![]() ![]() If you happen to be a film scholar, or have a penchant for watching short films from the ‘20s, this collaboration might be right up your alley. So, unless one has seen the films the pieces are composed for, it’s hard to imagine the inner workings of these musicians in the structure of the songs. Conceptually, it’s quite insular: composers Dorian Concept, Tom Chant, Austin Peralta, and Grey Reverend, along with the Cinematic Orchestra, have written seven pieces inspired by old avant-garde short films. It is in this tension that In Motion #1 finds its undoing. If the music has a sense of immediacy, of its own identity, this won’t be a problem. At times, film scores (or music written to sound like film scores) sound like they’re “floating,” or lacking in completion without visual images. Film scores can be highly engaging pieces of art that stand on their own however, a clear danger arises in a lack of context. What it also did well was create an immediacy necessary to the type of music the Cinematic Orchestra perform. The spare, ringing chords of “To Build a Home”, one of the most memorable cuts from their 2007 effort Ma Fleur, could easily serve as a sonic backdrop to some introspective art-house flick. Post-rock isn’t the name of their game, but they live up to one of its credos, namely “making music for imaginary films.” If their name wasn’t a dead enough giveaway, their music more than speaks to that fact. ![]() The above quotation, which appears on the Web site for In Motion #1, has always been an integral part to the spirit of the Cinematic Orchestra. ![]() “A film is – or should be – more like music than like fiction.” ![]()
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