FANG presents...
Artist.......: VA
Album........: Home Original Motion Picture Soundtrack
Label........: Italians Do It Better
Genre........: Electronic
Catnr........: IDIB061
Source.......: CD (LP)
Rip.date.....: 2017-07-06
Str.date.....: 2017-06-12
Quality......: 229kbps/44.1kHz/Joint Stereo
Url..........: http://italiansdoitbetter.bigcartel.com
track title time
1. Chromatics - Magazine 3:47
2. Chromatics - Paradise 2:19
3. Symmetry - The Magician 4:02
4. Symmetry - Alligator 2:26
5. Symmetry - Countdown 3:27
6. Chromatics - Running From The Sun (End 2:54
Credits Version)
7. Johnny Jewel - Home 2:50
8. Johnny Jewel - Subdivisions 2:06
9. Johnny Jewel - Turst 1:50
10. Johnny Jewel - Remorse 4:38
11. Johnny Jewel - Endless 4:32
12. Johnny Jewel - Isolation 2:44
13. Johnny Jewel - Decay 1:29
14. Johnny Jewel - Youth 2:27
Runtime 41:31
Size 68.73
Release Notes:
Home had its world premiere in August at the Venice Film Festival, where Fien
Troch won Best Director in the Orizzonti section.
Below are quotes from Home director Fien Troch and Home composer Johnny Jewel
Fien Troch - Home director and co-writer
ôIÆve always been drawn to JohnnyÆs music, as it is reckless and physical. His
music is an emotional roller coaster. Every time I see scenes of my film with
Johnny's music on, everything IÆve done and worked for is lifted to another
level. ItÆs an overwhelming feeling. Music in films is often pushing you to
where you reject what you see. It is often obvious or illustrative, causing the
desired symbiosis of picture and sound to dry out and die off. But Johnny is
extremely strong in translating the narrative of the film, and the emotions that
come along with it, into a new lyrical universe. The melodic grammar he uses
becomes both a counterpart and ally of everything thatÆs happening on the
screen. ThereÆs moments of perfect harmony, friction and support. Once this
marriage is inaugurated there is no way back for the film, and it can no longer
exist without JohnnyÆs music.ö
Johnny Jewel - Home composer
ôIn Home, all of the filmÆs edits are actual jump cuts in time. Fien did this
intentionally, just like in documentaries, to give us the impression that weÆre
actually seeing into the real lives of the characters. On a sonic level, Fien
wanted the pop songs to come in and out of the film abruptly, similar to the
improvised smart phone footage that the teens filmed themselves. She asked me to
ride the line between hitting the viewer head on with a pop song that
immediately sweeps them into that world and then subconsciously creeping in
through the back door with score where the viewer doesn't even realize theyÆre
hearing music.
Fien wanted me to approach the ærealityÆ of the film in an abstract way that
blurred the lines between score and sound design. We discussed using minimal
ambient music to explore the themes of stress, anxiety, isolation, hope, the
naivete of youth, and the disconnection between the characters. Fien does an
incredible job illustrating the ever-widening generational gap between the day
job-fueled mundane routines of adults and the smart phone-aided curiosity of
teenagers, and she wanted to use music and sound to reinforce this gulf between
the two generations. The voices and breath of the teenagers are intimately mixed
very closely to the screen, whereas the adults are generally recorded from a
boom mic further off in the room, pushing their voices away. Everything we did
with sound was an effort to underscore this distance, and we hope for people to
identify with the kids.
Fien's ability to work with a young cast who had never acted before, and to
shoot in all natural light with only two cameras, and with no crew or make-up,
is a testament to her strength as a director to capture this hyper real feeling
the film gives us.ö
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