New Music for Films, Vol. 1 [Soundtrack]

1. Main Title

2. Big Country

3. Dramatic Ride

4. Run

5. Getting Ready to Attack

6. Memories of Maria

7. Attack

8. Will He Return?

9. Quiet Ocean

10. Battle Begins

11. Victory

12. Hidden Tears

13. Fight

14. Romance Becomes Pain

15. Battle Continues

16. Mysterious Discovery

17. Lurking Shadow

18. Shock

19. Dream Sequence

20. Doomed

See all 24 tracks on this disc

New Music for Films, Vol. 1,Christopher Franke,Sonic Images,Adult Alternative,Minimalism,New Age / Meditation,Pop,Soundtrack

Average customer rating:

Like stop and go traffic
Very successful marriage of electronica and orchestra

New Music for Films, Vol. 1
Christopher Franke
Manufacturer: Sonic Images
ProductGroup: Music
Binding: Audio CD

General | New Age | Styles | Music

Meditation | New Age | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Progressive Rock | Progressive | Rock | Styles | Music

Adult Alternative | Pop | Styles | Music

Minimal Techno | Techno | Dance & DJ | Styles | Music

Progressive | Rock | Indie Music | Stores | Music

General | Soundtracks | Indie Music | Stores | Music

Movie Soundtracks | Soundtracks | Indie Music | Stores | Music
Similar Items:

New Music for Films, Vol. 2
Epic
Tenchi: The Movie

ASIN: B00000636O
Release Date: 1998-02-24

Tracks:

Main Title
Big Country
Dramatic Ride
The Run
Getting Ready To Attack
Memories Of Maria
The Attack
Will He Return?
Quiet Ocean
The Battle Begins
The Victory
Hidden Tears
The Fight
Romance Becomes Pain
The Battle Continues
Mysterious Discovery
Lurking Shadow
The Shock
Dream Sequence
Doomed
Threatening
Quiet Ocean Reprise
Creepy
Steven Stole It

Customer Reviews:

Like stop and go traffic.......2002-03-15

I really don't have a problem with Chrisopher Franke's post Tangerine Dream work. I know many cry for the old, pure electronic days, but wedding the orchestra to electronica isn't a bad idea (Klaus Schulze was successful enough on his "X" album, and other film composers have taken the opposite tack and been adding synthesizers to their orchestras). The problem with this particular album though isn't the music, it's the arrangement. On the "New Music For Films" releases (2 so far) Franke takes the music as originally scored for each film image. That makes for 1 hours worth of music, but 24 different pieces. On his "Babylon 5" compilations, Franke arranged the music into suites, and so there was a better flow to the music (in addition, the electronics were a bit more prominent). If you can get past that, you may enjoy this, as the music can be very good.

Very successful marriage of electronica and orchestra.......2002-01-19

Having left Tangerine Dream in summer of 1987, Christopher Franke emigrated to America, where he settled in California, hoping to start a new career from scratch - a career of scoring motion pictures. As he admits in interviews, he needed a long break from the industry he lived in, as that was what Tangerine Dream was in the mid-80s. After more than a year, he signed up for several movies, and started to think of recording the soundtracks. To this end, he explored an idea he was toying with in the old times of Tangerine Dream, namely with orchestration of electronic music. Back in late 1986, the band released "Near Dark", a dark album with simulated orchestral sounds. In 1989, Franke decided to continue in that fashion, and he did. Instead of simply augmenting the texture of electronic music, he decided to make an additional move - to marry electronica with real orchestra. To this end, he founded Berlim Symphonic Film Orchestra, for which he composed music using real notes on sophisticated musical software.

The results exceeded all expectations. In 1989 and 1990, Franke scored three movies ("Eye of the Storm", "McBain" and "She Woke Up"), the music from which appeared on a compilation CD in 1993, issued by his own musical label, Sonic Images. This album, somewhat awkwardly entitled "New Music for Films Vol.1" is much like a set of bridges thrown between "Near Dark" as a symbol of electronic orchestration, the real acoustic classical orchestra, and pure ambient sound. Even if this music was not available until later, some limited edition promo singles were released much sooner than 1993, when Franke was already in full swing of his career. In addition, in 1989 he re-composed and re-recorded one of his old compositions, which was often used in Tangerine Dream gigs. His first official solo track, 'Vermillion Sands', was published in 1989 on a KLEM compilation CD, along with his old employer's Tangerine Dream's tune. The latter didn't stand up to comparison. 'Vermillion Sands' was superb, dynamic, arrpegiated and extremely sophisticated, a move forward, whereas the forgettable track of Tangerine Dream was like a throwaway hopeless track refused for publication during "Lily on the Beach" or "Destination Berlin" sessions. In 1989, we already knew that their paths diverged, and wondered what happened to Chris. With KLEM's compilation, I was happy again.

"New Music for Films Vol.1" is a very interesting CD, I dare claim a masterpiece, considering the high ambitions the composer had. It's of the highest class possible, comparable to the best music of Ennio Morricone, Jerry Goldsmith, and all other classical composers who work for the film industry. If you are fond of the old days, if the movies like "Lawrence of Arabia" or other ones with Paul Newman, Orson Welles, Rita Heyworth are to your taste, then you should reach for this CD, whether or not you like Tangerine Dream or Franke himself. This music is universal, beautiful and touching. It's timeless. Just about an hour long, this album is very eclectic, since it contains numerous experiments with sound, from piano, electric piano, delicate electronica (later to be developed to perfection on "Pacific Coast Highway"), horns and oboes, to full-fledged orchestra, with violins, contra-bass, cellos, gongs - oh my, it's the audiophiliac's feast! The atmosphere of this music is sometimes so grave and scary, that I have cold sweat on my spine. Other times it is lyrical, with solitary violin or cello, or piano - jerking tears out of your eyes.