A Zed & Two Noughts


Virgin Records (0017046184526)
Virgin Records (0724359844428)
Película | Fecha de lanzamiento: 1985 | Medio: CD, Descarga
 

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# Pista   Duración
1.Angelfish Decay2:51
2.Car Crash3:46
3.Time Lapse4:00
4.Prawn Watching2:56
5.Bisocosis Populi2:24
6.Swan Rot2:47
7.Delft Waltz4:09
8.Up for Crabs2:50
9.Vermeer's Wife3:14
10.Venus De Milo2:26
11.Lady in the Red Hat4:16
12.L'Escargot5:40
 41:19
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A Zed & Two Noughts - 06/10 - Crítica de Tom Daish, Publicado en (Inglés)
Some film music is rousing and even non-film music fans are impressed, some bits don't invoke a comment, some is just a bit embarrassing - try explaining to your Mother why you're listening to the score to Thomas and the Magic Railroad at age 25, for example - and some is just plain weird. A Zed and Two Noughts is, in places, exceptionally weird. A quick glance at the track titles indicates that all is not normal and right from the screaming strains of Angelfish Decay, it is clear that Michael Nyman is having a wild time creating some of the most bizarre sounds to come from an orchestra I've heard in some time. What is impressive is that Nyman does not ask the players to play their instruments in an especially unusual way - there's none of the tapping the back of the violin or blowing through trumpets without a mouthpiece - he just assembles the orchestration in such a way as to produce music that is at first utterly bizarre, then you get into it and just before you think you might tear your hair out, it stops. At least the first time appears.

Angelfish Decay (and the other tracks for the shots of decaying animals - this is a crucial plot point, apparently) is essentially just a harpsichord obbligato with a demented fiddle tune over the time. Sort of a lunatic fairground tune, as one commentator put it. The only real variation is in the final L'Escargot (Snails) where a very high pitched vocal (by Sarah Leonard) is performed in counterpoint and it carries on for almost six demented minutes. By that time, it really does start to wear thin. The rest of the score is a more typical of Nyman's output and finds a fairly introspective mood which is actually very fetching. Unfortunately, it's all a bit samey and certainly doesn't have the fascinating appeal of the stranger passages, the net result is a score with some impressively wild ideas and a good dramatic feel, but one that doesn't quite work as it should. However, for something fresh and unusual, the decay/rot tracks are worth the price of admission alone. Odd, but occasionally compelling.


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