L'Écart

Although this is what I would describe as a sparse sounding score, it does not detract from it the quality and sheer brilliance of the compositions and orchestrations that are within it. The composer utilises solo instruments such as woodwind, violin, cello and piano to create a work that although minimal is not only well constructed but also very enjoyable. The melodies are at times light, delicate and haunting, and have an aire of sheer class to them. They are simple but so attractive, which is something that I think I have said before about this composers work for film, uncomplicated but certainly effective. Once again I can hear a faint stylistic resemblance between the music of Vincent Gillioz and the compositions of Bernard Herrman, this is especially prevalent in track number 15, FRUSTRE, a simple music box theme opens the cue but this soon gives way to a more sinister yet light sounding motif, which underlines a violin solo that is supported by minimal but effectual usage of piano and woods. I just love the way that this music just seems to flow seamlessly interweaving throughout the running time of the compact disc, it is an atmospheric work which I personally feel is a wonderful soundtrack. It has many qualities and attributes, it is touching, tense, poignant romantically laced, at times foreboding, dark and also highly melodic. Shades of Christopher Young also inhabit Gillioz music, and I found myself thinking of Young's HAUNTED SUMMER at times, ie track number 22, TRANSFORMATION. There is even a nice polished jazz cue towards the end of the disc, track 23, NEW IDENTITY, is performed by piano and laid back percussion with the lead being performed on a Smokey sounding trumpet which is deliciously appealing. I cannot recommend this score highly enough, ok, its not full of lush and bombastic themes, or flyaway full blooded string surges, but it contains a sound that I like very much and I am certain I will not be alone in this opinion.