TESTIMONIALS

“You are an excellent composer, I enjoyed your music very much. You also seem to have worked on some very good projects.”

Patrick Cassidy (Film Music Composer)

“I really enjoy your writing for piano and strings, which I think is melodic and wonderful. In places it reminds me of Morricone, which can only be a good thing!”

Michael Price (Film Music Composer)

“I listened to the soundtrack for “Hyde’s Secret Nightmare” and I liked it very much. The use of orchestral samples is very good, you do well when it comes to writing for the Horror/Thriller genre. Keep up the good work, you’re very talented.

Pino Donaggio (Film Music Composer)

“Awesome stuff! Where did you learn to compose?”

Brian Tyler (Film Music Composer)

“The score is just beautiful and it perfectly fits the images. Great job! I know Signe and I know the originality, the double meanings and the brilliance of her works, which not anyone can immediately grasp. Creating music for her movies is not an easy task.”

Bruno Bozzetto ( Director and Animator Legend about the movie “Rocks in My Pockets”)

“Kristian Sensini exceptional understanding of visual storytelling  informs the music he writes – a rare combination of talents with added   extraordinary work ethic and passion for film and music. He not only saved the day for “Rocks In My Pockets”,

but he also pushed it higher up to a new level of filmmaking. Without Kristian’s score the film wouldn’t be complete nor it would be as good is it is now.”

Signe Baumane (Director)

“Very interesting and accurate sound choices, and very expressive tracks. Bravo, keep up the good work”

Carlo Siliotto (Film Music Composer)

Mystery films have an interesting musical language, often taking inspiration from various other “pure” genres depending on what the story requires. For “The Frog in the Stone,” we needed a composer who could describe what was both beautiful and repulsive about families. Some families know every detail about all the members of their clan, other families go through their entire lives a mystery to each other. The talented Kristian Sensini fit the bill perfectly, because the way Sensini balanced sensitivity and the grotesque felt just familiar enough to be nostalgic, and just disturbing enough to keep the viewer guessing.

Chi J. Lee (Director “The Frog in The Stone”)

“This is a very impressive score (“Hyde’s Secret Nightmare”), if you do like Horror Music then  I higly reccomend you to pick up this album!”

Erik Woods (cinematicsound.net)

“Kristian Sensini cultivates an “alternative” and laboratorial style which leads him to a very particular use of the so-called “digital palette”, in the attempt to go beyond the mere mimesis of a traditional orchestra and instead pursuing a more heterodox creative sound, interchanging precise, realistic acoustic references and abstract, elusive, dreamlike soundscapes.
Sensini has achieved a very luxurious and ambitious score, inspired to the soundtracks of the “giallo all’italiana” films of the 70s (Goblin in the first place).Aware as we are of evoking a cliché, we would obviously be intrigued to hear this gifted composer in something having a greater production commitment, also from the point of view of the film “text”, to better understand his ability to transmit images through sound, remaining true to his omnivorous linguistic curiosity. But the freedom of expression and communication which Sensini, technically prodigious, has here enjoyed wouldn’t be probably guaranteed.
Let’s congratulate a talent of the first order.”

Roberto Pugliese ( “Hyde’s Secret Nightmare” colonnesonore.net)

“Sad-uction” is a particularly striking track: opening quietly with low, pensive piano notes and reverberating scraped piano strings, the main melody is gently played on acoustic guitar while a quiet flute wafts in the background.  The cue grows in emphasis, progressively rising in power, until its formal structure is shed and the cue becomes a frightening array of fragmented shards of its former design, the piano melody transformed into malicious harpsichord notes, the flute piping aimlessly, the 3-note motif erupting in a viciously thrice-segmented declarative grimace, until all dissolves into a rushing spray of eruptive cymbal.   “Death Lover” is a sensuous cue embraced within a rocking electric bass rhythm, progressing into a sturdier mélange of urgently fingered piano arpeggios, very giallo in style.  It’s quite a captivating score with an interesting mixture of styles, each evoking a kind of gloomy longing in which desire seeks constantly to trump caution and danger lurks with each enticing curve of shadow.  The composer’s sure hand keeps the musical momentum from spiraling out of control, and the progressive textures and enigmatic appeal of the sound design is constantly appealing.”

Randall Larson (Buysoundtrax.com)

“I just listened to some of your pieces, and they sound beautiful with really nice stylistic variety as well. Congrats!”

Ryan Shore (Film Music Composer)

“I cannot recommend Kristian Sensini highly enough. He has scored the soundtrack for “Brightside” a documentary produced by Little Narratives. He was able to take the brief and interpret the material then deliver work which was perfect first time around. He is reliable, creative, and incredibly talented. As part of the work he has created a theme for each character and he has been able to capture both the personality and the context for each one. Not only that but each track he has created is beautiful in its own right, which will make for a fantastic soundtrack. I think you would find it hard to beat him, whatever your requirements. He listened well to our aims and ambitions for the score and delivered it with a cherry on the top.”

Clair Hayne (producer/ director)

“This soundtrack of the young Italian composer Kristian Sensini is a great surprise in an environment as codified as the current in film music. Sensini neither eludes to take to the musical field the war between two warring personalities of one only person. He does this first establishing the environment in which it will be developed the battle: the aged and wistful psychedelia of the glorious years of Giallo, among other styles that he applies for the sorrounding. Thus, his music dark, sinister, also perverse serves to expose the evil and the danger in it, while the human side and not demonic is exposed with a music that is fragile and distressed, comparatively weaker. Each of his themes is laboriously worked and altogether makes an exemplary soundtrack.”

BSO Spirit (Spanish Movie Magazine) about Hyde’s Secret Nightmare OST

“Sensini’s effective use of samples gives a fairly accurate representation of an acoustic ensemble. He leans on a short motivic idea that floats through textures in what is often a gothic horror style (“Hyde’s Nightmare”), but also touches on rock, in a mix reminiscent of the work of Goblin. “Bed of Horrors” delivers electronic textures and other unusual sounds, with electric guitar thrown in for good measure. In some respects, this score comes across like a blend of the old AIP horror genre with Italian giallo films. There’s even a little techno in “Elektro Dark,” and female vocalise in “Love You Madly.” The final two tracks are “bonuses” from the film P.O.E. Poetry of Eerie. Fans of similar fare may enjoy Sensini’s work here. “

FILM SCORE MONTHLY – Steven A. Kennedy about Hyde’s Secret Nightmare OST

“He’s a very emotional composer, but also cerebral, with sophisticated and refined musical formulas. We’re going to take a close eye on him, for sure.”

Conrado Xalabarder (professor and film music critic)

“Creatore di suoni sintetici e orchestrali di ottima fattura, con un stile che abbraccia la moderna musica per immagini (minimale, intimista e sentita) con un occhio attento al passato (sinfonismo aperto e grandi atmosfere melodiche), sia dei grandi autori nostrani che di quelli stranieri. Un compositore da tenere particolarmente d’occhio!”

ColonneSonore.net (Italian Soundtracks Magazine)

“L’utilisation de la musique (composèe par Kristian Sensini) est parfaite, accompagnant avec délicatesse et fermetè les séquences les plus importantes du fil
m.”

L’écran Fantastique  (french Movie Magazine)

” I received an e-mail some months ago.  It was from a composer in Italy who had read an article online about my upcoming movie, BUTTERFLY RISING. It was Kristian Sensini. Though I was concerned Kristian was in Italy and I was in the States, I followed my heart and hired Kristian to write the music for my movie.  Beautiful! The music ebbs and flows in just the write places, enhancing my vision for the film. Kristian creatively approached the music from the same place I wrote it. It was a perfect match. Kristian and I have only corresponded via the web (the music was transferred online) I look forward to meeting my new friend one day face to face. He is an excellent composer and has been an ardent supporter of BUTTERFLY RISING– I will always be grateful for him.”

Tanya Wright (director)

“With specific reference to the music of Hans Zimmer, the composer takes advantage of the limited budgetary resources to recreate an environmental epic and fastuous music. He uses samplers, percussions and ethnic flutes that bring an exotic tone, also mysterious, and makes a brief but very reliable work.”

BSO SPIRIT (website)

“Fin dal primo ascolto, quello che io definisco “di assestamento”, sono stato catapultato in una dimensione sonora ed emotiva unica e straordinaria. Viscerale. Intima (…) (…Le Musiche) hanno una forza ed un potere evocativo grandissimo, unitamente ad una grande immediatezza che non può che assicurarti un’empatia assoluta e totale. Profondissima.
Le armonie ti coccolano, le partiture ammiccano, le note e gli snodi ti girano attorno, ti osservano, ti studiano, ti cullano fino a tenderti la mano per accompagnarti in un viaggio magico di una quarantina di minuti… intensissimi. Sono particolarmente, ineluttabilmente attratto da composizioni e sonorità che recano in sè la forza della suggestione visiva; da brani con personalità fiera e sicura, dall’anima eterea ma a tal punto forgiata da riuscire a rappresentarsi e restituirsi in immagini, colori, arabeschi che via via ridisegnano se stessi e si trasformano in altro ed in altro ancora.”

Andrea Lodovichetti (director)

“Nel film “The Museum of Wonders” alla poesia delle immagini si accompagna la musica di Kristian Sensini, in un matrimonio perfetto di capacità di discernimento ed emozione senza regole”.

D. Cristopharo (director)

“Kristian is a focused professional that never loses the opportunity to push the limit one step beyond. We collaborated on a lot of projects and it’s a pleasure to work with him. Recently we estabilished a partnership for the creation of a learning center for computer music and production. Working with him means always success! Good luck for the future, my friend!”

Cristiano Orlandi (CEOWinitalia)

“Kristian is an excellent flautist and arranger. He can absolutely add something more to your productions or start from nothing and create an excellent sound in his persnal recording studio. He’s passionate and professional in his work, reliable and committed. I highly recommend Kristian for your music projects.”  November 20, 2008

Carlo Gargioni (CEO at CGM produzioni)

“I listened to the film music samples. By far the best for me was the Rivendell one it has personality, and a good melody.”

Rolfe Kent (film music composer)

“Your music works very well. You use of orchestral sounds is good. I especially like the Lord of the Rings track.”

Guy Gross (film music composer)

“…The twelve tracks show his excellent command of the instrument, both for the effects and for the arrangement choice…Kristian has got a good ability to create emotional environments, so he could be suited to compose soundtracks or at least music for images.”

“Metal Shock” (italian magazine)

“…Sensini is most successful when he makes a virtue of simplicity, concentrating on the gradual, unadorned development of melodies. The result is a meditative journey that gently invites the listener to participate in the imaginative process. Sensini’s minimalism is also effective when he introduces ambient background noise… The same can be said of “Mordor” an entirely percussive piece featuring an eerie electronic reverberation that sounds like it came from a John Carpenter soundtrack. …Sensini’s originality turned out to be quite refreshing.”

“Beyond Bree” (Tolkien fanzine)