Ross McLean, who had already recorded the film soundtrack
The Lawless, debuted as Lawless with the instrumental collection
Habit Forming (Mille Plateaux, 2011),
on which he played most of the instruments.
mixes with nonchalance orchestral, ambient and Western soundtrack
Italian Type deconstructs swing jazz of the 1930s for the digital age.
Lines Upon Lines weds jazz-rock of the 1970s, futuristic heavy metal
and melodramatic Hollywood scores.
The Morricone-ian female chant of Twins is grafted on a Latin-tinged
The light pop of New Habits,
the tender dance of Noon Dunes and
the nostalgic languor of Opening Scene
are built out of a passionate love for the past.
They all sound like soundtracks for imaginary movies, concocting all sorts
of musical styles and evoking all sorts of vintage scenes.
The main flaw of this impeccable work of semiotics is that McLean takes very
few chances with the tradition that he fluently quotes.
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