Soundtrack
 

Sensoria

Composed By: Frank Ilfman

Distributed by: MovieScore Media


Reviewed by Melissa Minners

 

                In the Swedish horror film, Sensoria, Lanna Olsson is Caroline, a woman in her late thirties who has lost everything.  Searching for a new beginning, Caroline moves into an older apartment, but though the apartment seems to be everything she is looking for, something is just not right.  She never seems to feel quite alone…could it be that a former occupant hasn’t left yet?

                The musical score of Sensoria was created by Israeli/German composer Frank Ilfman.  Studying trombone and piano at the Jaffa Conservatorium of Music in Tel Aviv, Ilfman became frustrated and bored with the constricting structured methods of the school.  In 1984, Ilfman met German composer Klaus Doldinger and fell in love with film music.  By the age of 17, Frank Ilfman was working on his first television production, The Chancer.  Since then, he has composed a number of musical scores for television and film, including Big Bad Wolves, Coward, Bitter Seeds, The Ferryman and more.

                The Sensoria Soundtrack harks back to ghost films of old.  Featuring strings, a harp, piano and some other interesting instruments, Ilfman created a score that would definitely give off that haunted house feel.  According to the composer, “Christian [Hallman – director] was very clear that he wanted a very old school score feel, something in the likes of Rosemary's Baby, The Omen and even some of the old Hammer films, but still give the sense of modern day and the now.  Beside the main theme that we hear during the ‘Opening Titles’, we also needed to have a few secondary themes for some of the main characters that we meet during the film. However, I also wanted something that will connect everybody to this haunted apartment, so I used an old music box doubled with an old 19th century instrument called dulcitone, harp and piano to create a very specific feeling of being haunted.”

                The resulting score begins a bit off-key and beautifully spooky.  The singular strokes on strings in Mr. Steiner will get your hackles up long before the ghost-like sounds enter the track.  The echoey music in Caroline's Theme is particularly beautiful in a spooky way.  Ilfman perfectly captures the woman haunted by her past in this track.  The score of Sensoria is never overpowering and the album is all music – no sound effects, just the manipulation of musical instruments to create a singularly spooky score that fits perfectly with the visuals of the film.  A great job by Frank Ilfman.

 

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