Search - Marc Ribot, Anthony Coleman, Peter Scherer :: Soundtracks II

Perhaps more evocative than compelling . . .

Jan P. Dennis | Monument, CO USA | 11/16/2003

(4 out of 5 stars)

". . . but what else should we expect from music composed specifically for movie soundtracts?A not inapt comparison might be the soundtracts Ry Cooder has composed and performed. Always entirely suited to the particular films they're written for, they nevertheless fall somewhat short of his best playing and writing.The same is true of this disc. Mark Ribot is always worth a listen, even when the music he's making isn't essential, as it isn't here. Still, there are lots of interesting and a few even unique soundscapes. My favorites are "Prowler," with its haunting sequencer percussion and synth effects, "Urbanight," featuring Frank London's ethereal trumpet and cool percussion from E. J. Rodriguez, "The Beast in the Jungle," with some very evocative sampled sounds buoying Anthony Coleman's scary piano, "The Killing Zone," graced by the uncanny sounds of Ned Rothenberg's shakuhachi, "Requiem for Eitan," defined by the mesmerizing violin of Mark Feldman, "The Persistence of Memory," with grunge guitar, an unrelenting backbeat, and sinister flute/sax stylings, and "Lost Children," a deceptively simple tune demonstrating Ribot's very effective use of sampled sounds in concert with electric and classical guitar treatments.Not surprisingly, these are mostly the longer tracts, providing enough space for sufficient melodic, harmonic, and rhythmic statement and development. As one might expect, the shorter pieces are almost pure evocation--often quite interesting and certainly atmospheric, but seldom completely satisfying.Not essential, but certainly worth a listen. 4 and 1/2 stars."