music by David Thrussel music score produced by Francois Tetaz and David Thrussell arranged by Francois Tetaz guitars David Beattie english horn & organ Josephine Murdlem rhodes piano Lachlan Carrick whistler Anthony Paine harp Chris Linke double bass Barton Shackleford drums & percussion Valdamar Valerian trumpet & guitars Craig Pilkington piano Julia Bourke trombone James Wilkinson flute John Jansen electronic treatments Oscar Carlos electric bass Theodore Gottlieb studio technician Byron Joel Scullin strings & brass The Yandoit Municipal Orchestra recorded at The Intergalactic Nudist Ranch, Moose, Cyren and Audrey Studios Score © 2002 by Festival Music Pty Limited Trailer: The film's trailer contained a plug for the soundtrack release: CD: A CD of the soundtrack was released: Universal Music Australia 9183202 2002 Original motion picture soundtrack Original score composed by David Thrussell Produced by Francois Tetaz and David Thrussell Arranged by Francois Tetaz Guitars David Beattie Trumpet and guitars Craig Pilkington English horn and organ Josephine Paine Flute John Jansen Harp Chris Linke Electronic treatments Oscar Carlos Double bass Barton Shackleford Electric bass Theodore Gottlieb Drums and percussion Valdamar Valerian Studio technician Byron Joel Scullin Strings and brass The Yandoit Municipal Orchestra Recorded at The Intergalactic Nudist Ranch, Moose, Cyreb and Audrey Studios Published by Festival Music Publishing Photography John Tsiavis Layout and design I+T=R Scans Christian Wild 01: Opening Theme 02: The Brothers at Rest 03: The Brothers in Prison 04: The Welch Job 05: No One Gets Hurt 06: Motherly Love 07: Working on a Dream 08: The Golden Boys 09: Horses are on the Track 10: The Big Heist 11: Through the Glass Bridge 12: Adventures in a Big Cow 13: The Odd Rort 14: The Rickety House 15: Death by Lava Lamp 16: The Last Job 17: The Big Kiss 18: End Theme Composer David Thrussell: David Thrussell has a short wiki listing here. ABC profile: Corey Hague wrote a profile of Thrussell for the ABC, central Victoria, published on 7th November, 2014, under the header David Thrussell: Big in Germany, now home in Castlemaine (here): David Thrussell has toured the world, sold thousands of records and scored some classic Australian films. These days he's most happy to be living in the country and letting his music do the speaking. He is humble for someone who has gone close to doing it all in music: international tours, major label record deals, film scores and he has even survived a few close calls with the pop charts. These days he's happy to have swapped Melbourne for Castlemaine, where he can play an eclectic range of music on the local community radio station and release his own music to loyal fans around the world. In fact today, as he swaps between playing country music and robotic electro over the airwaves while amusing his young son, his latest album Black Lung is sitting at Number 10 on the European alternative music charts. "It's good, but it's also kind of meaningless to me. I feel very outside from fashion and the pressure of having to follow a sound. I think it's a great record, but I don't know why it's become a hit," he chuckles. There's a certain irony to the success of his band Snog and the Black Lung solo project given his subversive approach to the entertainment business and the trappings of modern life. Song titles like The Disinformation Plague, The Soul Consumer and The Business of Selling aren't just thinly-veiled missives towards consumerism; it's a major motivation behind his art. "It's very easy for me to be disenfranchised by the entertainment industry because its bedrock is distraction. The fundamental beast is about distracting people and entertaining them and escapism. It's a philosophical argument I have with myself quite a bit, but I always choose to be on the side of art," David says. While he doesn't shy away from 'conspiracy-pop' themes, there is still plenty of humour in his work and he strives not to take things too seriously or buy into the hype that can come with the ups and downs of being a recognised artist. "It could change next week. Having travelled the world, the one thing it gives me is the idea that none of it makes any sense. They might love you one week and think you're the best and the next week you're out of fashion. Someone thinks you're the Messiah, someone else thinks you're a piece of scum." Making a living from music was an accident for David, who studied printmaking and sculpture at art school. The move to music happened organically as his interest in electronic music began to grow. Along with his own musical output, he also oversees The Omni Corporation, a record label devoted to exhuming forgotten musical oddities he's picked up from the world's dustiest record shops. The process of licensing and tracking down copyright holders for old music that barely sold when it was released is a laborious task but it allows him to explore musical rabbit holes and meet the characters behind the music. The releases veer widely across genres but they're all presented with great affection for the creators and attention to detail that music fans who still buy physical releases appreciate. "You have to present it in a conscious way, it has to be good. I'm really fussy and we spend a lot of time remastering and on the artwork. It's a respect thing, I love these cats and they never quite got the kudos they deserved," he says. It's a little like David then - his neighbours may not know he's selling records in Germany, but there are people out there in the world who are grateful he fell into music. There was an interview with Thrussell in 1993, available on YouTube here at time of writing. Period CVs: Thrussell had a couple of short CVs saved to Trove. The first was on the saved Mushroom Music site here: David Thrussell is perhaps best known as Australian electronic music's quietest over-achiever. As SNOG, or other guises - SOMA (with Pieter Bourke of Dead Can Dance) and Black Lung - he has gained an international reputation for innovation in cinematic, electronic soundscapes, and numerous releases have invaded the electronic and alternative charts in the U.S.A, Germany and France. In 2002 David scored his second major feature film, "The Hard Word", the score of which was released on CD by Universal Records and was nominated for an APRA/AGSC Award, ARIA award and others. Written and directed by Scott Roberts and produced by Al Clark, "The Hard Word" starred Guy Pearce, Rachel Griffiths, Robert Taylor, Vince Colosimo and Kym Gyngell. His first major motion picture score for "Angst" - released by United International Pictures in August 2000 - won Best Film Score at the IF awards and was nominated for Australian Guild of Screen Composers best feature score. After headlining performance dates in New York, San Francisco and Rome, and playing the premier spot on "Le Musique des Ultimates" in France, David's current projects include a remix of U.K techno legend Aphex Twin, and an album of spoken word/soundscape material. David and Pieter Bourke completed a second Soma CD that was released in 2003. David will release three albums of his own unique electronic soundscape material internationally in 2005 as well as score the Bollywood musical “Bewarfee”. David's latest film scores include Thunderstruck and Under The Radar as well as writing an upcoming feature film produced by Al Clark (Chopper, The Hard Word, and Priscilla Queen Of The Desert). David also composed the SBS Movie Show Theme this year. Above and beyond all that, David Thrussell is just a swell chap. This CV contained a link to Thrussell's CV at Mana Music, saved to Trove here, but it essentially just replicated the one above. It did however add a few film credits: Film credits include: UNDER THE RADAR Feature Film 2004 Director: Evan Clarry Producer: Chris Brown THUNDERSTUCK Feature Film 2004 Director: Darren Aston Producer: Jodi Matterson (nominated for IF award, nominated for AFI award) THE HARD WORD Director: Scott Roberts, Producer: Al Clark, 2002 (nominated for ARIA award, nominated for FCCA award, nominated for APRA- AGSC award) ANGST Director, Daniel Nettheim, 2000 (Winner, Independent Filmmaker award for Best Score, nominated for Australia Guild of Screen Composers Best Score) Cyclic Defrost interview: David Thrussell was interviewed by Dan Cameron for Cyclic Defrost, originally published 29th July 2007, and saved to Trove here: A leading figure in the heavily collaborative world of electronic music, David Thrussell is also a self-confessed recluse with an overwhelming distaste for the trappings of consumerist culture. "I live in the hills. I’m the anti-networking guy," he admits, happily, from his home, on a dark slope of a forgotten mountain, some 100 kilometres outside of Melbourne. Here, he’s free from the elevator music and bombardment of ad- noise that cramps public space and “lodges something in your head that displaces the area that might otherwise be taken up with thinking". Hermit or not, Thrussell remains one of Australia’ most prolific electronic producers and performers, an increasingly sought after soundtrack composer and, in his spare time, the curator of a label dedicated to unearthing neglected radical country music. Thrussell’s flagship project, the ominous industrial dance act Snog, emerged when he "ran screaming out of art school". In music he found the spark that had been missing from the "public service drudgery" of art school.