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Prisoners: Original Motion Picture Soundtrack Import

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Détails sur le produit

  • CD
  • Nombre de disques: 1
  • Format : Import
  • Label: WaterTower Music
  • ASIN : B00F8OOVV2
  • Autres versions : Téléchargement MP3
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Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29
Ecouter le titre Acheter : EUR 1,29

Descriptions du produit

Music by Jóhann Jóhannsson This product is manufactured on demand using CD-R recordable media. WaterTower Music has announced the release of Jóhann Jóhannsson's soundtrack to the Alcon Entertainment thriller "Prisoners," a Warner Bros. Pictures' release starring Oscar nominees Hugh Jackman ("Les Misérables") and Jake Gyllenhaal ("Brokeback Mountain"), and directed by Denis Villeneuve. "Prisoners" topped the US box office in its first weekend and has been acclaimed by critics. The score has received its fair share of plaudits: Associated Press: "Even the moody music by Icelandic composer Johan Johannsson will make you shiver. Just try getting it out of your head as you leave the theater." Filmmmusicmag: "Prisoners" is certainly one of the more interesting scores to appear since Johnny Greenwood's brilliantly bizarre "There Will Be Blood," while doing far less - if that's even possible - a score that communicates riveting ideas with the most deceptively minimal of efforts - It's "art" music that just happens to be a film score, and pretty much completely outside of the box in a cool Icelandic way."

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6 internautes sur 6 ont trouvé ce commentaire utile 
A Sparse but Beautifully Moody Score from an Innovative Composer 29 novembre 2013
Par Movie Music Mania - Publié sur Amazon.com
Jóhann Jóhannsson is a name I have been watching closely since I stumbled upon his magnificent album IBM 1401, A User’s Manual. Exhibiting a remarkable knack for innovation, the Icelandic composer’s album mixed a sixty-piece orchestra with electronics and vintage reel-to-reel recordings of the IBM 1401, a 1959 mainframe computer. His album Fordlandia followed it in spectacular fashion and, between "The Sun’s Gone Dim and the Sky’s Turned Black" and the duo of “Rocket Builder" and "How We Left Fordlandia", I was utterly hooked and convinced that Jóhannsson’s foray into mainstream film was not far away.

This year’s somber, critically-acclaimed thriller Prisoners marked Jóhannsson’s jump to the mainstream, though this is not, in fact, the first film he has scored. Directed by Denis Villeneuve and starring an impressive ensemble cast of Hugh Jackman, Jake Gyllenhaal, Viola Davis, Maria Bello, Terrence Howard, Melissa Leo, and Paul Dano, the slow-burn thriller tells the story of two girls’ abduction in a suburban Pennsylvanian town and the ensuing search to find them. Exploring with an unflinching lens the bleak reality of this premise, Prisoners is not for the faint of heart nor the easily bored. It unfurls its twists and turns in a precise but plodding manner, leading to a relentlessly moody, downbeat experience.

Jóhannsson’s score is very much what I expected him to bring to the table for such a concept. It intentionally counters much of the suspense in the film, though low string grumblings and deep, electronic droning still give the score some understated moments of tension. "Surveillance Video","The Intruder" and "The Snakes" explore this territory, with brief, glassy shimmers from the christal baschet peppered throughout. The droning, accomplished by combining a cello, double bass, organ, guitar, and piano and then heavily manipulating and processing them, serves to create palpable but indistinct layers of tension. Appropriately, it is a dark, grumbling blanket that gives preferential treatment to no one character, perhaps suggesting that any one of the film's characters could be a source of darkness, that each one of us has inside ourselves an unbridled potential for reactive violence.

Other sources of dark tension in the score draw their origin from a previously-recorded piece by Jóhannsson, heard in the track "Escape". Featuring a somewhat funereal solo cello over sustained strings and ambient droning, "Escape" can originally be found on And in the Endless Pause Came the Sound of Bees, a 2010 album from the composer. While it fits very well into the soundscape of the film, the primacy of the track's cello and choral work distinguish it a little from the score's other pieces. "The Intruder", "The Priest's Basement", and the tense "The Trans Am" all feature elements of "Escape", from its combination of low droning and chilling, high-octave strings to its distinctive cello idea. Though not directly quoting "Escape", "Following Kellar" also relies heavily on static droning and features a cello idea similar to that found in "Escape". This piece, like much of the film's drone music, is meant to follow Detective Loki (Jake Gyllenhaal) on his hunt for Keller's two missing girls.

Of all of the score's darker pieces, it is quite possibly "The Keeper" that is the most affecting. Featuring a chillingly executed glissando theme on string basses, the piece builds to great proportions with the addition of horns toward its conclusion, a rarity in Prisoners. "The Keeper" is a darkly beautiful, devastatingly threatening idea for the kind of inner ugliness the film explores.

The remainder of Jóhannsson's score for Prisoners dwells in more lyrical and beautiful territory than the ambient droning of its tension-based pieces. Announced by commanding percussion (actually four double basses being struck by hand) and deep pipe organ at the beginning of "The Lord's Prayer", the main theme for Keller (Hugh Jackman) is a slow, melancholic string progression that recurs a few times in the score. Given the prevalence of the film's spiritual elements, it is no surprise that this main theme has a vaguely spiritual quality about it, though it thankfully avoids becoming two church-like by featuring the pipe organ less prominently in the mix. It appears again in "Everyday Bible" to represent Keller and the film's spiritual elements. A related idea in "I Can't Find Them" incorporates more heavily the distinctive combination of the ondes martinet, similar to a theremin, and the christal baschet, similar to a glass harmonica, to accomplish a moody, glassy feeling. This very pure idea represents the two abducted girls in "I Can't Find Them" and seeks to underscore the tragic innocence of the girls over the horror of their abduction, another example of Jóhannsson's preference for avoiding typical thriller music. While still expectedly moody, it is less melancholic than Keller's string-based theme.

The final and by far most dramatic idea in the score is meant to represent the grief of the parents and is heard prominently in "Through Falling Snow". This theme provides the score with its greatest sense of movement and appears in a harrowing scene of climactic importance (which will not be related here as not to spoil anything). Blending a string ensemble with hints of the ondes martenot and christal baschet combination over propelling woodwinds, "Through Falling Snow" features a simple but beautiful dramatic build. The parents' grief theme recurs in "The Candlelight Vigil" in a more reserved, fragile rendition and is tied together with Keller's theme and the girls' abduction theme in "Prisoners", the film's end credits suite. Featuring a summary of the score's main ideas, the end credits suite is a good starting place if one is unsure of whether the minimal, moody soundscape of Prisoners will be to one's liking. Relying heavily on modal progressions, melancholic string work, and the ever beautiful and ethereal christal baschet and ondes martenot work of the renowned Thomas Bloch, Prisoners is an outstanding, subdued match for the film's dark brutality. No doubt it will not be everyone's cup of tea and may indeed prove too sparse for many film music enthusiasts, but Prisoners is still quintessential Jóhannsson, undeniably against the musical grain and understatedly beautiful.

A Few Recommended Tracks: "The Lord's Prayer", "I Can't Find Them", "Through Falling Snow", "The Keeper", "Prisoners"

(It should be noted that a few of these tracks contain altered or elongated pieces from the film, and the album order is not as the tracks appear in film.)
4 internautes sur 4 ont trouvé ce commentaire utile 
Great 19 février 2014
Par Crilly - Publié sur Amazon.com
Format: CD Achat vérifié
More proof that some of the best music out there is movie soundtracks. Johann Johannsson could play a washtub and it would sound great.
I just wish Amazon could ship a CD without the jewel case being smashed to bits.
3 internautes sur 3 ont trouvé ce commentaire utile 
Moody and magnificent! 15 novembre 2013
Par Hobbsy - Publié sur Amazon.com
Format: CD Achat vérifié
If you loved the movie as I did, you will enjoy the soundtrack. It's relentlessly dark, moody and magnificent! There are no nasty , loud , make you jump moments,like HansZimmer tends to do. It's great for driving on a wet dark night. There are no stand out tracks, they all blend together well with only an occasional slight change in tempo. This is now one of my favourite soundtracks ever. If you like moody , downbeat music ,this is for you.
2 internautes sur 2 ont trouvé ce commentaire utile 
Headphone Commute Review 13 avril 2014
Par Headphone Commute - Publié sur Amazon.com
Format: CD
When I first heard Jóhann Jóhannsson‘s soundtrack to Prisoners, I forgot that I have heard it once before. I was sitting in a theater in Seattle, watching this thriller by Denis Villeneuve about an abduction of two young girls. The bleak environment surrounding the sorrow, dread and a peculiar discomfort was punctuated by the orchestral strings transcending tension, angst and heartache. The atmosphere of the music was haunting and even frightening at times. The numerous variations on a prevalent melody were wrought with worry, turmoil and suspense. The textured ambiance took me to a place that I’ve attempted to escape. Except there was no place to run, the sonic storm was moving fast and soon it was upon me. It was only after the film ended that I spied Jóhannsson’s surname in the credits. Ah, but of course! A few weeks prior, this Icelandic composer of neo-classical, electronic, and cinematic music sent me a promo copy of his latest work. In my rushed preparation for a week-long immersion in Seattle’s Decibel Festival, I dropped the files on my iPhone, and listened to the music on my flight to the West Coast. So once the melody broke down and the instruments have wept, back in that theatre in Seattle, I have felt that melancholic touch. And I have felt at home again… In the past decade, besides his critically acclaimed full length releases on labels such as Touch, 4AD and FatCat, Jóhannsson has composed numerous scores for feature films and stage works. The soundtrack to Prisoners is available from WaterTower Music on CD, and via Jóhannsson’s own label, Kitchen Motors, on vinyl.
1 internautes sur 1 ont trouvé ce commentaire utile 
`We are all just prisoners here, of our own device' 1 avril 2015
Par Grady Harp - Publié sur Amazon.com
Format: CD
Jóhann Jóhannsson, the composer from Iceland, continues to make an impac in every work he creates. There are a few composers working on contemporary films who are in that upper echelon of artists - Ennio Morricone, Alexandre Desplat - and now Jóhann Jóhannsson joins that level. Creating a score for a film as dark as PRISONERS is a challenge. It would be wellfo rthose purhaseing tis CD to have a brief rundown of the film to better understand the assignment.

PRISONERS was directed by Denis Villeneuve shocked us with his masterful `Incendies' and he does it again with this intensely suspenseful highly polished drama written by Aaron Guzikowski. Though the film is quite long (153 minutes) the tension is sustained making the viewer not so much an observer but a member of this funky little cold town where so much evil happens. The time is the present (the location shooting was Georgia but any small town across the country could well substitute), it is Thanksgiving and two close families are gathered in their neighborhood for the feast; the Dovers - father Keller (Hugh Jackman, mother Grace (Maria Bello), daughter Anna (Erin Gerasimovich) and son Ralph (Dylan Minnette) and the Birches - father Franklin (Terrence Howard), mother Nancy (Viola Davis), daughters Eliza (Zoe Borde) and Joy (Kyla Drew Simmons). Joy and Anna disappear and panic strikes. The only lead is a dilapidated RV that had earlier been parked on their street. Heading the investigation, Detective Loki (Jake Gyllenhaal) arrests its driver, Alex Jones (Paul Dano), but a lack of evidence forces his release. As the police pursue multiple leads and pressure mounts, knowing his child's life is at stake the frantic Keller Dover decides he has no choice but to take matters into his own hands. His methods involve capturing and torturing Alex with Franklin's help, but neither is sure of the outcome of their interrogation. Twists and turns occur involving a drunken sicko priest (Len Cariou) and the aunt/mother of Alex (Melissa Leo) - both leading to very surprising endings.

An immensely strong case and a brilliant script are enhanced by Jóhann Jóhannsson's otherworldly gorgeous music that underlines he intensity and the psychological chaos of the film. He most assuredly is on the way up as a composer. Grady Harp, April 15
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