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"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."
Brad Green

Published June 7, 2001

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The Goddess of 1967 Theme Song

TITLE: The Goddess of 1967

SCORE: Jen Anderson

FEATURED PERFORMERS: Jen Anderson (keyboard programming, violin, viola, cello, mandolin, mandola, harmonium, tin whistle); Hartley Newnham (voice); Marianella (voice); Anne Norman (shakuhachi, ocarina, whirly, ken tieu, spiral flute); Michael Livett (dan tranh; nylon string guitar); Helen Mountford (cello); Alex Pertout (percussion)

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