Official soundtrack for PROXIMA, a movie by Carlos Atanes.
Xavier Tort, Barcelonian composer, and Thee Maldoror Kollective, lyrical-industrial rock band from Turin, were in charge of the composition and the interpretation of PROXIMA’s music. Manolo Tena, is added to the original soundtrack, with his song El único habitante de la Luna for the film's final credits PROXIMA's soundtrack stands out for the unique style that its composers stamped on.
From an aesthetic and sensory point of view, we can observe that (in its density and instrumental treatment) music runs in parallel with the film. So, in the first part, the sonority of the metallic percussion instruments -such as, vibrating battery or iron bars- and different patch instruments (in the orchestrations for strings, bronzes, distorted guitars, synthesizers...) takes presence over others, giving us a worldly feeling. As the films advances and the main character gets involved in a sidereal world, music gets more and more weightless, thanks to strings and the lyrical voices of mezzo and soprano singers.
Halfway through 2007, record company Foreshadow Productions, published Themes from PROXIMA, a CD including the six pieces (in their full versions), composed and interpreted by Three Maldoror Kollective for the film.
PROXIMA's plot starts through the vision of a science fiction lover, by whom we're introduced into classic science fiction topics: the possibility of crossing the spacetime line, the contact with an alien civilisation (and the impact that this would cause), the presence of a discouraging future to escape from, the trip to an unknown world, the relationship between dream and reality, brainwashing, etc. In addition to all this, we can find a new perspective, which stains with a harsh realism Tony's experiences on the satellite orbiting Proxima, as close to a western as a sidereal trip.
The film (very Dick-ian according to some American reviewers[by whom?]) also includes several references addressed to the experts in this sort of genre. An example of this kind of wink is the scene where Félix Cadecq (Spanish pronunciation of his name resembles clearly the way in Spanish is pronounced "Philip K. Dick") makes his announcement that he is quitting literature and that he has found a new portal, reminiscent of a real anecdote carried out by Philip K. Dick at a French science fiction congress in 1977.
But there are also references to such great science fiction directors as Georges Méliès and Segundo de Chomón, whose films Tony especially admires. We cannot either forget the risen controversy between the Star Wars and Star Trek's fans, who discuss about Sci-Fi real bases.
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