生楽器と電子楽器の音が静かに重なる『哀れなるものたち』のサウンドトラック
Black Country, New Roadへの影響大、「Track X」の歌詞にも登場するサウス・ロンドンの気鋭音楽家:イェルスキン・フェンドリックスによるオリジナル・スコア音楽。ソロとは作風を変え、生楽器に電子音を重ねた音像。不穏で美しい映画本編と互いに寄り添っているようで素晴らしいです。秀逸なアートワークも含めてアナログLPで所有したい2024年を代表するO.S.T傑作。

タワーレコード （2024/06/21）

Waxwork RecordsはMilan Recordsとのパートナーシップにより、マルチ・インストゥルメンタリスト、プロデューサー、作曲家であるJerskin Fendrixの『POOR THINGS Original Motion Picture Soundtrack』をリリースする。このアルバムは、エマ・ストーンがプロデュースしたヨルゴス・ランティモス監督の新作長編映画のためにJerskin Fendrixが書き下ろしたオリジナル・スコア音楽を収録している。木管楽器とシンセサイザーによる息の合ったヴォーカル・サンプルを駆使したこのスコアは、『哀れなるものたち』の独特な世界観を表現しているだけでなく、主人公ベラの旅路に寄り添うサウンド・コンパニオンとしても機能し、映画が進むにつれて新たなテクスチャーやサウンドを取り込んでいく。

発売・販売元 提供資料 （2024/02/05）

When film director Yorgos Lanthimos enlisted English musician Jerskin Fendrix (aka Joscelin Dent-Pooley) to write the score for his steampunk body-horror take on the Frankenstein-inspired Poor Things novel by Alasdair Gray, Fendrix had just a smattering of professional music credits under his belt. Seeming to make an impression every step of the way, he was known to some as an up-and-coming experimental pop artist (2020s Winterreise) and to others as a producer and songwriter (Gia Ford, GFOTY), sideman (Black Midi), or budding theater composer (a reportedly memorable London production of Alfred Jarrys Ubu Roi, although it was Winterreise that caught Lanthimos ear). He made the most of the opportunity to work on Poor Things, as well, garnering an Oscar nomination for what was his film scoring debut. Coming on board early and working only from the films script and conversations with the director, Fendrix devised a surrealist sound palette that emphasized mechanics (specifically biomechanics) and the movement of air -- woodwinds, pipe organs, uilleann pipes, and vocals including synthesized and manipulated breath samples. Among the other instruments in play are piano, strings, various percussion, MIDI acoustic instruments, and sparing use of synths. More conspicuous to the ear, digital pitch-shifting was heavily employed. The soundtrack begins with the theme for the lead character, "Bella," a wistful, piano-based melody consisting of out-of-tune and bent pitches that help illustrate the characters skewed reality and early struggles to even walk. Distortion is the name of the game on spacious tracks that seem to put all timbres under a magnifying glass while also contorting their appearances, from the plucked strings of "Wee" to the theremin-like vocals and mallet percussion of "Bella and Max," and from the alarm-like tones, pitched screeches, and booming timpani of "Reanimation" to the more orchestral cacophony of "Alexandria" and "Paris." There are a few songlike entries, too, including the Portuguese folksong "O Quatro" by the soundtracks one guest singer, Carminho, and subsequent warped, accordion-style dances. Taken together, its a score so well-suited to the story and striking visual style of the film that its hard to imagine one without the other; having said that, the soundtrack album is perhaps even more impressively intense, sad, and alien on its own. ~ Marcy Donelson

Rovi