Underworld And Gabriel Yared - Breaking And Entering (Music From The Film) Herunterladen

I must confess that I only picked this up cheap second-hand, quite some time after its release, mainly for the sake of completeness in my Underworld collection; I had no idea what to expect from the content but just a couple of tracks into my first listen I found myself thinking "I'm really glad I got this!" A far cry from the majority of Underworld's previous contributions to movie soundtracks - solid dancefloor tracks like 'Born Slippy .Nuxx', 'Dark Train', 'Moaner', 'Cowgirl' and 'Pearl's Girl' - this is effectively an atmospheric and ambient LP from the duo, working here in partnership with Oscar-winning composer Gabriel Yared. The pieces here are thoughtful and often quite beautiful, led by acoustic guitar, strings or piano (as a fan of Harold Budd and Roger Eno I particularly like the piano-ambience). The compositions are mostly beatless, although some have gentle percussive elements, and are without lyrics, with only occasional vocal sounds on a couple of tracks; they're also sequenced together smoothly, running for just under an hour in total and giving a very listenable whole (in contrast to some soundtrack albums).

Anthony Minghella, the movie's writer/director and a frequent collaborator with Yared, provides five pages of sleeve-notes about the project and cites Underworld's 2002 album-track 'Ess Gee' as being a major influence on his screenplay. Soon after buying the CD I made a point of renting the movie to hear the music in context. Minghella's commentary on the DVD provides some further insights - he explains that he has to "find the sound of a film" before being able to write for its characters and that he wanted the score to create a "restrained and muted world" with a "modesty" to it. He reiterates the importance of the "uninflected" sounds of 'Ess Gee' during the writing process and how it led him to contact Underworld. Initially he intended them to work only as producers but evidently they started collaborating on actually making music with Yared almost immediately, despite his usual reluctance to work with other musicians. Minghella describes the end result as being "insidious, beautiful, careful [and] delicate", liking the way that it "doesn't tell you what to think", adding that it's the only soundtrack from his film-making career that he listens to away from the movie - and I'd recommend doing the same to appreciate it fully.