FMP – further notes

A few more notes about the idea…

– it’s a good idea to do a simple case study of an indie film and how they went about making it, funding it, getting it in front of people, etc. – to get some inspiration for mine.

– also with the case study, it would be good to make an analysis of a film in a similar style, discussing the visual treatment, how they approached the story, etc. So I’m not creating in a vacuum.

– there’s some old sound and photo equipment in my home in Bulgaria, left from my father, that no one is using and that have antique value – I could sell them to help fund the project.

– Ólafur Arnalds and Nils Frahm (creating in digital, publishing through a small indie label & using social networks to attract listeners) have a concert in London in October – might be a good idea to interview one of them?

– Anitek’s music – used in Audi commercials, signed with Korean label

– Pogo?

– Ask the question / find out if people use 100 % samples, or they also compose / record some of the music?

– More questions to ask: How do you create a track? Get them to talk / walk me through the process.

– Where do netlabelists hang out? Possible answer and definition of netlabels here: http://archive.org/details/netlabels

http://en.wikipedia.org/wiki/Netlabel

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One thought on “FMP – further notes

  1. The stock of this young Icelandic composer has risen dramatically within a relatively short period of time, and although this is only the second album proper from Olafur Arnalds, there’s been a healthy amount of anticipation building up to its release. And They Have Escaped The Weight Of Darkness takes its name from a line in Bela Tarr’s Werckmeister Harmonies, a film that Arnalds cites as a major inspiration all round for this album, and knowing that certainly invites you to draw parallels between the stately, elegant pacing and proportions of the respective works. Arnalds is able to draw a vast spectrum of colours from a relatively restricted palette, and previously the interplay between strings and piano gave him all manner of achingly lovely material, but for this latest project Arnalds has set aside the homespun electronic additional productions of his prior releases and looked to a bigger, more fully produced sound, assisted by fellow Icelandic maverick, Barði Johannsson (known for his work with pop/electronica outfit, Bang Gang). Tracks like ‘Tunglið’ and the massive sounding ‘Gleypa Okkur’ really benefit from the additional live instrumentation, with drums and noisier, rockier elements all helping to broaden Arnalds’ repertoire beyond the neo-classical parameters we’d ordinarily associate with him, and resituate his work within a more contemporary and hard-wearing style. A confirmed career milestone for this ever-improving artist.

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