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

“You found a very personal style with a little Italian touch as our Masters as Morricone and Rota .For me « I see you » and « Bad Feeling » are two Master pieces on your project as much by the tensions as by the melodies and also the interpretation of strings.I encourage you and hope that your music will be played in concert everywhere…” Ludovic Bource (Academy Award Winner) about A Blurred Glass

“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 (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 (Composer)

“These are great. Very high quality writing and playing. Great work.” Robert Kraft (executive in charge of Music, about the string quartets in the album “KuartetS”)

“Awesome stuff! Where did you learn to compose?” Brian Tyler (Film Music Composer)

“Very interesting and accurate sound choices, and very expressive tracks. Bravo, keep up the good work.” Carlo Siliotto (Film Music Composer)

“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)

“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 (composer)

“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)


“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”

“A Blurred Glass is an enthralling collection of music that blends Sensini’s lyric style with his own dramatic flair. Here the tracks work like movements in a suite with repeated motives and lyrical thematic ideas being transformed as things progress. The electronic ideas are an added color that often hovers at the edges creating atmospheric backdrops, or a rhythmic accompaniment. The album recalls some of the New Age concept albums of the Kronos Quartet, or the more intimate scores of Clint Mansell.” Steven Kennedy

“Yet, the music here makes all the difference -and elevates it from another authorial perspective to a jointly enjoyed experience (and plight). Kristian Sensini and his jazz-soul mid-tempo vocal arrangements (with a playful piano and wind and brass instruments -violin reserved for ‘sober’ sequences) make ‘My Love Affair with Marriage’ a staccato experience, and one that you cannot easily pass by; and, of course, make the bitter pill of Zelma’s troubles perfectly palatable.” Vassilis Kroustallis Zippy Frames

Sensini thematically plumbs her pained struggle towards a relationship in an impressively subdued variety of styles. There’s an inventive, often meditative beauty throughout “La Sorpresa” that makes it a transfixing listen and Sensini an individualist talent to watch for, his classical training and studies are evident in one of the rare, interestingly melodic scores that can tenderly capture inner emotion. Daniel Schweiger Film Music Magazine

“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 (

“”La Sorpresa’ is a score that gets under our skin after several listens and brings what is most hidden in our souls back to life.” Massimo Privitera

“Rocks in my Pockets: a very precise solo division of roles and an instrumental “colour” that at times resembles Stravinsky’s “Pulcinella” or even “Histoire du soldat”. A precious score, then, this one by Sensini, which combines an uncommon pleasure in listening with a linearity consistent with the apparently contradictory structure of the film (a cartoon about depression!), resulting in a piece that is as extraordinarily mature as it is substantially innovative.” Roberto Pugliese

“”La stanza di Vanni”, after several listens, appears as an unpublished Leonard Bernstein’s symphonic work, here reinterpreted by a string quartet, with a dazzling compositional beauty and an inner emotion struck and broken up in all its false certainties: a piece of enormous writing and performing skill.” Massimo Privitera

“This is ‘classical’ music in the purest and most rigorous sense of the term, there is no doubt about that. Given the fact that I am a great lover of quartet literature, some reminiscences of a tradition that goes from the last Beethoven quartets to those of Philip Glass, passing above all through Shostakovich and Bartok, seem evident and finely reworked: everything, however, seems to me rethought as lyricism that is as intense as it is sober, strengthened by a refined contrapuntal texture. Characteristics that I remember well being part of all your style also in your works for the cinema. The result is a very pleasant and deep listening, with “visionary” flashes.” Roberto Pugliese about “KuartetS”

“Here you will find romantic and late-romantic suggestions, echoes of Glass, Wim Mertens, Tiersen, Nyman, a sure step that makes the music really cinematic and powerfully descriptive, without excessive sentimentalities, as it is also in the karst river of melody and pathos that flows in our best soundtrack authors. And who says that ‘functional music’ does not live a life of its own? See Ennio Morricone, for example.” Guido Festinese

“The composer, is setting his “cultured” music along a post-modern tonal line, aware, however, of the variegated contemporaneity of the twentieth century: it is no coincidence that echoes of Erik Satie, Philip Glass, John Williams, Vince Guaraldi and the Tin Hat Trio can be heard here and there, as well as many literary suggestions.”  Guido Michelone about “KuartetS”

“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 (

Those familiar with Sensini’s film scoring will recognize his melodic style even in this reduced ensemble. Overall, the playlist is engaging, and anyone who enjoys string quartet music will likely be satisfied by what’s on offer here. The album can be purchased through a special website Sensini set up to help with the Italian response to the Coronavirus emergency; proceeds from the sale will go towards this relief effort. (about “KuartetS”) Steven A. Kennedy

“ALL AGAINST ALL, is a score that I think many Morricone fans may be attracted to, the music is by Kristian Sensini, and has to it a dark and commanding air, the thick and steamy sounds becoming alluring and unsettling both at the same time. The composer creates a tense and nervous atmosphere via solo piano and strings and adds to these guitar and percussion. It is a taught and unsettling work at times but then the composer produces moments that are thematically magical but at the same time managing to keep them slightly dark and ominous.” John Mansell

“Textures of Herrmann, nuances of Kaper and hints of Jarre are infused throughout this score and any listener would be hard pushed to not find a track that makes them think of a long forgotten score that is sitting somewhere on their shelf. Sensini is in essence giving you an opportunity to rediscover what proper film music composition is all about.” Phil Watkins (film critic)

“With its percussion, electric guitar and winds, often punctuated with sharp electronics, Sensini’s mix of steely tension and wistfully ironic melody also brings to mind such paranoia-drenched 70’s scores as “The Conversation” and “The Parallax View,” as well as later conspiratorial soundtracks like “The Firm” as it conjures a world of backroom dealings, sordid sex and lethal opportunism.” Daniel Schweiger (Film Music Magazine) about All Against All

“The interesting orchestrational choices lend the music a unique sound that falls closer to European animation than standard Hollywood fare. The result is an often delightful work provided ample space to breathe in this MovieScore Media release.” Steven A. Kennedy (about Rocks in my Pockets)

“Sensini’s music accommodates a number of brusque, staccato permutations that lend a marvelous tone of anxiety to the film that is both unnerving and captivating on CD. The 13 ½-minute track “Puzzle Pieces” is a masterful workIt’s a completely immersive track and one of the score’s most engaging pieces. Throughout the film, Sensini’s mix of dark orchestral flavors with electric guitars and synths give the film both a modern sonic treatment and inflect the film’s suspense. This is a thoroughly absorbing score that maintains the listener’s interest from start to finish. Highly recommended!” Randall Larson (

“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

“La Sorpresa is a thoroughly engaging and beautiful score, deeply honest and moving in its sensitivity and treatment of its subject matter.” Randall D. Larson Buy Soundtrax

“Rocks in my Pockets’  score compliments and supports the stories in the film perfectly. It has the right amount of quirk and style. At times sounding like a circus, but never disregarding the emotions the story is conveying, it’s a wonderful window into one woman’s mind. If you’re looking for something to hold you over until Desplat’s next foray into absurdity with Wes Anderson, or if you still hold dear the days of Nino Rota’s collaborations with Federico Fellini, this score may be worth a listen.” Kaya Savas (film music critic )

“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!” (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 film.” L’écran Fantastique  (french Movie Magazine)

“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)

“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)

“…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)