English - English - Transparent Turquoise & Yellow Vinyl | RECORD STORE DAY
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English - English - Transparent Turquoise & Yellow Vinyl
English - Transparent Turquoise & Yellow Vinyl
Artist: English
Format: Vinyl

Details

Label: Silva Screen
Rel. Date: 07/07/2023
UPC: 738572170776

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DISC: 1

1. Opening Credits - Federico Jusid
2. Ttaciksta - I Cherish You - Federico Jusid
3. A Chase Is on - Federico Jusid
4. Cornelia and Eli - Federico Jusid
5. Cheyenne Tree Burial - Federico Jusid
6. Coming for Eli Whipp - Federico Jusid
7. Crumbling Is Not An Instant's Act - Federico Jusid
8. That's My Cattle! - Federico Jusid
9. And Yet Here We Are - Federico Jusid
10. Nothing Worth Dying for - Federico Jusid
11. Powder River - Federico Jusid
12. "Soon" Has Come - Federico Jusid
13. String Quartet No. 12 in F Major, Op. 96, B. 179, "American": II. Lento - Moyzes Quartet
14. Long Time Traveller - the Wailin' Jennys
15. Some Say (I Got Devil) - Melanie
16. American Tune - Crooked Still
17. Katie Cruel - Ora Cogan
18. You Cut Her Hair - Tom McRae

More Info:

The English is Federico Jusid's sweeping, nostalgic and raw score to Hugo Blick's six part contemporary Western. Giving a nod to 1950s western soundtracks, the score is enriched by Dvorák's String Quartet No. 12. Known as the "American", written during Dvorák's stay in America, and only three years after the events of the series. Also featured on the album are the beautiful folk songs by The Wailin' Jennys, Melanie, Crooked Still, Ora Cogan and Tom McRae. The second track on the album, Tâtaciksta_ - I Cherish You, features a tender reading by Emily Blunt. Jusid's music structure is based on leitmotifs, very simple and symmetric, constantly varied and developed to mirror the protagonists' journeys. Big orchestral sounds underpin epic and romantic themes. Sound design, processed percussion and ethnic instruments effortlessly blend in with the orchestral material. Federico describes his compositional process - "Unlike other projects, I started working with Hugo Blick, at a very early stage, some time before he even started shooting. Inspired by the scripts, his story board and chatting about the classics, I wrote different piano tunes and first mock-ups and sent them over to him... Often, I have received scenes cut to my own music and that made the process deeply organic and profound. The music became a core element of the structure of the show, instead of a later addition. In the end, Hugo and I worked for an entire year to develop this score".