Tonight at 6 PM PT: Join Film Independent and Composer Clint Mansell for a special, virtual evening, in conversation with Variety‘s Jon Burlingame, celebrating the 20th anniversary of Requiem for a Dream and release of the remastered Director’s Cut on 4K UHD.
Slash Film says, “His work on Darren Aronofsky’s Requiem for a Dream remains one of the most haunting scores of this millennium,” and his latest score, for Rebecca “is one of the best parts of the entire film.”
For International Podcast Day, we’re featuring The Old Guard soundtrack! Recently, Aaron Vehling caught up with Volker Bertelmann, who co-composes the score to Gina Prince-Bythewood’s action-packed Netflix film with Dustin O’Halloran. Find out how they came to become successful collaborators (they earned a Best Score Academy Award® nomination for Lion) and what it was like to finish their score during the nail-biting moments when the pandemic closed up recording studios around the world! Read the original story at Vehlinggo.
Who would you like to see interviewed next? Listen to the podcast below.
For Women’s Equality Day, we are shining an extra spotlight on Women Composers! Why? Although this day commemorates the passage of the 19th Amendment in 1920, granting women the right to vote, we take this opportunity to feature just a sample of the talented film and television composers who exist and deserve a seat at the table in the soundtrack world.
Composer Emile Mosseri releases a new album with his band Human Love. Emile has quickly established himself as a singular film composer, raising the proverbial bar with his critically revered scores for THE LAST BLACK MAN OF SAN FRANCISCO and HOMECOMING. Both albums are easily amongst the most artful and enjoyable scores of 2019 and 2020. None other than Afrofuturist super-funkstress powerhouse Janelle Monae mused that she wished Mosseri’s HOMECOMING score was her solo album.
Emile Mosseri, David Baldwin, Erick Eiser, and Mark Demiglio (formerly known as The Dig) are no strangers to album-craft, but Black Void marks something entirely new. Changing their band’s moniker to Human Love isn’t rebranding, its rebirth. The Dig was & always will be digable, but the boys of Human Love had the rarified guts to publicly acknowledge they’re no longer the New York kids they once were.
What is human love? How does it feel? What does it sound like? It’s sweet, lush, and forgiving. It’s hypnotic, sensual, and disarming. It’s warm, deep, and groooovy baby. The same goes for the jaw-dropping, siren-like melody that begins Human Love’s debut EP Black Void. On the title track, guest singer Kamilah’s otherworldly voice swoons & beckons like a celestial theremin breaking through golden clouds. From start to finish, Black Void is an elegant uncanny opera of sorts, filled with exquisite hooks, fresh-cut beats, and sultry vocals that will haunt your auditory cortex & cozy up to your subconscious. Needless to say, it’s one hell of a debut.
It’s therefore no surprise that Black Void’s cinematic feels cut deep with radio ready production and hip-shaking rhythm. Highlights include a standout pop-friendly chorus and disco-slick bass line on “Goldmine”, tasty falsetto treats on “Lemon Dove” and a head-nodding synth groove on “Pomona”. Dan the Automator’s masterful production on Deltron 3030, MGMT’s Oracular Spectacular and your favorite Arcade Fire song all come to mind, along with the ghosts of J. Dilla, Ennio Morricone, and your pre-pandemic self. Do yourself a favor. Dive into the Black Void, and enjoy some Human Love.