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Music for Film from Lancashire based Brandon Vare is a collection of fake soundtracks, created for films that will never exist. Its inspirations are vast; 1970s Germany and ‘80s Britain, damp, dank car boot sales and a load of synthesizers and what else Vare could find.

Available on cassette tape with download code.

  • Tape £6.66
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  • AUF/RHOMBUS01 / Tape on AUFHEBEN / Rhombus Home Entertainment Ltd
  • Includes download code

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Music for Film by Brandon Vare 1 review. Add your own review. 8/10
15 people love this record. Be the 16th!

8/10 Staff review, 24 August 2016

Talk to me about the imaginary soundtrack. There are a lot of musicians making them, so ratio me this: where are the directors making films for imaginary musics? This stunning one-way-street of respect brings Brandon Vare into the fold as our latest maker of in-vein cinema sounds. His synth-studded debut swirls about in search of a dystopia to no avail, even quoting Philip K. Dick in its liner notes in the hope of that Original Netflix Series money. It ultimately has to be listened to on its own terms, as its own series of isolating vignettes. Poor Brandon. Give him your pounds.

Vare’s music has an imposing and ghostly feel to it, with its droning backdrops feeling devoid of sentiment in favour of the haughtier, more unforgiving ambience seen in keen kosmische producers -- when rhythms start up, they do so unceremoniously, as if perpetuating themselves to nobody. The glassy soundscapes have touches of the ghost towns Steve Hauschildt scored last year, though their overbearing approach -- the sustains always so insistently in the foreground that they take the rest of the world’s sound away from you -- makes for a claustrophobic and encasing listen. How very tape. There’s fanfare, of a sort, with chords shifting about minute synth effects and vocal samples, but it feels short-lived compared to the long, barren compositions Vare’s crafting.

He knows a melody, too. When we get a little synth pattern to our ears, it sounds like a diluted John Carpenter cut, bright and slapdash in the fore but slightly vaporwave in its presentation -- juxtaposed with the groaning ambience Vare’s so good at, these become truly ascendent moments. As time goes on, Music for Film embraces new age, battles with the noise romantics of Jefre Cantu-Ledesma and even hints at pop hooks. Who wouldn’t want to hear these on the big screen? Put them in your film’s central montage or shut up.


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