Every time I have written about Emil Amos, particularly regarding his solo releases under the moniker 'Holy Sons', I have rightfully expressed only praise for what he has historically been—a great musician and multi-instrumentalist (initially known for being in various alternative bands such as Om, Grails, and Lilac & Champagne)—and who has turned out to be an even better songwriter. Even though he is less popular and known compared to other names currently on the scene, as far as I'm concerned, he is one of the best around, so much so that we can talk in the case of the album 'In The Garden' (released last year on Partisan Records) about a real exploit.
When I heard about his new album, which is notably released for the first time under his real name, Emil Amos, I honestly expected it to definitively mark the transition of this musician toward that pop and Americana singer-songwriter form that I previously wanted to celebrate with important words. And yet, it seems I was completely wrong because 'Filmmusik' (released on Pelagic Records last June 2nd) is something utterly different from everything this musician has published so far.
The album, true to its title, is fully configured as a series of ideal compositions for a soundtrack for a film that, at least for now, doesn't exist (some tracks are reportedly being taken up for the soundtrack of a film coming out next year). The same concept was at the basis of the release of 'Musique de Film Imaginé' by Anton Newcombe in 2015, although the sounds and style are entirely different. Emil Amos, in contrast, lacks that typical devotion to a certain European and Bohemian culture typical of Anton, and the style is undoubtedly more traditional and classical in the compositions that are mostly centered on dramatic atmospheres.
In some cases, it's also inevitable to think of what could be a possible tribute to one of the giants of the genre, such as Ryuichi Sakamoto, even though, clearly, the style in the compositions starts from completely different premises and is undoubtedly less sophisticated and elegant. Making use, in some cases, of the collaboration of other musicians (Daniel Fisher-Locchead on saxophone, Eliza Sohn on synth, Alex Hall on electric guitar) and Jeff Saltzman in the recording studio, the recordings are mostly configured as downtempo music of classical inspiration and nonetheless full of widespread dramatic intensity or alternatively a certain thrilling quality that is probably inevitable and at the heart of the concept that the artist wanted to develop.
Personally, I mostly thought of film genres where tension is high and, nonetheless, where there aren't lacking dramatic pushes of a certain type—genres such as noir or hard-boiled and, obviously, certain types of thriller films. Stuff like what John Woo was doing in Hong Kong, just to be clear.
My rating for this album can only be high, considering the brilliant quality of the recordings and how Emil Amos once again managed to surprise by successfully presenting himself in a new guise different from the others. Once you're inside the sounds of this album, after all, you'll only be left at this point to wonder what to expect next time. As well as wondering when the music world, even sticking to more alternative and indie environments, will realize his particular brilliance.
Tracklist
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