Mica Levi
Delete Beach
Boomkat Product Review:
Mica Levi’s original soundtrack to an animé by acclaimed artist and Turner prize nominee Phil Collins - the film was illustrated and designed by the revered Marisuke Eguchi and is a follow-up to Levi’s award winning work on 'Under The Skin' and ‘Jackie'. Trust, this one’s a bit special.
This is Mica’s first musical accompaniment for animation, once again using her signature palette of dissonant strings and combustible electronics that just completely get to us every time. She paints a series of sweeping backdrops to the film's blend of classically-schooled anime and up-to-the-second CGI designs in a way that we find it hard to imagine any other contemporary soundtrack producer could have managed - somewhere between Arthur Russell, John Carpenter and Johann Johannsson.
The film is set in a near future where carbon-based energy is outlawed and supposes a paradoxical scenario, one where fossil fuels - the ostensible accelerator of humanity’s progress and decline - become energy for the toil against state oppression and enforced inequality. In doing so, it resonates with anime’s strong tradition of exploring eco-feminist themes and power dynamics, both socio-political and technological.
The central Delete Beach theme, a diaphanous section of airborne synth-string contours and charred guitar distortion carved in pirouetting turns-of-phrase, appears in Japanese and English-narrated versions as well as an Instrumental mix. They are divided by the beat-driven Interlude 1 and interlude 2 - which is perhaps the standout piece on the whole score and possibly in Levi’s impeccable oeuvre generally - a mix of string slashes mixed with opiated chopped ’n screwed rhythms comparable to her breathtaking deconstructions with the London Sinfonietta.
After her work underlying and exploring complex characters in Jackie, a biopic of Jacqueline Kennedy Onassis, and the alien-woman metaphors of Jonathan Glazer’s Under The Skin, Delete Beach follows suit with an impendingly tense, viscerally affective sound that reflects and conveys a sense of independence in the face of uncertainty, of a struggle against imposed forces or control systems.
It’s another beguiling testament to Levi’s role as one of the most original and eminent composers of her generation and, once again, leaves us convinced that she's more or less peerless in this field...
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Boomkat Product Review:
Mica Levi’s original soundtrack to an animé by acclaimed artist and Turner prize nominee Phil Collins - the film was illustrated and designed by the revered Marisuke Eguchi and is a follow-up to Levi’s award winning work on 'Under The Skin' and ‘Jackie'. Trust, this one’s a bit special.
This is Mica’s first musical accompaniment for animation, once again using her signature palette of dissonant strings and combustible electronics that just completely get to us every time. She paints a series of sweeping backdrops to the film's blend of classically-schooled anime and up-to-the-second CGI designs in a way that we find it hard to imagine any other contemporary soundtrack producer could have managed - somewhere between Arthur Russell, John Carpenter and Johann Johannsson.
The film is set in a near future where carbon-based energy is outlawed and supposes a paradoxical scenario, one where fossil fuels - the ostensible accelerator of humanity’s progress and decline - become energy for the toil against state oppression and enforced inequality. In doing so, it resonates with anime’s strong tradition of exploring eco-feminist themes and power dynamics, both socio-political and technological.
The central Delete Beach theme, a diaphanous section of airborne synth-string contours and charred guitar distortion carved in pirouetting turns-of-phrase, appears in Japanese and English-narrated versions as well as an Instrumental mix. They are divided by the beat-driven Interlude 1 and interlude 2 - which is perhaps the standout piece on the whole score and possibly in Levi’s impeccable oeuvre generally - a mix of string slashes mixed with opiated chopped ’n screwed rhythms comparable to her breathtaking deconstructions with the London Sinfonietta.
After her work underlying and exploring complex characters in Jackie, a biopic of Jacqueline Kennedy Onassis, and the alien-woman metaphors of Jonathan Glazer’s Under The Skin, Delete Beach follows suit with an impendingly tense, viscerally affective sound that reflects and conveys a sense of independence in the face of uncertainty, of a struggle against imposed forces or control systems.
It’s another beguiling testament to Levi’s role as one of the most original and eminent composers of her generation and, once again, leaves us convinced that she's more or less peerless in this field...
24 Bit Audio
Boomkat Product Review:
Mica Levi’s original soundtrack to an animé by acclaimed artist and Turner prize nominee Phil Collins - the film was illustrated and designed by the revered Marisuke Eguchi and is a follow-up to Levi’s award winning work on 'Under The Skin' and ‘Jackie'. Trust, this one’s a bit special.
This is Mica’s first musical accompaniment for animation, once again using her signature palette of dissonant strings and combustible electronics that just completely get to us every time. She paints a series of sweeping backdrops to the film's blend of classically-schooled anime and up-to-the-second CGI designs in a way that we find it hard to imagine any other contemporary soundtrack producer could have managed - somewhere between Arthur Russell, John Carpenter and Johann Johannsson.
The film is set in a near future where carbon-based energy is outlawed and supposes a paradoxical scenario, one where fossil fuels - the ostensible accelerator of humanity’s progress and decline - become energy for the toil against state oppression and enforced inequality. In doing so, it resonates with anime’s strong tradition of exploring eco-feminist themes and power dynamics, both socio-political and technological.
The central Delete Beach theme, a diaphanous section of airborne synth-string contours and charred guitar distortion carved in pirouetting turns-of-phrase, appears in Japanese and English-narrated versions as well as an Instrumental mix. They are divided by the beat-driven Interlude 1 and interlude 2 - which is perhaps the standout piece on the whole score and possibly in Levi’s impeccable oeuvre generally - a mix of string slashes mixed with opiated chopped ’n screwed rhythms comparable to her breathtaking deconstructions with the London Sinfonietta.
After her work underlying and exploring complex characters in Jackie, a biopic of Jacqueline Kennedy Onassis, and the alien-woman metaphors of Jonathan Glazer’s Under The Skin, Delete Beach follows suit with an impendingly tense, viscerally affective sound that reflects and conveys a sense of independence in the face of uncertainty, of a struggle against imposed forces or control systems.
It’s another beguiling testament to Levi’s role as one of the most original and eminent composers of her generation and, once again, leaves us convinced that she's more or less peerless in this field...
24 Bit Audio
Boomkat Product Review:
Mica Levi’s original soundtrack to an animé by acclaimed artist and Turner prize nominee Phil Collins - the film was illustrated and designed by the revered Marisuke Eguchi and is a follow-up to Levi’s award winning work on 'Under The Skin' and ‘Jackie'. Trust, this one’s a bit special.
This is Mica’s first musical accompaniment for animation, once again using her signature palette of dissonant strings and combustible electronics that just completely get to us every time. She paints a series of sweeping backdrops to the film's blend of classically-schooled anime and up-to-the-second CGI designs in a way that we find it hard to imagine any other contemporary soundtrack producer could have managed - somewhere between Arthur Russell, John Carpenter and Johann Johannsson.
The film is set in a near future where carbon-based energy is outlawed and supposes a paradoxical scenario, one where fossil fuels - the ostensible accelerator of humanity’s progress and decline - become energy for the toil against state oppression and enforced inequality. In doing so, it resonates with anime’s strong tradition of exploring eco-feminist themes and power dynamics, both socio-political and technological.
The central Delete Beach theme, a diaphanous section of airborne synth-string contours and charred guitar distortion carved in pirouetting turns-of-phrase, appears in Japanese and English-narrated versions as well as an Instrumental mix. They are divided by the beat-driven Interlude 1 and interlude 2 - which is perhaps the standout piece on the whole score and possibly in Levi’s impeccable oeuvre generally - a mix of string slashes mixed with opiated chopped ’n screwed rhythms comparable to her breathtaking deconstructions with the London Sinfonietta.
After her work underlying and exploring complex characters in Jackie, a biopic of Jacqueline Kennedy Onassis, and the alien-woman metaphors of Jonathan Glazer’s Under The Skin, Delete Beach follows suit with an impendingly tense, viscerally affective sound that reflects and conveys a sense of independence in the face of uncertainty, of a struggle against imposed forces or control systems.
It’s another beguiling testament to Levi’s role as one of the most original and eminent composers of her generation and, once again, leaves us convinced that she's more or less peerless in this field...
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