This is Greek composer Karaindrou's latest score for a film by Theo Angelopoulos, for whom she has written for 25 years. The pattern is similar to its predecessors, and no less stately, with slow, almost unbearably intense orchestral themes foregrounded by harp, cello, piano and violin. It's a conception of film scoring that recalls Maurice Jarre, where the steady accretion of atmosphere counts for more than musical "events". Exquisitely doomy, though.
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