Jacob Calta - Alan Firedale, Desert Delinquent Soundtrack Vol. 1
Review by Karl Magi
Overall Album Impressions
Jacob Calta’s Alan Firedale, Desert Delinquent Soundtrack Vol. 1 is atmospheric, full of intriguing sounds, ear-catching melodies and layered sonic storytelling. It draws from a wide range of musical styles and influences to paint imagery to support the storytelling in Alan Firedale.
A plethora of fascinating and engaging synth instruments that combine to create different moods and emotional states are at the heart of the soundtrack. Jacob Calta uses each instrument as a painter uses brushstrokes and colour to evoke emotion, atmosphere and energy. As a whole, the wide-ranging synth sounds form an alluring backdrop on which a tale can be told.
Melody is skillfully used on the soundtrack. Jacob Calta writes melodies that are pure, ear-catching and attractive. I enjoy the way in which the melodic writing keeps a clear idea in each tune, conveying emotion in a very direct way. Like any good film or radio score, the melodies help advance a particular mood or feeling that adds to the underlying story in a positive way.
All of the tonal, timbral and textural elements in the synths used help to advance the auditory storytelling inherent in Jacob Calta’s score. All of the multiple sonic interactions create deep music that tells its own story, without intruding on the story being told by the audio drama itself.
My Favourite Tracks Analyzed
“Theme From Alan Firedale” begins as huge timpani thunder and a jazz organ carries a pleasingly snaky and devious melody. Sweeping sounds flow airily and guitar-like synth twangs in with a covert feeling as percussion entangles and shapes the music. The guitar sound strums in. The whole track creates a film noir atmosphere as groovy bass and drums interlock and fade.
Muffled snare drum forms a steady, funky pulse as “Goldie’s Groove” opens. Bass pulses in angular lines as fragile sparkling synth effectively adds trembling light. Electric bass sits down in the pocket, adding an interlocking feeling with the drums and a guitar sound also fills a funky role in the groove, contributing a catchy element. as Chiming jazz organ chords shift and shimmer while the undeniable groove keeps moving, locked in and irresistible.
“The Evil That Wolves Do” opens as slowly aching strings create a mournful atmosphere. Minor key chords do a good job of contributing deep-seated threat in the music as a delicate, nervous sounding high synth slowly undulates. Tension radiates from minor key chords and jazz organ floats in, tentative and uncertain, as dark bass touches the track and fades.
Enfolding jazz organ plays tranquil chords to commence “The Kid Comes Back (Always)” as the organ flows along with easy going synth slipping in the distance. The jazz organ has a wonderfully caressing, calming feeling as twinkling notes flit through with delicacy, sliding around. The lead synth melody echoes and fills the listener with peace as chiming notes ring. Elevated synth sparkles and richer chords flow out to end the track.
“Lana’s Theme” starts as deeply resonant, woodwind synth carries an ancient sounding, reverent melody as harpsichord tangles and dense bass pulsates. as the A fluting synth carries the ear-pleasing, meditative melody. Twinkling harpsichord forms a glittering pattern and airy, flute-like synth flows. High notes shimmer and powerful bass adds a deep grounding. The harpsichord intertwines as the bass continues to pulse and sail far below as the flute fades away.
A rush of darkly ominous, tension-filled sound fills “The Steel Biker” as it comes to life. Hollow drums move over massive timpani and low brass blares with intimidating power. I enjoy the shadowy atmosphere that is created on this track. A gong sounds and colossal brass chords thunder before an intensely creaking, ultra-low brass instrument growls out and everything fades to silence.
“The Desert’s Mysteries” begins with steadily flowing bass that adds an umbra. Brass calls out in extended notes as hushed strings tremble. The brassy synth effectively adds a sense of anticipation while woodwind-like synths rise in a glimmering cloud and lightly swelling strings brush through. There’s an expectant, feather-light quality as brighter chimes glow. A flute drifts out, cut by threatening low brass, contrasting with the flute’s delicacy as it tenuously echoes into space. The track ends on a hollow sonic rush.
A folk whistle carries a melody echoing from an ancient past as “Goldie’s Soothing Tune” begins. I am drawn to the way in which the tune speaks of magic and a wooded grove dappled in sunlight. The melody is full of space and tranquility, flowing out with serene ease into the openness that it moves within. There is something profoundly timeless and utterly relaxing as lower synth notes support it and silence falls.
“Silver Caves” begins as lush low synth arpeggiates in shifting lines, creating depth and openness. String-like synth breathes delicately underneath in waves as vibrating, low synth keeps undulating. The brass and strings form a flow that has open and gliding qualities to it. Strings sound, adding an enjoyable, swirling ease. Luscious, broad-sounding synth waves are accented by a steady sonic pulse as brass and strings surround me.
Flute-like synth calls out and carries a folksong melody with a haunting feeling as “Thoughts Of The Homeland” opens. I enjoy the track’s air of contemplative peace as warming chords move. The fluting synth has a hallowed sensation, speaking of the deep past and a sacred place. The low end power supports the other elements as a steady drum adds a heartbeat that echoes out along with the weight around it.
Conclusion
Alan Firedale: Original Soundtrack Vol. 1 manages to stand alone as enjoyable music while still effectively serving as a score. It has strong melodies, beautiful synth sounds and an engaging ability to tell stories through sound while adding support to the audio drama itself.
