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Review of “Karma” OST on BuySoundtrack
http://buysoundtrax.com/larsons_soundtrax-7-25-18.html
KARMA/Kristian Sensini/Records DK – digital
KARMA is an independent Italian supernatural horror film made in 2017. It received a limited release in Italy, but it was shortened to a 24-minute version which has been posted to Facebook. It’s a pretty provocative movie, and very nicely scored by Kristian Sensini (HYDE’S SECRET NIGHTMARE, ROCKS IN MY POCKETS), whose music has been released as a digital soundtrack. The plot has to do with six teenage boys who, over the course of a weekend, will soon have to face off against their karma, as an evil entity seeks to punish them for their mistakes. “The music I wrote for the movie has a sort of ‘woodish’ quality,” Sensini told Soundtrax. “I’ve extensively used strings (particularly the low textures of cellos and basses) and woodwinds because they remind me of the warm and dark nature of the wood that has a special part in this movie. I’ve tried to avoid the classical horror soundtrack clichés and give each cue in the movie its unique “breath,” in the true sense of the word: if you listen carefully, you can actually feel a mysterious and ominous breath (done with instruments). It’s as if the soundtrack itself is the Evil, a character that is watching the young boys and waiting in the Darkness, ready to hit.”
The digital soundtrack is available from amazon, iTunes, and can be heard on Spotify.
For more information on the composer, see www.kristiansensini.com.
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Karma – Review by Film Score Monthly
Full album available at https://itunes.apple.com/us/album/karma-atonement/id1211759271
Karma follows a group of young boys whose past behavior catches up with them as they are tested and punished by an embodiment of evil. The film’s horrific score comes
courtesy of Kristian Sensini (Rocks in My Pocket, La Sorpresa). Karma’s opening title track features an enticing arpeggiated idea and a long, lyrical line with a gothic feel. “Staircase” pushes forward with an intriguing melody that again references the arpeggiating figure before becoming more disjointed as it slowly moves upward over a menacing undertow. By contrast, the “Woods Theme” features a soaring
high string idea over rich low strings and a breathy vocalise.
The score overall does a fine job of establishing subtle textures that become creepier as various motivic components float through them, evidenced in tracks like “Tensive
Dialogue” and “Dirty Secrets.” Similarly, many cues feature low pedals and slow builds that add tension, which occasionally releases, as in “The Attic.” The arpeggiated idea
also recurs throughout the album as connective tissue.
“The Cellar” moves us most firmly into horror territory, with close intervals and sudden hits set against a high string drone. After a passage for a music-box melody and crescendoing vocals, the cue moves into a quasi- rock-based section reminiscent of a Richard Band score.
“Abductions” offers more macabre sounds intermingled with low strings, including a cello line that lends an emotional pull to the proceedings. The “Trailer” music wraps up the playlist nicely, providing one last burst of intense horror music.
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KARMA–ATONEMENT Review by BSO Spirit
http://www.bsospirit.com/2017/04/12/karma-lespiazione/
SOUNDTRACK AVAILABLE on ITUNES https://itunes.apple.com/us/album/karma-atonement/id1211759271
Dos premisas arriesgadas, que no mal fundadas: la “resplandeciente” banda sonora de Wendy Carlos para The Shining (1980) es una obra maestra entre las músicas de películas de terror. Alessandro Antonaci rescata (o rinde homenaje) a la esquizofrenia de Kubrick en su adaptación del texto de Stephen King.
La música de Karma tiene un poco de mucho, pero es estrictamente fiel a la naturaleza de las escenas. Acreditado junto al propio Antonaci y Andrea Dentico como responsable de las músicas de Karma, Kristian Sensini se inspira en Carlos para conseguir una partitura efectista y sucinta al clima y el ritmo (poco convencionales) de la película.
Carlos partía en The Shining de una pieza clásica totémica, el “Totentanz” de Franz Liszt. En Karma, esta base clásica parte de la habanera célebre de Carmen, “L’amour est un oiseau rebelle”, que Georges Bizet incluyó en su ópera escrita en 1875 y que, con posterioridad, reconoció que había plagiado de una canción titulada “El arreglito”, de la que es autor el navarro Sebastián Iradier… Puede que se trate de la habanera más famosa de todos los tiempos y, para más inri, es la pieza más emblemática de la ópera Carmen.
El escenario de Karma no son las Montañas Rocosas, sino un chalé en las afueras de Metz, cerca de Luxemburgo: Forêt Avril. Los protagonistas no son un matrimonio joven con hijo, sino una pandilla de jóvenes italianos muy modernos, desinhibidos, algo dados a los juegos equívocos, a beber y a fumar… El viejo chalé tiene, encerrado en el clásico baúl de un altillo siniestro un álbum de fotos con la historia desgarradora de un parricidio (que acabó en masacre) ocurrido allí mismo hace unos años y todavía sin resolver. De pronto, nadie de los cinco protagonistas es en realidad quien dice ser y todo se complica con sádicos apuñalamientos de por medio.
Si Antonaci trata de reivindicar el contraste psicológico de luces y sombras, de perspectivas abiertas y cerradas, laberínticas, que Kubrick postuló en The Shining, Sensini no se limita a despachar los requerimientos escénicos con estrofas atonales de Ligeti, Bartók o Penderecki. Pianista y flautista avezado en la composición de partituras para animación, documentales y piezas dramáticas, Sensini profundiza en sus conocimientos clásicos y de jazz para crear el mismo efecto impecable de Carlos en The Shining, pero con mucha mayor libertad creativa. Ganador del Global Music Award del 2013 a la mejor banda sonora de terror con su partitura para Hyde’s Secret Nightmare, este compositor sabe sacar punta al silencio y los efectos auditivos claustrofóbicos para conseguir el mejor empeño de la música de terror: preparar para el gran susto, la sorpresa terrible que puede producirse en cualquier momento…
Se trata de un músico muy joven y con pocos títulos en su haber; sin embargo, ha tomado parte en talleres de composición junto a los verdaderos “dioses” del género: Ennio Morricone, Michael Giacchino, Dave Grusin, Howard Shore, Alan Silvestri o Chistopher Lennertz. Lleva años formándose en centros de Italia, Austria y Estados Unidos. En Karma, Sensini pone en solfa las impresiones abstractas del director de fotografía Federico Alotto y despliega una gama musical muy versátil, con momentos pastorales en vistas aéreas y exteriores de gran atractivo turístico, junto a detalles de una oscuridad casi total, cimentando el escalofrío de que cuanto puede ocurrir es siempre peor que cuanto ocurre en apariencia. Los cambios de ritmo son muy frecuentes, a menudo súbitos, impactantes. La tensión sigue un desarrollo lento a la par que espasmódico, difícil de musicar. Sensini aporta su “resplandor” particular a la película con un esfuerzo creativo notable.
LO MEJOR: El terror psíquico, sin efectos especiales ni trucos de ordenador, da mucha cancha a la música y los efectos de sonido.
LO PEOR: Sensini ensaya varias instrumentaciones en las escenas más oscuras sin afianzar ningún tema. La banda sonora adolece de uniformidad de estilo.
EL MOMENTO: Las filmaciones exteriores en contrapicado (muy al estilo del arranque de The Shining) se apoyan en una música enigmática de corte muy clásico.
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My Love Affaire With Marriage
“My Love Affair With Marriage” is the title of the new animated feature film that I’m working on, directed by Signe Baumane.
Our past work (“Rocks in My Pockets”) brought us close to an Oscar nomination (Academy Awards)… we will try again with this exciting new film.
Part of the cast is Matthew Modine an actor that we all know from his participation in the television series “Stranger Things”, but above all for his starring role in Kubrick’s “Full Metal Jacket”.Here’s the news from Variety
https://www.kickstarter.com/projects/1055277857/my-love-affair-with-marriage
I write because this project needs the help of you and your friends.
The director started a fundraiser on Kickstarter – this independent animated feature cannot rely on the budgets that Disney, Pixar and Dreamworks have.
This project is being made by having independent film fans fund the film, “pre-buying” the movie, which will ensure its production.
Just to explain how the animation business works for feature films, to put a professional actor under contract to dub any character, no matter the budget of the film (independent or a blockbuster), the costs are the same. Consequently an independent producer must pay the same actor rates as the giants such as Disney.
For this I ask you please to click on this link:Please make a small donation, pre-purchasing the film perhaps, or a larger one for some great rewards.
Otherwise spread the word by sharing the link on Facebook, Twitter or email – just getting the word out is critical.
Thanks in advance for helping this little (big!) Project. Independent art needs the support of those who benefit from it – us.
In these complicated times, supporting art and culture (in all its forms) is the most revolutionary act that we can do.
Below is a synopsis of the film in the words of the Director:
“My Love Affair With Marriage” is based on my personal experiences – I have been married two times and could never understand why those marriages didn’t last longer than they did. To unravel this mystery, I set out to research the neuroscience and mythology of love.
I decided to weave my many discoveries into the single story of Zelma, a fiery young woman with a wild imagination, who believes that love will make her a complete human being with four arms, four legs and two heads. Zelma keeps falling in love, but something always goes wrong. She journeys through many marriages, some real, some imaginary, while confronting pressures from society and her own biology. Although the marriages fail to make her complete, they, like baptism by fire, transform her.
This story is driven by 26 speaking and four singing characters. The singers are the chimerical, shapeshifting Mythology Sirens, who, with their seductive songs, lure Zelma into fantasies of everlasting love and never-ending happiness.
One of the best film composers I know is Kristian Sensini of Italy, who scored “Rocks In My Pockets”. Kristian has agreed to join us and write the songs for “My Love Affair With Marriage”, as well as score the film. It is a great honor to work with Kristian again! He is an excellent collaborator who always goes the extra mile!”
Kristian -
L’anno che verrà
Il 2016 verrà ricordato come l’ Annus Horribilis della Musica perchè ci ha portato via tanti musicisti eccellenti.
Non posso però non ricordarlo come il mio anno Creativo per eccellenza.
Non solo ho lavorato a tanti progetti interessantissimi (che ho incominciato a selezionare con molta più attenzione che in passato), ma ho speso molte energie per la mia Opera d’Arte più importante, il piccolo Leo che è nato appena un mese fa. Ovviamente sono stato supportato dalla mia co-autrice preferita, Agnese, la mamma di Leo.Ho trovato il tempo per rinnovare il mio sito ed inserire samples di tutti i progetti ai quali ho collaborato ad oggi, li potete ascoltare, catalogati per film alla seguente pagina:
https://www.kristiansensini.com/credits-2/ .Ho anche rinnovato il mio canale http://www.youtube.com/kristiansensini nel quale, su suggerimento di molti di voi, ho iniziato pian piano a caricare dei video che riguardano il backstage del lavoro di compositore e soprattutto consigli e suggerimenti per chi sta intraprendendo questa carriera.
Il 2017 si prospetta un anno pieno di impegni, ho inziato la pre-produzione di un film Italiano (“Il Bagno di Venere”), di una serie televisiva e del prossimo film di animazione di Signe Baumane con la quale ho avuto il piacere di collaborare per “Rocks in my Pockets”. Ho invece appena terminato la colonna sonora del cortometraggio “Sharpe” un piccolo capolavoro canadese girato interamente in 16mm.
In primavera pubblicherò anche il mio secondo libro, dal titolo “Il Jazz è un gioco da Ragazzi”, un trattato dedicato ai musicisti ed agli insegnanti che spiega quanto sia importante e positivo (nella quotidianità e nell’insegnamento) imparare ad improvvisare…senza improvvisarsi. E’ il tentativo di riscoprire la creatività che è in ognuno di noi fin da bambini e che crescendo spesso dimentichiamo di coltivare.
Il mio augurio per il nuovo anno è che possiate essere felici, in pace ed in salute, e che nel complicatissimo periodo storico nel quale ci troviamo a vivere possiamo riscoprire la compassione e l’ascolto del prossimo, vivendo con più attenzione possibile e pienezza ogni singolo momento presente.
Del resto è tutto quello che abbiamo.Kristian
p.s. vi ricordo la mia pagina Facebook se volete essere aggiornati, più o meno quotidianamente sui miei lavori 🙂 -
Compositori e festival del Cinema
In questo breve video rispondo ad una delle domande inviatemi sulla pagina Facebook http://www.facebook.com/kristiansensini
Quanto è utile per un Compositore che si occupa di Cinema partecipare ai vari Festival Cinematografici, con lo scopo di prendere contatti con Registi e Produttori e magari lasciare loro del materiale?
Buona Visione
K.
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Jerry Goldsmith Awards 2016–Nominees Best Documentary
I’m happy to share this news! The Music I wrote for the Documentary “Vive Solo Chi si Muove” received a nomination at the Jerry Goldsmith Awards .
With this one I celebrate my tenth nomination at the Awards, six years in a row!You Can listen to the Soundtrack and watch the documentary at the following link
https://www.kristiansensini.com/vive/
http://www.bsospirit.com/2016/06/15/finalistas-de-los-premios-jerry-goldsmith/
In a year where BSOSpirit Association begins its collaboration with the Festival of Malaga, and specifically with its new and exciting project, the Movie Score Malaga – MOSMA, we posed several challenges to achieve. First, give the awards a projection we’ve always wanted for them. And Malaga is the perfect place, thanks to the organizational skills and experience of such a prestigious team like the one that is behind this important Spanish Film Festival.
Another challenge was to review the bases of the awards. There were composers who, although no longer young in age, they were young in spirit, and they felt were prevented to participate in these awards because the awards limited participation to young age composers.
In recent years we were raising our hand regarding thisissue, and we think that from this second stage of our “Jerrys” once we passed our first decade of existence, we should revise our regulations and open these awards to all those who feel young of spirit when composing for the audiovisual media and not only of young age.
Those who would like to see enhanced, and sometimes to let their wonderful work be discovered. Or those who feel that these awards are a clear representation of that reason why, one day, they decided to become music composers for the audiovisual media. Perhaps because of the great name that sponsors this awards, the late great Jerry Goldsmith, a composer with an undying young spirit.
This new and exciting era for the awards, start now. And it does so, with an exemplary in regards of the level of its participants. More than 110 composers from three continents, and more than 260 jobs in 11 categories that this year conformed this XI edition of the Jerry Goldsmith Awards.
Los finalistas de cada categoría son / Finalists in each category are:
PARALLEL UNIVERSES
Jonay Armas / Zombies
Nikolas Labrinakos / Parallel Universe
Manel Miralles / Hell in 16mm
LIBRE CREACIÓN / FREE CREATION
Sonya Belousova / The House of Bernarda Alba
Carla F. Benedicto / Hope
Maximilien Mathevon / Wild
Romain Paillot / Beyond
Brian Satterwhite / Metropolis
CANCIÓN / SONG
Luigi Ferri y Giulia Penna / Perdeti Ora
Jean-Philippe Ichard / My Little Bird
Alexandre Lecluyse / Coup de Fudre
Luc Suárez / Be Aware
Josue Vergara / Sonrie
PROMOCIÓN / PROMOTIONAL WORKS
Nico Casal / Ford: Sin Limites
Daniel Díaz / Xove Emociona
Luis Hernaiz / Marcial
Julie Reier / Stand with Sanju
Iván Ruiz / Nancy, la Madre de Thomas Edison
PUBLICIDAD / ADVERTISING
Javier Bayón / Are You In?
Nico Casal / Estrella de Galicia
Daniel Díaz / Sogama
Stuart Hancock / KFC: Sisters
Joan Vilá / Moritz
TELEVISION Y WEB SERIES / TELEVISION AND WEB SERIES
Jamie Christopherson / Loves Finds You in Valentine
Giona Ostinelli / The Massively Mixed-Up Middle School Mystery
Stuart Hancock / Atlantis: Season 2
Jorge Puig / Misión Ciencia
Marc Timón / In Absentia
DOCUMENTAL / DOCUMENTARY
Stephen Baysted / Renoir: Revered and Reviled
Miguel d’Oliveira / The Trans Siberian Adventure
Giona Ostinelli / The Human Capital
Kristian Sensini / Vive Solo Chi Si Muove (Moving to Live)
Alan Williams / Moving Art: Underwater
VIDEOJUEGO / VIDEO GAME
Neal Acree / Revelation Online
Daniel Díaz / Subterrain
Fran Romguer / Kick or Die
Isabel Royan / Paula: The Game
CORTO DE ANIMACIÓN / ANIMATED SHORT FILM
Mathieu Alvado / Construire un Feu
Aaron Kenny / Disconnect
Filipe Leitao / Grounded
Jamie Messenger / The Orchestra
Adriaan Swerts / Isle of Skye
CORTO DE ACCIÓN REAL / LIVE ACTION SHORT FILM
Matthieu Alvado / Quenottes
Stuart Hancock / Killing Thyme
Luis Hernaiz / La Jaula
Aaron Kenny / A Mighty Nice Man
Josué Vergara / Three Wise Monkeys
LARGOMETRAJE / FEATURE FILM
Joseba Beristain / The Plot Point
Andrea Boccadoro / The Porter Brothers
Alexander Cimini / Dark Water (Bellerofonte)
Frank Ilfman / Abulele
Alexandre Lessertisseur / Sheep & Wolves
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“La Sorpresa” Review on BuySoundtrax
Soundtrax: Episode 2016-3
April 11th, 2016By Randall D. Larson
http://www.buysoundtrax.com/larsons_soundtrax-4-11-16.html
LA SORPRESA/Kristian Sensini/KeyeStudios – ltd ed cd + digital
Italian composer Kristian Sensini has released his latest score on his own, digitally. Be thankful. Directed by Ivan Polidoro, LA SORPRESA (The Surprise) is a family drama that focuses on the awkward relationship between a father and his estranged daughter, compounded when he suddenly grows ill and she must take care of him; in the process she grows more distant when a male nurse is brought in who provides the kind of loving care she cannot. Sensini (HYDE’S SECRET NIGHTMARE – see my review in my Nov. 2012 column; ROCKS IN MY POCKETS – see my review from the Oct. 2014 column) has provided an intimate score performed by a small string ensemble (violin, viola, cello), supplemented by guitar, flute, keyboard, and voice. The score begins with “Attese” (Expectations), a deeply morose intonation of cello chords that resonates with the sad disaffection between the woman and her father. Sensini’s title theme, with its highly reverberated keyboard underpinning, carries a poignant weight that is less harsh; its melody will drift throughout later cues to paint the family in colors of sympathy and sorrow (In “La Sorpresa 1,” the melody is taken by a synth-violin, while in “La Sorpresa 2,” Sensini gives the melody line to a toy piano, which, in referring to happier and younger days of the family, is quite touching). The awkwardness between father and daughter is adroitly summed up in the colorless measures of “Figlia del Padre,” while the close-miked cello melody evoked in “Padre” paints the father in a much more empathetic light. The voice of Laura Bruno is heard in several cues, including a recurring, hymnlike a capella motif titled “Ana Yelena” whose lyric repeats the titular name in beautiful, double-tracked harmony. The film’s turning point and score’s apotheosis is found in “Ragnatela,” an uplifting harmonic treatment for all three strings over an interplay of muted drums and electric guitar which offers a serene resolution to the distance inflicted upon father and daughter. A drum kit is added for “Un Tango,” adding a nice contemporary pop rhythm to the tango’s string melody and harmony; the drums are also present for the second reprise of “La Sorpresa,” where the melody is presented in a more positive tempo and much brighter harmony, the family’s journey from alienation is finding its reunion and redemption. “Surprise Me” is a pretty pop-styled melody played on keyboards with digital handclaps and drum-kit. LA SORPRESA is a thoroughly engaging and beautiful score, deeply honest and moving in its sensitivity and treatment of its subject matter.
The digital album is available on Italian iTunes and Amazon and elsewhere in the US. A signed CD edition is available in limited quantities (100/c) from CDBaby.- Listen to music samples at kristiansenini.com
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“La Sorpresa” Ost – Review at Film Music Magazine
La Sorpresa Ost is one of March Soundtrack Picks at FilmMusicMagazine along with Zootopia (Michael Giacchino) , Batman v Superman (Hans Zimmer Junkie XL), London Has Fallen (Trevor Morris )
You can buy limited edition signed copies of the soundtrack at http://www.cdbaby.com/cd/kristiansensini3
http://www.filmmusicmag.com/?p=15918
Having quirkily played mental illness with his score for the generational madness of the fest favorite “Rocks in My Pockets” (its soundtrack on Movie Score Media) Italian composer Kristian Sensini creates another memorably individualistic soundtrack for “La Sorpresa” (“The Sunrise”). Here, the musical anguish is subtly inward and far less humorous, if no less enticing, as a daughter finds her father’s male nurse has far more of an emotional connection to the ailing man than she does. Sensini thematically plumbs her pained struggle towards a relationship in an impressively subdued variety of styles. Poignant chamber music mixes with alternative acoustical rhythm, child-like percussion hints of the past, while religious female voices sing a haunting chant. Even mod synthesizers and a tango come into this fraught, family bond. 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 with Ennio Morricone and Nicola Piovani evident in one of the rare, interestingly melodic scores that can tenderly capture inner emotion. Having cd signed and hand-numbered by Sensini adds a further nice touch for his unique, enticing score that bridges the classical and alt. family ties of film music.
