"The highly unusual score is not only notable for its rough-sounding tribal techno, which will surely deliver a massive stress test to the speakers of any screening room, but also for the exhilarating ways the bass-heavy music undergoes a process of decay, gradually opening itself up to alienating and otherworldly soundscapes that evoke the existential dread at the heart of Laxe's transcendental odyssey."
"This process of sonic "dematerialization" was the task of David Letellier, renowned in the forward-thinking club scene as Kangding Ray. Having only composed the music of Wann kommst du meine Wunden küssen (2022) before, marks Ray's biggest foray into the world of cinema, and the highly eclectic score of pummeling techno and ethereal soundscapes garnered him the relatively new Cannes Soundtrack Award, which was launched in 2013."
"It's a deserved win for a musician who is no stranger to storytelling through music. His breakthrough album (2014) already hints how Kangding Ray infuses the more utilitarian function of club music-namely, to make listeners dance-with intricate world-building and numerous narrative details. Traversing the gaps between analog and cybernetic, dance-floor friendly and experimental, dystopian and soothing, Kangding Ray crafts highly textured music that immerses the listener into otherworldly sonic landscapes."
Oliver Laxe's fourth film opens with a psychedelic rave and a daunting sound system, then journeys into the Moroccan desert, driven by its music. The score pairs rough-sounding tribal techno with bass-heavy passages that decay into alienating, otherworldly soundscapes, evoking existential dread and a transcendental odyssey. David Letellier, known as Kangding Ray, engineered this sonic 'dematerialization', marking his largest cinematic effort after composing for Wann kommst du meine Wunden küssen (2022). The eclectic mix of pummeling techno and ethereal textures earned the Cannes Soundtrack Award. Kangding Ray's work traverses analog and cybernetic, dance-floor and experimental territories to craft immersive sonic worlds.
Read at Filmmaker Magazine
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