Released thru
Silent Recordings / Undercover Music



"...[a] dark and beautiful album..."
[IF Magazine]

[Filmink Magazine]
"An admirable and daring success story"

"Like most exciting projects, Silent Soundtracks is a risky gamble that pays off. This is an album all about creating moods and feels, with the key word being 'cinematic'. Half the disc is made up of music culled from various Australian films, while the other selections are chosen for their equally filmic stylings, pieces that could perhaps be played to movies yet to exist. It's a bold move, but Silent Soundtracks plays seamlessly, with the tracks gliding into each other to crate one long mood piece that fits together perfectly. The music taken from films (including Paul Kelly's Lantana, The Necks' eerie soundscapes from The Boys, Single Gun Theory's gently electronic work from Monkey's Mask, renowned composer Paul Grabowsky's track In The Car from the British film Shiner, and the now very rare jazz free form that Galapagos Duck laid down for the 1974 film The Removalists) lays the foundation for equally cinematic pieces by the likes of FourPlay, David Thrussell (who scored Angst and The Hard Word), Prop, Coda and Amphibian. An admirable and daring success story." [Erin Free, Filmink]

Buy Silent Soundtracks: Music For Film on-line from here
or through Vitamin Distribution in Australian record bars

4 STARS ****
[Empire Magazine]

"A showcase rather than a straightforward compilation,
Silent Soundtracks
includes excerpts from lauded works such as Paul Kelly's Lantana suite together with tracks from acts who have yet to score movies. This mixing of newcomers such as Soma, Prop and FourPlay with established names could have backfired, but the newcomers' offerings actually seem very at home in such exalted company. Since it also marks the CD debut of Galapagos Duck's The Removalists score, you won't be disappointed if you buy this for the big names. Buy it for the debutantes, though, and you'll have the privilege of being the first to encounter Australia's next generation of film composers." [RL, Empire Magazine]


"... As the title suggests,
what's on offer is music that has been created either for film, or with film mind, or even an imaginary film. Therefore, what you get is just over 75 minutes of soundscapes, some more ambient than others, but all capable of creating the most extraordinary images in your mind if you're willing to take the trip. The tracking has been superbly handled, with the opening piece, the perfectly apt Prelude by Barry Hales, encapsulating half a dozen moods in less than a minute, segueing perfectly into the more exotic La Chasse, from Coda, which similarly runs seamlessly into Wanderlust's contribution, Dakar, and so on. Those three examples alone sum up the diversity on offer, with Hales a soon to cross over to pop song compositions from his current soundtrack career, Coda the gloriously eclectic classical/groove/electronica fusion collective, and Wanderlust the contemporary jazz combo with strong World Music elements. So eclectic a mix says as much for the incredible broadening of what was once considered appropriate for film as it does the versatility of the musicians concerned. So it should come as no surprise to see Paul Kelly's name on the same CD as one of the original Sydney jazz institutions, Galapagos Duck, with Lantana and The Removalists their respective contributions, the former from the film of the same name released in 2001, the latter the film adaptation of David Williamson's play from 1974. While the use of wah pedal on the bass and inclusion of a drum solo might seem out of place today, the Duck's cut, a "three-piece suite" of sorts, still works a treat. [Michael Smith, Drum Media]


"What's a movie without music?
A silent one, that's for sure. These 16 homegrown themes have either been used in movies or have that atmospheric movie theme feel about them. Best known of the bunch is Paul Kelly's eerie Lantana score (in a special 10-minute version), leading a whole host of local names who've beavered away in our film industry for eons without any great kudos or the credit they deserve. Stan-out selection include the Bond-goes-minimalist electronica of Soma's Arcane, Bjork-like Majella O'Shea's haunting Permanent Trip, Sydney quartet FourPlay's string-laden August and All India Radio's wonderfully moody Permanent Revolutions. It's also commendable to find that for once the CD sleeve notes include a little bio detail on the composers and their works, alerting savvy listeners to the fine artistry lurking virtually unacknowledged in our very own backyard. Hopefully this is but the first of more Aussie-centric soundtrack samplers." [Marc Andrews, DNA Magazine]

"Looking for a composer to score your film?
Then you've come to the right place." [DVD Now Magazine]

4 STARS ****
[3D World]

"......Released alongside Sydney's 49th Film Festival,
Silent Soundtracks
pays tribute to those 'silent' and oft forgotten musical backdrops that have accompanied some of this country's greatest film achievements. As well as this, it also recognises the impact that soundtrack music has had, with cinematic mood pieces from local independent acts like Coda, FourPlay, Prop and Wanderlust. The result is 16 gorgeously cinematic tracks that are often bleak and minimal, yet deeply emotive. From the eerie composition by The Necks for the movie The Boys to the upbeat, frantic jazz suite by Galapagos Duck for the 1974 film adaptation of The Removalists as well as Paul Kelly's stunning piece for the recent hit Lantana. This release forces you to shut the eyes and imagine the celluloid images, without the discomfort of a theatre chair. Forget the theme to Spider-Man, or the great Titanic ballads, this is music by musicians for films loved by the buffs. Margaret and David would be proud. [Lemon Head, 3D World Mag]


"...... A compilation of 'atmospheric' music,
including the previously mentioned themes from The Boys and Lantana. But as well as exciting scores, it also contains some really incredible music from a wide range of Australian artists that should be scoring films - and undoubtedly would be if the Australian government would give more money to film makers and less to the freaking opera for god's sake. Af first I was thinking this is the kind of album I'd listen to a couple of times and that's it. But on first listen I knew otherwise. There's lots to listen to, and it really grown on you. There's a couple of jazz-based numbers, a couple of pieces based around strings, there's exotica, there's Soma's eerily tripped-out dance thing, Single Gun Theory's spooky Monkey's Mask theme and Paul Grabowsky's In The Car which, on first hearing you automatically think 'Car Chase!' without knowing anything more. (It was of course written for a car chase.) But it's a totally cool song in its own right. I also am surprised to say I love Majella O'Shea's Permanent Trip. It won some dance music award but that hasn't put me off at all. She has an amazing voice, but what's even more amazing is the sparseness of the sound, it sounds like she's singing while floating in outer space. And I really like it. I reckon anyone lookin' to impress either themselves or their hipster buddies with their cool taste can finally chuck out those tired jazz compilations that came with the cook books and your battered copy of The Rebirth Of Cool Phive. Because this is the real deal. Or of course you could just buy it because you like good music - or good film. Either way, you can't lose! [Holly Shorland, Beat Magazine]

Buy Silent Soundtracks: Music For Film on-line from here
or through Vitamin Distribution in Australian record bars

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