Sold Date: June 11, 2024
Start Date: July 11, 2023
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English - English - Transparent Turquoise & Yellow Vinyl [New Vinyl LP] Clear Vi

Artist: English

Title: English - Transparent Turquoise & Yellow Vinyl

Format: Vinyl LP

Genre: Soundtrack

UPC: 738572170776

Release Date: 2023

Record Label: Silva Screen

Album Tracks

DISC 1:
1. Opening Credits - Federico Jusid
2. Tâtačiksta - I Cherish You - Federico Jusid
3. A Chase Is on - Federico Jusid
4. Cornelia and Eli - Federico Jusid
5. Cheyenne Tree Burial - Federico Jusid
6. Coming for Eli Whipp - Federico Jusid
7. Crumbling Is Not An Instant's Act - Federico Jusid
8. That's My Cattle! - Federico Jusid
9. And Yet Here We Are - Federico Jusid
10. Nothing Worth Dying for - Federico Jusid
11. Powder River - Federico Jusid

DISC 2:
1. "Soon" Has Come - Federico Jusid
2. String Quartet No. 12 in F Major, Op. 96, B. 179, "American": II. Lento - Moyzes Quartet
3. Long Time Traveller - the Wailin' Jennys
4. Some Say (I Got Devil) - Melanie
5. American Tune - Crooked Still
6. Katie Cruel - Ora Cogan
7. You Cut Her Hair - Tom McRae

The English is Federico Jusid's sweeping, nostalgic and raw score to Hugo Blick's six part contemporary Western. Giving a nod to 1950s western soundtracks, the score is enriched by Dvořák's String Quartet No. 12. Known as the "American", written during Dvořák's stay in America, and only three years after the events of the series. Also featured on the album are the beautiful folk songs by The Wailin' Jennys, Melanie, Crooked Still, Ora Cogan and Tom McRae. The second track on the album, Tâtačiksta_ - I Cherish You, features a tender reading by Emily Blunt. Jusid's music structure is based on leitmotifs, very simple and symmetric, constantly varied and developed to mirror the protagonists' journeys. Big orchestral sounds underpin epic and romantic themes. Sound design, processed percussion and ethnic instruments effortlessly blend in with the orchestral material. Federico describes his compositional process - "Unlike other projects, I started working with Hugo Blick, at a very early stage, some time before he even started shooting. Inspired by the scripts, his story board and chatting about the classics, I wrote different piano tunes and first mock-ups and sent them over to him... Often, I have received scenes cut to my own music and that made the process deeply organic and profound. The music became a core element of the structure of the show, instead of a later addition. In the end, Hugo and I worked for an entire year to develop this score".