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Walking on Water Music Credits

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Walking on Water Music Credits Composer/Antony Partos Composer & Music Producer Antony Partos Recording Studio Supersonic Recording Engineer/Programmer John Green Piano Antony Partos Guitar John Green Sample Violin Ian Cooper Bass Recorder Ian Shanahan Violins Phillip Hartl & Askar Nurianov Viola Sandro Kostantino Cello Adrian Wallis Double Bass Jonathon Zwartz Mixing Studio Trackdown Music Mixer Simon Leadley Spandex Written by Antonio Gambale Performed by Le Marquis Publishing courtesy of Festival Music Publishing Recording courtesy of Pacifica Music Trinity Written by Antonio Gambale Performed by Tonemeister Publishing courtesy of Festival Music Publishing Recording courtesy of Pacifica Music Heads, Shoulders, Knees and Toes Written by M Cook, J Fatt, A Field, G Page Performed by The Wiggles Publishing courtesy of Wiggly Tunes Pty Ltd Recording courtesy of The Wiggles Touring Company Pty Ltd Dr Who Written & Performed by Gili Paradox Courtesy of Gili Paradox The Doors Written & Performed by Gili Paradox Under the Milky Way Written by Karin Jansson & Steven Kilbey Performed by The Church Published by Universal/MCA Music Publishing Pty Ltd & peer music Pty Ltd Recording courtesy of Festival Mushroom Records & Arista Records, Inc. Lilu Written & Performed by Gili Paradox Courtesy of Gili Paradox Voodoo Performed by Coco, Written by Paul Healy Courtesy of Critical Mass Productions Under the Milky Way Written by Karin Jansson & Steven Kilbey Performed by Sarah McGregor Arranged by Antony Partos Courtesy of Universal/MCA Music Publishing Pty Ltd & peer music Pty Ltd Lyrics: The song that runs over the tail credits is The Church’s Under the Milky Way, performed by Sarah McGregor for the film. Lyrics as heard in the film: Sometimes this place gets kind of empty The sound of breath fades with the light I think about the loveless fascination Under the Milky Way tonight Lower the curtain down on Memphis Lower the curtain down all right I got no time for private consultation Under the Milky Way tonight I wish I knew what you were looking for Might have known what you would find And it's something quite peculiar Something’s shimmering and white It leads you here, despite your destination Under the Milky Way tonight The song ends with just over a minute of credits to go, and a keyboard driven instrumental piece then runs until the end of the film. This song was released on a promotional EP which is now extremely rare - the only copy this site could find was defaced with markings. Best Boy, FMR - Wow Sampler 2002 1. Walking On Water (by Antony Partos, vocals by Sarah McGregor) 2. Under The Milky Way (arranged by Antony Partos, vocals by Sarah McGregor) 3. Trinity (Tonemaster) 4. Catharsis (composed by Antony Partos) Full CD: A CD of the soundtrack was released: Festival/Mushroom/Best Boy 335332 2002 01: Walking On Water (featuring Sarah McGregor on vocals). 02: Morning After* 03: Photographic Memory* 04: Babies Breath* 05: Morphine Journey* 06: Curious Kitty* 07: Voodoo, by Coco 08: Contemplation* 09: The Temptation* 10: Catharsis* 11: Trinity, by Tonemeister 12: The Precipice* 13: House for Rent* 14: The Alibi* 15: Sunrise* 16: Ashes* 17: Under the Milky Way (arranged by Antony Partos, featuring Sarah McGregor on vocals) * Original music composed and produced by Antony Partos Published by FLUID/Festival Music Publishing CD Review: Brad Green reviewed the CD release for Urban Cinefile on 26th September 2002, available here, WM here: You can say a great deal with just a few piano chords. If you choose the right chords. The piano has the least distinction and the most versatility of all timbres. It is pure and elegant; brimming with harmonic potential for even the solo player; and ultimately providing a challenge to the listener to extrapolate tonal character from the mood of the music. On this soundtrack, Sydney composer Antony Partos finds just the right mood, with just the right chords. These are played simply, economically; elaborated with no more than a few passing double stops and barely a hint of an arpeggio. The mind is given time to wander, to ponder, to tiptoe across a pond of possibilities. Although I haven’t seen the film as yet, the synopsis suggests perilous territory for a composer. It would be easy to reach for maudlin melodies, but Partos selects a more controlled sensibility. With the straightforward piano motif as anchor, a whole array of strings, acoustic guitar, uncluttered bass and drums and assorted lush samples prevent any risk of the score sinking into minimalist ambience. Partos’ production is exquisite. Every sound, every tonality deserves its place. Even while the atmosphere closes in, even with the spectre of death and grief in the background, the instrumentation continues to breathe. There is no better example of this than in the soundtrack’s title song. The top end is all bell-like and reverberant; the bass warm and powerful; the drums tight and full of presence; and Sarah McGregor’s vocal as clear as if it were shoved ridiculously forward though it actually sits perfectly in the mix. McGregor sings with restrained emotion. Her phrasing on both the title track, and an abridged version of The Church’s Under The Milky Way, possesses a refined elegance. There is not a hint of sentimentality, but her precise diction and musicality allow lyrics and melody to speak for themselves. Australian cinema often produces traditional orchestral scores and nostalgic rock soundtracks that are world class. It is more uncommon for it to deliver this kind of contemporary cosmopolitan score. Reflecting universal themes, the classical expertise shaping the soundtrack’s arrangements are augmented by a highly modernistic sound design – exemplified by the fact that a couple of techno-oriented tracks pound away quite comfortably in the midst of incidental cues. Most impressively, Partos manages to evoke a sombre atmosphere without allowing his score to ever feel weighed down. Lying somewhere between the pensive and the elegiac his music echoes the ambiguities of life; and stepping lightly across a fluid surface guides us to a place of reflection. Composer Antony Partos: (In earlier films, Partos was sometimes credited as ‘Anthony’). Partos is a well-known composer of film music, and he has a wiki here. Partos worked on director Tony Ayres’ second feature, The Home Song Stories. Partos is also listed here, WM here, with this CV, with some press blurbs and awards: Antony Partos is one of Australia’s most awarded film composers. His passion lies in creating scores that blend both acoustic and electronic elements with an eclectic mix of exotic instruments. His feature film credits include Jasper Jones and 99 Homes (winning the AGSC Award for Best Feature Film Score respectively in both 2016 and 2017), Animal Kingdom (AFI award for Best Feature Score), The Rover, Disgrace, The Home Song Stories and Unfinished Sky (the latter two winning the AFI Award for Best Feature Score). Antony’s scores for TV Drama include Wake in Fright (AACTA Award for Best Music Score in Television), Rake (AGSC Award for Best Music in a TV Series), The Slap (AGSC Award for Best TV Theme and Soundtrack), Mabo (AGSC Award for Best Music for a Telemovie) and Redfern Now (AACTA Award for Best Music Score in Television). Other projects include the Academy Award® nominated feature Tanna (winning both the AACTA and Film Critics Circle Award for Best Feature Score) and the BAFTA nominated feature documentary Sherpa (AGSC award for Best Music for a Documentary along with Best Soundtrack Album). Recent scores include ABC mini series Mystery Road (AACTA Award for Best Music Score in Television, AGSC Award for Best Music in a TV Series), the Lucas Films documentary The Director and the Jedi which had its world premiere at SXSW along with the HBO feature film Fahrenheit 451 which premiered at The Cannes Film Festival. Antony also recently scored for feature films Top End Wedding and I Am Mother, both of which premiered this year at Sundance Film Festival, and in collaboration with fellow Sonar composer Jackson Milas he scored the highly acclaimed Australian Drama series Bloom, currently streaming on STAN. Antony has just finished scoring the highly anticipated TV Series The End as well as the feature film Rams directed by Jeremy Sims and starring Sam Neill which is set for release in 2020. Antony is a passionate environmentalist and is drawn to projects that are concerned with social issues and human’s impact on the world. PRESS The outstanding original score by Antony Partos (“Animal Kingdom”) combines delicate electronic ambience, pulse-quickening drumbeats and haunting vocals by Lisa Gerrard. Variety Film Review: 'Tanna' by Richard Kuipers 'Tanna' may not be the longest album of original score work, but it is one of the most spacial aware... for the way in which composer Antony Partos creates his cinematic soundscapes are, one by one, both alluring and masterful. Anne Carlini 'Tanna' Soundtrack Review at annecarlini.com Antony Partos’ subtle orchestral score is elegantly woven into Sam Petty’s outstanding sound design package. Variety Film Review: 'Sherpa' by Richard Kuipers A key element in this tapestry is the critical role given to Antony Partos' part-acoustic and part-electronic score, which completely achieves what the composer calls "a sense of the epic within the film without being melodramatic." Michod so trusted the score he periodically uses it instead of dialogue over key dramatic moments. LA Times Movie Review: 'Animal Kingdom' by Kenneth Turan Partos’ production is exquisite. Every sound, every tonality deserves its place. Even while the atmosphere closes in, even with the spectre of death and grief in the background, the instrumentation continues to breathe... Most impressively, Partos manages to evoke a sombre atmosphere without allowing his score to ever feel weighed down.
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