Music by The Necks original music by The Necks published by Sony/ATV Music Publishing recorded and mixed by Ross A’Hern, Sony Studios music consultant Sean O’Brien ‘Hard On’ courtesy of Steve Lucas written & performed by Steve Lucas & A.R.M. ‘Beauty’ performed and composed by Allan Lamb courtesy of Dorobo Records Promotion: The music was used to promote the film and was made a feature in the DVD releases: CD: A CD of the soundtrack was released, and was re-released in 2004: Reviews: The Necks were promoted in a story in The Age on 19th September 1997: The disc was reviewed in the Sunday Age on 28th June 1998: The disc was reviewed in The Age on 6th August 1998: There are many other reviews of what became a cult item - this BBC review by Colin Buttimer in 2002 will serve as a sample and is available online here: As most other reviews of this release have noted, the big deal is that it comprises seven short tracks. The shock horror of this will need some explanation to those unfamiliar with Australian improvising trio The Necks: all their previous releases comprise one or at most two lengthy tracks. The shortest piece on The Boys clocks in at a mere three minutes and fifteen seconds (although three tracks do stretch to a shade over ten minutes). That's still, relatively speaking, a blink of the eye for the group. Which inevitably prompts the question as to whether the cumulative power of The Necks' music is diluted by its relative brevity on this outing. The short answer is no. The slightly longer answer is that the effect is similar to a looking at a seven-sided object rather than examining seven distinct objects. The other variation from the group's standard practice is that this music was composed as a soundtrack for an Australian film of the same name. The Necks make a sympathetic choice for the role as their music is remarkably efficient at sounding a motif without making it too obtrusive. "He Led Them Into The World" is pellucid and meditative in all the right ways: its piano figures modulating and echoing like a mantra. The feeling is of musical parts moving snugly together and apart, of sailing out towards the ocean's rim as the sun sets - the piano supplying the glimmering light and the movement of the waves. In (only) 10 minutes it manages to communicate something of the endlessness of the sea. Whether this has any bearing on the film is unknown, but the album cover states that "this soundtrack album ... consists of more than just the music that appeared in the film. It is an album in its own right, drawing from all works that The Necks composed for the project." Which gives licence for interpretation unmoored from the exigencies of the film's narrative. "Headlights" begins like a drowsy wasp circling round and round your head - there's that same hint of whirring menace. As the minutes pass the realization gradually dawns that this is it - an imperfect circle is being traversed endlessly. Then somehow the circle becomes a line - as it does if you walk its circumference for long enough. There's something magical about this transformation, this subtle but absolute shapeshifting. When pianist Chris Abrahams conjures a motif at the very beginning of a Necks track, it's a strange feeling to realise that there's every possibility he will pick and patch and stroke and prod at this pattern for the duration of the piece, however long that takes. Fight, flight or surrender are the most obvious responses; the third of them is certainly the most fruitful for the listener. For any Necks fans worried about the brevity of these tracks and who fear imminent stylistic change, please breathe easier - this album was in fact recorded between 1997 and 1998. The Necks: There is not much point dwelling on The Necks here, as they have continued to attract cult attention for decades. The Necks have a detailed wiki here, can be seen on YouTube, and have an eponymous site here, which contained a press kit, ‘tech specs’, a shop, tour dates and news, and short biographies: The Necks: The Necks are one of the great cult bands of Australia. Chris Abrahams (piano), Tony Buck (drums), and Lloyd Swanton (bass) conjure a chemistry together that defies description in orthodox terms. Featuring lengthy pieces which slowly unravel in the most mesmerising fashion, frequently underpinned by an insistent deep groove, the eighteen albums by The Necks stand up to re-listening time and time again. The deceptive simplicity of their music throws forth new charms on each hearing. Not entirely avant-garde, nor minimalist, nor ambient, nor jazz, the music of The Necks is possibly unique in the world today. Chris Abrahams: Chris was born in Oamaru, New Zealand but grew up in Sydney, Australia. He became very active in the Sydney jazz scene in the early eighties playing with modern jazz groups including Mark Simmonds’ Freeboppers and The Keys Music Orchestra. With Lloyd Swanton he formed the 60’s modern jazz- influenced The Benders in 1982. During its day, the band released three albums - E, False Laughter and Distance. In 1984 Chris recorded and released his first solo piano album - Piano, followed in 1986 by Walk. In 1985 Chris became a founding member of the Sydney indie rock band The Sparklers. As a result of this, Chris began working regularly with the singer and songwriter Melanie Oxley. Chris collaborated with Melanie, writing songs and producing albums, throughout the nineties. There are five releases with her: Resisting Calm (1990), Welcome to Violet (1992), Coal (1994),Jerusalem Bay (1998) and Blood Oranges (2003). Chris released a third solo piano album, Glow, in 2001. This was followed in 2003 by Streaming, and then Thrown (2004), Play Scar (2010) and Memory Night (2013). Chris has collaborated, in both recording and performance, with many contemporary improvising musicians including Burkhard Beins, Mike Cooper and Anthony Pateras. He performs regularly in the improvising music scenes both in Australia and Europe. Tony Buckley: Born in Sydney in 1962, Tony is regarded as one of Australia's most creative and adventurous exports, with vast experience across the globe. He has been involved in a highly diverse array of projects. Apart from The Necks, he is probably best known as leader of hardcore/impro band PERIL. Early in his musical life, after having graduated from the New South Wales Conservatorium of Music, he became very involved in the jazz scene in Australia, often touring with visiting international artists such as Vincent Herring, Clifford Jordan, Mickey Tucker, Branford Marsalis and Ernie Watts, as well as Australians Mark Simmonds, Paul Grabowsky, The catholics, Sandy Evans and Dale Barlow. Following time spent in Japan, where he formed PERIL with Otomo Yoshihide and Kato Hideki, Tony moved to Europe, and has involved himself in many projects there, including the development of new "virtual" MIDI controllers at STEIM in Amsterdam. Tony has played, toured or recorded with, among others, Jon Rose, Nicolas Collins, Tenko, John Zorn, Tom Cora, Phil Minton, Haino, Switchbox, The Machine for Making Sense, Ne Zhdall, The EX, Peter Brotzmann, Hans Reichel, The Little Red Spiders, Subrito Roy Chowdury, Clifford Jordan, Kletka Red, Han Bennink, Shelley Hirsch, Wayne Horvitz, Palinckx, and Ground Zero. Lloyd Swanton: Described by Billboard Magazine as "an outstanding and imaginative Australian bassist and composer", Lloyd Swanton was born into a large and musical family in Sydney in 1960. His long-running group, The catholics, has released eight albums, all produced and predominantly composed by him, with three receiving ARIA Award nominations. Their album Simple was nominated for the German Deutsche Schallplattenkritik Award. His 12-part suite Ambon, drawing from his uncle Stuart's secret diary kept whilst a prisoner of war in World War II, had its premiere in 2015, and is now released as a double CD. Overseas exposure in nearly 40 countries with numerous groups includes countless performances throughout Europe, Canada, the USA, Mexico, India, Cuba, New Zealand, Taiwan, South Korea, Russia, Indonesia, Thailand and Japan. For fourteen years, Lloyd Swanton hosted Mixed Marriage, a very popular radio program which examined crossings of jazz with other musical styles, on Eastside Radio in Sydney. In his spare time, Lloyd is an avid follower of Australian Football, and a keen collector of Australian Aboriginal art, ice crushers, modernist ceramics, and books on Fellini. He is also gathering historical information on his distant ancestor Theodore Deck, a leading name in 19th Century French ceramics. The trio turn up to discuss the music in the film. (Below: The Necks as they appear in the ‘making of’) Two of The Necks’ scored close-ups in the ‘making of’, below in order, pianist Chris Abrahams, and bassist Lloyd Swanton (The Necks’ press kit has a number of photos of the trio here): .