Here’s an ?Tango for the end of the year…
[soundcloud url=”http://soundcloud.com/radiomovies/tango”]

Hmmm… Well we may not be rich any more, but we’ve got art, music and books to keep our imaginations warm…!
Stumble It!
Here’s an ?Tango for the end of the year…
[soundcloud url=”http://soundcloud.com/radiomovies/tango”]

Hmmm… Well we may not be rich any more, but we’ve got art, music and books to keep our imaginations warm…!
Stumble It!
Here’s an overture I wrote for a production of Dickens’ A Christmas Carol starring Clive Francis, designed by Tim Bird.
[soundcloud url=”http://soundcloud.com/radiomovies/duickens-christmas-carol-overture” params=”auto_play=false&player_type=artwork&color=b07a10″ width=”300″ height=”300″ ]
Stumble It!
If you’d like the mp3 drop me a line below!
Marley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it. And Scrooge’s name was good upon ‘Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail.
Mind! I don’t mean to say that I know, of my own knowledge, what there is particularly dead about a door-nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country’s done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a door-nail.
In-I starring Akram Khan and Juliette Binoche is playing at BAM Harvey Theater (NY) this week.
To download tracks click on the buttons on the right hand side – it’s very easy!
To get news of more tracks like this you could join Philip here on Instagram:
And listen to lots of other tracks by clicking the pages in the right hand sidebar.
[soundcloud url=”http://soundcloud.com/radiomovies/sets/in-i-starring-juliette-binoche-akram-khan”]
If you liked this.. here’s one more chilled-out track for you:
Clear Blue – upbeat electric cello – feel free to give it the thumbs up (if you want..)!
n.b. Leave a comment below and we’ll send you links to other free tracks when they’re released.
It seems this is the week for DVD releases of some of my recent scores…
Henry Mind of a Tyrant, Sacred Monsters and Moon Machines are all rolling out now!
Henry Mind of a Tyrant is released on DVD in the UK:
Moon Machines finally gets a release on DVD in the US:
This series was fascinating to work on. The series focuses on the brains behind the mind-blowing technology that got man to the moon more than just the once. If you liked In the Shadow of the Moon (and I hope you did) then you might enjoy this too. My favourite sequences show how the software to run the craft was literally knitted by expert seamstresses using looms.
Sacred Monsters is released worldwide on DVD by Sadlers Wells:
This show starred Akram Khan and Sylvie Guillem. I wrote the score and toured with the production as onstage cellist (with a great band) for the best part of a year and a half. I hope to post the soundtrack online soon as a free listen (as per my other Akram show; In-I).

There are some new tracks added this week from past albums including Harrison’s Chronometer which I released as the other track on the EP length Glass Cathedral album, way back in 1999.
You’ll find them all in the sidebar to the right under Pages, including The Diver in the Crypt and In-I stage show.
Soon to come… the score of Sacred Monsters, (the Sylvie Guillem Akram Khan dance piece) and a very weird piece I wrote about the Venetian Underground System…
The dance project In-I starring Akram Khan and Juliette Binoche continues its world tour – taking in venues from Beijing to Sydney. I’ve worked with Akram for a number of years now, as a cellist and writer. Our previous project together was Sacred Monsters in which he partnered Sylvie Guillem.
My score for In-I uses lots of multitracked cello, prepared piano and electric cello as well as samples of Juliette’s voice which is, to say the least highly lyrical.
I promised I’d put the score online – so here it is!
Casanova to steps to love[Audio http://radiomovies.files.wordpress.com/2009/02/aj1-casanova-sep-51.mp3]
Skin solo[Audio http://radiomovies.files.wordpress.com/2009/02/aj8-skin-solo.mp3]
The apotheosis[Audio http://radiomovies.files.wordpress.com/2009/02/the-apotheosis.mp3]
I may make these files downloadable if possible – let me know if that’s preferred.
The show has a truly exceptional design team in artist Anish Kapoor and lighting designer, Michael Hulls.
Michael has recently been working with the genius Robert LePage and is (to my mind) the Howard Hodgkin of the illumination world.
Other links:
Here are some highlights from the show presently on youtube:
[youtube=http://www.youtube.com/watch?v=Mw-4BXwS7q8&hl=en&fs=1]
Excerpts from an interview with Juliette here:
http://cinematicpassions.wordpress.com/2009/01/11/juliette-binoche-dances/
I reckon Haruki Murakami is a lyrical genius…
I’ve finally started reading Haruki Murakami’s books. I bought Norwegian Wood at a second hand bookshop and steamed through it, becoming increasingly upset that I was nearer to the end than the beginning. It’s an immersive and profoundly lyrical book. I’ve ordered everything else he’s written in a fit of impetuousness. When I was at school I read Yukio Mishima’s book, The Sailor who fell from grace from the sea which had a similar effect on me. Unfortunately Mishima became bizarrely locked into his own fascistic ideas as he got nearer to his self-inflicted end, whereas Murakami appears to shy away from the cult of his own personality.

I went to see London production of The Elephant Vanishes back in 2003 at the Barbican, when Simon McBurney directed a radical interpretation of three of Murakami’s short stories. The production used a cello piece I’d written based on a Turner Painting (Rain, Steam and Speed) for the scene when a Tokyo housewife finds escape from her drudgery of routine by forcing herself into a state of insomnia. The character was represented by four different actors moving in a constant short-cycled blur.
I have never seen anything so utterly different onstage (though what was being acted was too good for my music I fear…). The combination of technology, astounding physical theatre and magic realism imprinted images and emotions that only surfaced a few weeks later when I realised I’d seen something exceptional.
I’ve got the same sense from Norwegian Wood – the story is looping in my head like an infinished scrap of music. This man’s a genius. Now let’s leave him alone so he can keep at it…
