music composer Jen Anderson Music Supervisor Christine Woodruff Music engineers Ross Cockle Jen Anderson Music Mixer Ross Cockle Keyboard Programming Jen Anderson All Instruments Played by Jen Anderson except: Marianella Percussion Alex Pertout Shakuhachi & Ocarina Ann Norman Cello Helen Mountford Piano Accordion Mark Wallis Nylon String Guitar & Dan Tranh Michael Livett MUSIC Junk City Written by Rick Brewster/Bob Spencer/Bernard "Doc" Neeson © 1989 Frilanded Pty Ltd/Rondor Music (Used by Permission of Rondor Music (Aust) Pty Ltd)/ Universal Music Publishing Pty Ltd/Empire Music Pty Ltd. (All rights administered by EMI Songs Australia Pty Ltd.) Performed by The Angels Courtesy of Shock Records Piano Sonata in C Minor KV 457 Written by W. A. Mozart Performed by Jeno Jando Courtesy of Naxos Dogs Are Talking Written by Rick Brewster/Bernard "Doc" Neeson/Jim Hilburn/ Brent Eccles/Bob Spencer © 1990 Frilanded Pty Ltd/Rondor Music. (Used by Permission of Rondor Music (Aust) Pty Ltd.)/ Empire Music Pty Ltd (All Rights Administered by EMI Songs Australia Pty Ltd) & EMI Music Publishing Australia Pty Ltd/Universal Music Publishing Pty Ltd/ Rough Cut Music Pty Ltd Performed by The Angels Courtesy of Shock Records Der Fliegende Hollander (The Flying Dutchman) Written by Richard Wagner Performed by Muff/Haubold/Knodt/Seiffert/ Budapest Radio Chorus/ORF Symphony/Steinberg Courtesy of Naxos Walk Don't Run Written by John Smith peermusic Pty Ltd Performed by The Ventures (P) 1960 Liberty Records, a division of EMI Records USA Licensed courtesy of EMI Music Australia Living In A Child's Dream Written by Michael Bower Universal Music Publishing Pty Ltd Performed by The Masters Apprentices Courtesy of Jim Keays Lacrymosa from Requiem Written by Guiseppe Verdi Performed by Filipova/Scalchi/Hernandez/Colombara Hungarian State Opera Chorus & Orchestra Courtesy of Naxos Original Music Published by Head Records Music cue sheets: Rather than list the contents of the CD, obvious enough from the images below, these are the music cue sheets, showing the exact usages of music within the film: CD: A CD of the soundtrack was released: Music in the film: For one of the dance sequences, a band is briefly sighted, but isn’t credited. No doubt the sound was dubbed in during post-production: CD review - Urban Cinefile: Brad Green wrote a review of the CD release for Urban Cinefile, published 7th June 2001, available here, saved to WM here. "This is a soundtrack of textures. Low on hummability, yet rich with instrumental flavours. One-woman fiddle factory, Jen Anderson, is at the helm of a musical navigation through that little-explored juncture where the Orient meets colonial folk and country. Anderson plays violin, viola and cello. She also features here on mandolin, mandola, harmonium and tin whistle, not to mention doing all of the keyboard programming herself. No one is credited as soundtrack producer. But Anderson also co-recorded and mixed the music, as well as composing it, so we can safely categorise this project as the product of an individual creative prowess. It has resulted in a soundtrack of refined, lush ambience conjuring images of epic landscapes and exotic terrains. With ethereal female voices and reverberant, layered, folk-influenced instrumentation, you might justifiably think Enya, but you’d be quite wrong. There is something distinctive about Anderson’s convocation of cross-cultural sounds and styles that defies easy comparison. Certainly the music fits snugly into the general category of meditative, new age ambience, but it has an alcove all of its own. The opening cue, T1, is the most ebullient and captivating. A soaring, trilling female vocal propelled by a music bed of mesmerising density. It is immediately followed by T2, which introduces both the conformities and contrasts of the soundtrack. The intense block harmonies of the opening cue give way to an ensemble of plucked strings and linear lines of bowed violin. The mood is El Conda Pasa suffused with the chiming ceremonial flavour of the Far East. Within the context of contemplative reflections of nature, Anderson deftly alters the sense of spaciousness with her arrangements and dynamics. T11 features a plaintive, poignant Oriental-banshee of a vocal that twists and turns down the passages forged by an ensemble of plucked strings. T13 resounds with a meditative chant, reminiscent of Lisa Gerrard’s Gladiatorial performances but earthier, more primeval, and with an equally expansive evocation of timelessness and universality—albeit that there is an oddly abrupt ending to the cue itself. Anderson’s own instrumental work is complimented throughout the soundtrack by polished performances from her complimentary musicians. Not to mention a consistently sterling effort from her reverb unit— there is nothing tight and dry here, every sound is sculptured with ambience that becomes integral to the timbre. A far cry from the many bland compilations of pop ditties that so often comprise soundtracks nowadays, this is very much a musical work intricately crafted to create an atmosphere. A fine caparison for cinematic images, the music alone is also perfect for those times when you feel the need to be carried away—on a cloud of velvet ambience." Composer Jen Cooper: Composer Jen Cooper had an eponymous site here. It contained a short bio: Jen has earned an international reputation as a composer and improvising violinist. With a strong classical training background and many years of professional performance improvising with numerous bands, she has also composed music for film, television, theatre and dance. Jen has enjoyed national success with her score and live performance of string quartet music to the silent film ‘Pandora’s Box’, and further national and international success with her score for the silent film ‘the Sentimental Bloke’. Jen and her band the Larrikins accompanied the screening of the film at several prestigious screen events including the London International Film Festival, Pordenone Silent film Festival (Italy), Telluride Film Festival (Colorado USA), Tokyo Film Festival (Japan) and Chungmuro Film Festival (Seoul, Korea). As a composer for film and television her many credits include HUNT ANGELS (documentary feature film, 2006) THE GODDESS OF 1967, SIMONE DE BEAUVOIR’S BABIES (ABC television mini-series), and the silent movies PANDORA’S BOX and THE SENTIMENTAL BLOKE As a live performer on violin Jen has toured and recorded with many of Australia’s best known rock, folk and country artists, including the Black Sorrows (89-93), Weddings Parties Anything (93-98), Tim Rogers (You Am I), Tiddas, Archie Roach, Ruby Hunter, and the Waifs. She has produced and/or engineered albums for Archie Roach, Ruby Hunter, Tim Rogers and The Waifs, along with five CD’s of her own work; THE SENTIMENTAL BLOKE (silent film score highlights) PANDORAS BOX, (silent film score highlights - string quartet), SEEK (pop EP), SILENT CATALYST, (instrumental piano and violin music), and THE GODDESS OF 1967 (soundtrack for feature film) For the past 10 years Jen has expanded her musical interests, working with people from a diverse range of cultures and backgrounds, resulting in projects such as recording a CD of traditional songs with Sudanese refugee women in Melbourne (‘Old songs in a New Country’), and workshopping hip hop songs with young indigenous women in the East Kimberley region of WA. In June 2017 Jen released a recording of the full length score of Pandora’s Box as a DVD, and is currently writing a multidimensional work for silent film, physical theatre and live music performance entitled ‘Driven to Distraction’. Jen regularly performs live with highly acclaimed indigenous artist Archie Roach and she produced his most recent album, Dancing with my Spirit (2018). She is currently composing music for a feature length documentary entitled The Show Must Go On, a story about mental health issues in the entertainment industry. The site also contained a list of Cooper’s works: Film Scores THE SHOW MUST GO ON Australian Feature length documentary, to be released October 2019 HUNT ANGELS Australian Feature length dramatised documentary, 2006. (ABC television co-production) MIFF and Rotterdam Festivals THE GODDESS OF 1967 Feature Film, directed by Clara Law, international release in 2000, Australian release April 2001 THE SENTIMENTAL BLOKE Full-length silent movie. Music performed live at the Melbourne Film Festival, 1995.. International tours, 2005-2006. PANDORA'S BOX Full-length silent movie. Music performed live at seasons throughout major metropolitan centres, Australia (1993-1994, 2017) NUMEROUS SHORT FILM AND DOCUMENTARY SCORES including ‘It’s Like That’ (Animation, Southern Ladies Animation Collective), ‘Smith and Ashcroft’ dir.Fin Edquist, “Helga at the Shopping Mall’ & ‘Tale of the Paper Hearts’ dir. By Brie McKilligan, ‘Ripples’ dir by Nick Ridge, ‘Bad Credit and Aliens’ dir by Michael Bond Music for Television BALLROOM RULES 55 min doc. For ABC television, screened Nov. 2011 VIVIAN BULLWINKEL 55 minute documentary for ABC, screened April 2007 EINSTEIN’S WIFE 55 minute documentary for ABC/PBS, screened April 2004 ECHO LAND 55 minute documentary for SBS television, screened April 2003 HEARD ISLAND 55 minute documentary for ABC television, completed May, 2002 SHORT CUTS 9 eps. of a 26 ep. Teenager’s TV drama for Channel 7. Screened 2002 DOLPHIN MANIA 55 minute ABC documentary directed/produced by Sally Ingleton, 2001. WEE JIMMY 26 minute drama commissioned by SBS television. Screened June 2001. THE BAY Animation by Amanda Coleman, commissioned by SBS television, screened 7/11/99. THE DAHLIA MEN Special for Gardening Australia, screened on ABC 29/1/98. SIMONE DE BEAUVOIR'S BABIES 4 part miniseries, shown on ABC Television, Feb/March, 1997 THE GREAT OUTDOORS Aug/Sept. 1994. Weekly lifestyle program, Channel Seven Network. Music for Dance (highlights) CON-SEQUENCE Music composed for duet contemporary dance work, performed at Melbourne Fringe Festival October 2012 HOOPS WITH STRINGS Music composed for solo contemporary dance work, performed by Simone Litchfield in July 09 at Danceworks Theatre.