true story of Ahmed Saber Al Mansi, an elite commander in Egypt’s Special Forces, who sacrificed his life to save dozens of others during a terrorist attack in the Egyptian city of Rafah, Sinai, in 2017. This second season of the series, Al Ekhteyar 2: Regal El Dhel, or The Choice 2: Men of Shadow, expands the concept of the original series beyond the story of one man, and instead looks at the lives and deaths of numerous individuals who worked for the Egyptian Ministry of Interior between 2013 to 2020, as well as the heroics by other members of the Egyptian armed forces and police who sacrificed their lives for the sake of their country. The first season of The Choice was scored by Tamer Karawan; for the second season he has passed the musical baton to his fellow Egyptian composer, the superbly talented Khaled Al Kammar.

Much like Karawan’s original, Al Kammar’s sequel score is an emotional militaristic score which blends moments of heart and pathos with some stirring patriotism and no small amount of intense action. The score was recorded remotely with the English Chamber Orchestra with special instrumental solos for violin, oud, ney flute, and especially cello; popular cello soloist Tina Guo is spotlighted on two specific cues which prominently feature her virtuoso performances. There are several recurring themes that weave through score, the best of which stems from the “Main Title,” which builds out from a lonely trumpet solo and eventually emerges into a strident, moving theme for the full orchestra, via the first of Guo’s luscious, lamenting cello performances. This emotional content continues through cues such as “A Quartet for Heroes,” “Dignity,” the “Elegy for Cello and Orchestra,” and especially the two versions of “Dying a Hero,” one of which is focused on Guo’s cello, while the other is arranged for the entire orchestra.

The “Deep Tension Theme” is just that, a gritty combination of textures for guitars, driving percussion, and agitated strings that illustrate the sense of danger that the men and women in military service face on a daily basis; these ideas continue on into the similarly-pitched “Oud Background,” which transfers the sense of agitation and suspense to the oud, the ubiquitous Arabic short-necked lute. Al Kammar’s action music has a similarly gritty vibe, as evidenced by cues like “Desert Action,” “Al Ahrash,” and “Anticipation in Raba’a,” which blend insistent string figures with more performances from guitars and ouds, underpinned with a bed of relentless electronic percussive pulses. Some of the action writing reminds me a great deal of the music Hans Zimmer wrote for Black Hawk Down, but with a clearer sense of purpose that bypasses the chaotic and disorienting nature of Zimmer’s music.

Unfortunately the score for The Choice 2 has not been released commercially on CD, but some of it can be streamed exclusively from the composer’s Soundcloud page at https://soundcloud.com/khaledkammar. I cannot recommend it highly enough. The rich and sonorous sound of the cello provides a significant of powerful emotional content, while the stylish action music will definitely appeal to fans of Hans Zimmer’s more engaging ethnic sounds.

Track Listing: 1. Main Titles (2:50), 2. Deep Tension Theme (2:22), 3. Oud Background (2:49), 4. Desert Action (2:12), 5. A Quartet for Heroes (1:04), 6. Al Ahrash (2:38), 7. Dying a Hero – Solo Cello (3:44), 8. Anticipation in Raba’a (2:37), 9. Underscore (2:09), 10. Emotional and Rising (3:17), 11. Interrogation (0:55), 12. Dignity (4:02), 13. Dying a Hero – Orchestral (2:54), 14. Spies (2:06), 15. Elegy for Cello and Orchestra (2:10), 16. End Titles (3:38). Promo, 41 minutes 35 seconds.



Finders of the Lost Yacht is a family adventure film for children based on the popular Pertsa and Kilu novels by the beloved Finnish author Väinö Riikkilä. Written and directed by Taavi Vartia, the film stars Olavi Kiiski and Oskari Mustikkaniemi as the title pair, young boys who live next door to each other in a small fishing village in Finland whose rampant imaginations seem to always get them into mischief. In this adventure, Pertsa and Kilu find themselves on the trail of a bank robber, and searching for missing gold that has apparently been hidden inside a long-missing sunken yacht.

The score for Finders of the Lost Yacht is by the great Finnish composer Panu Aaltio, the two-time IFMCA Award winner who, through scores as varied as The Home of Dark Butterflies, Tale of a Forest, Tale of a Lake, Rölli and the Secret of All Time, and 95, has now firmly established himself as one of the most exciting young composers in Scandinavian cinema. Finders of the Lost Yacht is a big, bold, tuneful adventure score, a throwback orchestral work that has its roots in the great kid’s capers of the 1980s. Regarding the score, Aalto says “it’s hard to explain just how big Pertsa and Kilu are in Finland and how much of a privilege it was to join this long tradition that has been going on since the 1950s. Since the story here is foremost about friendship, that theme is central in the score as well. The main theme is very much about the adventure, but borrows a little from rock ‘n roll and jazz to portray the inventive non-conformist attitude of the two friends”.

Aaltio recorded the score with the Kymi Sinfonietta, an orchestra from the Finnish city of Kotka, and they acquit themselves well, infusing the score with an appropriate grandeur and scope. The score is mostly built around one recurring theme, the friendship theme for Pertsa and Kilu, which is present in many cues. There is a broad, open, inviting tone to much of the score; cues like the opening track, “Open Sea,” use undulating string figures redolent of the eddying oceans, offset with fluttering woodwind textures and bright, trilling brass, before the first statement of the main theme emerges after around 80 seconds.

I love how memorable and unrepentantly old-fashioned the main theme is. It’s statements in the “Main Title” and in subsequent cues like “Adventure,” “Operation Griffin,” the wondrous “Homemade Flight,” the nautical “Calming Seas,” “Solving the Case,” and the outstanding climax cue “I Will Always Follow You,” are dashing and heroic in all the best ways. It’s especially worth noting the depth of Aaltio’s orchestrations in these cues, as he allows the theme to be carried by clarinets, strings, brass, and more, sometimes within the same cue.

But this is not to say that the score is a monothematic, because it isn’t. Other standout pieces include the dark cello-based theme for the villains that plays in counterpoint to the main theme at the end of the “Main Title,” and which has a wonderful John Williams vibe to its tone. “A Way to Stay” has a more reflective, introspective tone led by solo piano that is lovely, and is reprised later in the bittersweet “Argument”. There is also some terrifically frantic action music and sequences moody suspense, written for an array of intricate string runs and bold, heroic brass, with standouts including the aforementioned “Operation Griffin” and “Stolen Truck,” and even some brief allusions to classic western tropes in “Storm Brewing”. “Building the Submarine” has a funky, jazzy Mission: Impossible vibe and a variant on the main theme, while the finale cue “Detective Paavola” is a brief and unexpected burst of throaty trombone jazz!

Finders of the Lost Yacht is a superbly entertaining children’s adventure score, a fully orchestral nostalgia bomb redolent of some of the best children’s adventure efforts from the 1980s; it also re-establishes Panu Aaltio as one of the most entertaining young film composers anywhere in the world today. It baffles me why Hollywood isn’t beating down his door. The score is available as a digital download from Moviescore Media, and to stream via most of the mainstream sites.

Track Listing: 1. Open Sea (3:45), 2. Main Title (3:11), 3. A Way to Stay (1:04), 4. Adventure (2:00), 5. Operation Griffin (2:31), 6. Storm Brewing (2:11), 7. Homemade Flight (3:34), 8. Calming Seas (1:52), 9. Stolen Truck (1:34), 10. Building the Submarine (2:04), 11. A New Member (1:55), 12. Argument (2:10), 13. The Thief (2:13), 14. Solving the Case (1:44, 15. I Will Always Follow You (2:23), 16. Detective Paavola (0:20). Moviescore Media MMS-21062, 34 minutes 37 seconds.



The Rose Maker is a French comedy film directed by Pierre Pinaud and starring Catherine Frot as Eve Vernet, a formerly successful rose grower on the verge of bankruptcy, whose farm is about to be bought out by a powerful competitor. In a final act of desperation intended to save the business Eve’s faithful secretary Véra hires three workers with no horticultural skills, and Eve must train them to help save her business. It’s a small scale film with a sense of bucolic charm and a touch of the whimsy that often runs through French films such as these. The central relationship is between Eve and Fred (Melan Omerta), the ‘leader’ of the ne’er-do-wells who arrive on Eve’s farm and shake her from her old ways in more ways than one.

The score for The Rose Maker is by the super talented young French composer Mathieu Lamboley, whose previous scores include Le Retour du Héros (2018), Minuscule – Mandibles from Far Away (2019), and the acclaimed and popular TV series Lupin from earlier this year. Lamboley is quickly establishing himself as one of the rising stars of French film music, and this ascension continues with The Rose Maker – although, for anyone coming into this score blind, you might initially think it was a new score from Alexandre Desplat.

There’s a lightness and delicacy to Lamboley’s music here that echoes some of Desplat’s best work, pretty woodwinds and sparkling strings backed by metallic percussion textures, illustrating Eve’s love of sun and nature and the beauty of her roses. Cues such as the opening “Hybridation,” and subsequent cues such as “Les Saisons,” “Eve,” the lovely but brief “Présentation des Roses,” “Repiquage,” and “Le Bouton de Rose” adopt this stye wholeheartedly; it sort of feels like a French version of the music Vaughan Williams wrote for The Lark Ascending – gorgeous, elegant, pastoral textures that speak of summertime. The rhapsodic piano textures in “Les Saisons” and the subsequent “Au Travail” are especially notable, with the latter having even more of a Desplat feeling due the inclusion of dancing woodwinds underneath the piano.

Elsewhere, cues like “The Lion,” “Le Casse,” and “Les Hypothèques” are a little more upbeat and contemporary, using pizzicato strings, cello ostinato, and metallic percussion infused with fluidity and caper-like charm full of mischievous movement, and even a touch of light-hearted drama. It all ends with a gorgeous six-minute finale in “Pensée Bleue,” the emotional climax of the story which builds from tremolo strings and hesitant piano chords into a truly magical conclusion filled with warm, shimmering strings and harp glissandi bathed in sunlight.

In addition to Lamboley’s score the album also features songs by Melan, Antoine Elie, Dean Martin and Tino Rossi. The soundtrack is available as a digital download from Amazon, and to stream via most good online services. It’s a pretty, elegant, summery score full of delightful instrumental textures and a good amount of heart, which admirers of Alexandre Desplat’s rural French compositional style are sure to enjoy.

Track Listing: 1. Hybridation (2:32), 2. Les Saisons (1:21), 3. The Lion (2:32), 4. Eve (1:03), 5. Le Casse (3:56), 6. Inserados (performed by Melan) (2:31), 7. Présentation des Roses (0:41), 8. Au Travail (1:05), 9. Red Roses for a Blue Lady (performed by Dean Martin) (2:46), 10. Découverte de la Rose (3:36), 11. Repiquage (0:55), 12. Les Hypothèques (1:18), 13. Les Roses Blanches (performed by Tino Rossi) (3:49), 14. Le Bouton de Rose (2:03), 15. Calendrier (1:19), 16. Pensée Bleue (5:44), 17. La Rose et l’Armure (performed by Antoine Elie) (3:28). Grande Ourse, 40 minutes 27 seconds.



Qinghai: Our National Park is a three-part television nature documentary from China, directed by Xiao Li, which explores the grandeur and natural wonder of the titular national park, the home to the headwaters of China’s three great rivers: the Yellow, the Yangtze, and the Mekong. These types of nature documentaries have often inspired outstanding scores, from George Fenton’s writing for the BBC in the 1980s and 90s to more recent works by composers such as Steven Price, Panu Aaltio, Sarah Class, Matthijs Kieboom, and others. The latest composer to join these ranks is Chad Cannon, the outstanding young American composer who specializes in blending Western orchestras with the tonal and instrumental sensibilities of the Far East.

Talking about the score Cannon says: “Director Li nudged me towards a big, open, and warm feeling, perhaps similar to the American West, where I grew up. Stylistically he was drawn to the paintings of Thomas Cole and the nature writings of Ralph Waldo Emerson. To meet these stylistic requests, we ended up with two ensembles: the large strings and brass in Prague, the sound of which typifies the grandeur of the landscape, and a small chamber group in Los Angeles, which gives color and a sense of closeness to the characters in the film, be they insects, humans, animals, birds, or flowers”.

The resulting score is a gorgeous tapestry of music and melody, full of beautiful orchestral colors and majestic themes. There isn’t much recurring content – every cue is basically its own standalone piece – but Cannon explores so much with his music that this never feels like a problem. Its runs the gamut of emotions from grandiose and solemn to playful, almost comedic, with several cues standing out as prominent highlights.

The opening cue, “Endless Green,” swells with grandeur and majesty, and even incorporates a lilting solo vocal towards the end of the piece. “Zha the Rafter” is quick and full of movement, with darting phrases that dance nimbly between strings and woodwinds beneath a more prominent brass theme. “Yak Pies” is intentionally comedic, with lumbering brass lines mimicking the gait of those most ungainly of creatures. “Zhu the Entomologist” has a slow, languid vibe full of elegant extended string chords, as well as some small and delicate writing for woodwinds. “Mountain Cats” returns to the soft vocal stylings of the opening cue, before switching to more mischievous dance-like textures in its second half.

“Snow Leopard” is just beautiful, a haunting theme filled with grace and splendor arranged for the full orchestra, before again turning more playful its second half, a plethora of pizzicato. Some of the middle-album cues – “Nighttime Visitors,” “Ancient Glaciers,” and “Tibetan Antelopes” among them – are a little more subdued, but no less effective, and are filled with gentle, crystalline writing that occasionally reminds me of Alexandre Desplat’s more discreet scores. The calming “The Song of Life” moves deftly between shimmering strings and lightly comedic woodwinds. “Last Ride” has a downbeat, reflective tone through its use of acoustic guitars, like the bittersweet finale of a classic western, but ends with a flourish. The final two cues, “Restoration” and “The Gift of Nature” are just superb, revisiting many of the score’s best textures, and referencing some more obviously Chinese instrumental ideas, before concluding with a sumptuous reprise of the stately theme heard in the opening cue, complete with choir.

The score is available as a digital download from Moviescore Media, and to stream via most of the mainstream sites. Fans of any of Cannon’s previous scores – The Cairo Declaration, Paper Lanterns, American Factory, CyberWork and the American Dream, or Harbor from the Holocaust – will absolutely find Qinghai to their liking too. Chad Cannon is a truly outstanding young composer; although his own solo work has mostly been confined to small indie features and documentaries, if he can leverage his work in the mainstream (orchestrating for Desplat, consulting for Harry Gregson-Williams on Mulan) into something more tangible, he could be on the cusp of a breakthrough, and I sincerely hope it happens.

Track Listing: 1. Endless Green (2:44), 2. Zha the Rafter (3:10), 3. Yak Pies (2:33), 4. Gong the Volunteer (1:27), 5. Zhu the Entomologist (2:38), 6. Mountain Cats (5:18), 7. Snow Leopard (7:15), 8. Yuzhu Mountain (3:20), 9. Nighttime Visitors (2:40), 10. Waking from a Dream (3:11), 11. Ancient Glaciers (2:27), 12. Being Conquered is my Goal (4:17), 13. Tibetan Antelopes (4:00), 14. Underwater Flowers (1:54), 15. The Song of Life (3:31), 16. Last Ride (3:29), 17. Restoration (2:22), 18. The Gift of Nature (3:25). Moviescore Media MMS-21033, 59 minutes 36 seconds.

  1. Hippolyte Voituriez
    September 3, 2021 at 6:49 am

    Did you listen «Kaamelott premier volet» by Alexandre Astier ? It’s a french epic soundtrack with many themes…

  1. January 21, 2022 at 9:00 am

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