Caldera Records proudly presents the music for Andrew Jarecki’s acclaimed series “The Jinx.”
Jarecki's HBO hit gave us a unique insight into the world of the Rich and Famous. It is a bizarre, warped, and twisted world in which the wealthy heir of a real estate tycoon disguises himself as a mute woman and mingles with the ‘down and out’ in Texas, one of whom he commences to dismember and dispose of after he has become a nuisance. This is Robert Durst’s story, the billionaire whose first wife, Kathleen McCormack, suddenly vanished; who dismembered pensioner Morris Black, and subsequently killed his best friend, Susan Berman, after she threatened to spill the beans on McCormack’s disappearance.
Jarecki had been familiar with Durst’s story before he embarked on the project that would eventually become “The Jinx.” In 2010, he directed the feature film “All Good Things,” a fictionalized account of the tumultuous marriage between Durst and McCormack. (The soundtrack was released by Caldera Records in 2014.)
The show’s mood was unique, and the score needed to be unique. Jarecki hired composer West Dylan Thordson for the first season. His music for “The Jinx” is a darkly hypnotic score, suspense writing at its best. Skillfully, Thordson plays with key motifs and themes which he weaves in and out to combine them with new material and present them in a different instrumentation. While he aptly captures the darkness in Robert Durst, there is also a moving gentleness in those cues dedicated to his missing wife. His pensive and melancholic cue “Kathie” stands out as a moving tribute to the young student who was full of hope and adored by everybody.
The music for the recent second season of “The Jinx” was composed by Mondo Boys: Mike Schanzlin and Mike Griffin. They knew that what made the first season so impressive was its tonal ambiguity: the audience oftentimes never sure whether what they saw was hilarious or repulsive. Nailing the tone for Robert Durst and his unwitting accomplices was a balancing act. Jarecki and his team allowed them to experiment with themes, moods, and instrumentation. The show proved a rewarding playground for the musicians, a dream come true after they had been fervent fans of the show’s first season.
The same is true for us at Caldera Records: We were fans of “The Jinx” long before we were asked if we were interested in releasing the album for the instrumental score. Considering we had released Rob Simonsen’s “All Good Things” score, we had come full circle.
The 60th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke.
アンドリュー・ジャレッキの絶賛されたシリーズ 「The Jinx」のオリジナル・サウンドトラック。
トラックリストジャレッキのHBOのヒット作は、リッチ＆フェイマスの世界にユニークな洞察を与えてくれた。不動産王の裕福な相続人が無言の女性に変装し、テキサスで「落ちぶれた人々」と交わり、そのうちの1人が厄介になった後、バラバラにして処分し始めるという、奇妙で、歪んだ、ねじれた世界である。これはロバート・ダーストの物語で、最初の妻キャスリーン・マコーマックが突然失踪した億万長者であり、年金生活者のモリス・ブラックをバラバラにした後、マコーマックの失踪をバラすと脅した親友のスーザン・バーマンを殺した。
ジャレッキは、やがて 「The Jinx」となるプロジェクトに着手する前から、ダーストの物語をよく知っていた。2010年には、ダーストとマコーマックの波乱に満ちた結婚生活をフィクションとして描いた長編映画『幸せの行方．．．』を監督した。(サウンドトラックは2014年にCALDERAレーベルリリース）。
番組の雰囲気は独特で、スコアも独特である必要があった。ジャレッキは第1シーズンに作曲家のウェスト・ディラン・ソードソンを起用した。彼が手がけた『The Jinx』の音楽は、暗く催眠術にかかったようなスコアで、サスペンス音楽の最高峰だ。ソードソンは、重要なモチーフやテーマを巧みに織り交ぜ、新しい素材と組み合わせたり、別の楽器編成で表現したりしている。ロバート・ダーストの闇を的確に捉える一方で、行方不明の妻に捧げられたキューには感動的な優しさもある。彼の物悲しくメランコリックなキュー“Kathie”は、希望に満ち、誰からも慕われていた若い学生への感動的なトリビュートとして際立っている。
『The Jinx』第2シーズンの音楽は、モンド・ボーイズのマイク・シャンズリンとマイク・グリフィンが担当。彼らは、第1シーズンが非常に印象的だったのは、そのトーンの曖昧さであることを知っていた。ロバート・ダーストとその無自覚な共犯者たちのトーンをうまく調整するのは、バランスを取るための演技だった。ジャレッキと彼のチームは、テーマ、ムード、楽器の使用法を実験することを許可した。第1シーズンの熱烈なファンだった彼らにとって、このショーは夢のような、ミュージシャンにとってやりがいのある舞台となった。
ステファン・アイケによる詳細なブックレット・テキストとルイス・ミゲル・ロハスによるエレガントなアートワークが掲載。CDのマスタリングはリチャード・ムーア、プロデュースはステファン・アイケが担当。
Caldera Records proudly presents the music for Andrew Jarecki’s acclaimed series “The Jinx.”
Jarecki's HBO hit gave us a unique insight into the world of the Rich and Famous. It is a bizarre, warped, and twisted world in which the wealthy heir of a real estate tycoon disguises himself as a mute woman and mingles with the ‘down and out’ in Texas, one of whom he commences to dismember and dispose of after he has become a nuisance. This is Robert Durst’s story, the billionaire whose first wife, Kathleen McCormack, suddenly vanished; who dismembered pensioner Morris Black, and subsequently killed his best friend, Susan Berman, after she threatened to spill the beans on McCormack’s disappearance.
Jarecki had been familiar with Durst’s story before he embarked on the project that would eventually become “The Jinx.” In 2010, he directed the feature film “All Good Things,” a fictionalized account of the tumultuous marriage between Durst and McCormack. (The soundtrack was released by Caldera Records in 2014.)
The show’s mood was unique, and the score needed to be unique. Jarecki hired composer West Dylan Thordson for the first season. His music for “The Jinx” is a darkly hypnotic score, suspense writing at its best. Skillfully, Thordson plays with key motifs and themes which he weaves in and out to combine them with new material and present them in a different instrumentation. While he aptly captures the darkness in Robert Durst, there is also a moving gentleness in those cues dedicated to his missing wife. His pensive and melancholic cue “Kathie” stands out as a moving tribute to the young student who was full of hope and adored by everybody.
The music for the recent second season of “The Jinx” was composed by Mondo Boys: Mike Schanzlin and Mike Griffin. They knew that what made the first season so impressive was its tonal ambiguity: the audience oftentimes never sure whether what they saw was hilarious or repulsive. Nailing the tone for Robert Durst and his unwitting accomplices was a balancing act. Jarecki and his team allowed them to experiment with themes, moods, and instrumentation. The show proved a rewarding playground for the musicians, a dream come true after they had been fervent fans of the show’s first season.
The same is true for us at Caldera Records: We were fans of “The Jinx” long before we were asked if we were interested in releasing the album for the instrumental score. Considering we had released Rob Simonsen’s “All Good Things” score, we had come full circle.
The 60th CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke.
Season 1
Music by West Dylan Thordson
1. Sacred Knowledge (2:26)*
2. Kathie’s Afraid of Bob (3:43)
3. Evidence (1:09)
4. Contact (Indian Point) (3:08)
5. Surveillance (2:56)§
6. Premiere (1:22)
7. Madrid (0:41)
8. End Credits (Attorneys) (2:29)
9. Suicide (2:40)§
10. Kathie (3:12)
11. The Beverley Hills Letter (1:31)
12. Inconsistencies (4:09)
13. Kidnapped (2:03)*
14. Shaved Heads (1:18)§
15. May 22, 1978 (2:15)
16. Independence (2:03)*
17. Hardware Store (0:49)§
18. Sareb and Bobby (1:33)
19. D for Durst (0:53)
20. Guns (2:12)
Season 2
Music by MONDO BOYS
21. Meet Lewin (3:19)
22. Loyal Chavin (1:41)
23. Tragic Dream (1:21)
feat. Molly Lewis
24. Scrapbooking (1:43)
25. Lewin is Listening (2:19)
26. Checklist (1:36)
27. Debbie Meets Bob (0:56)
28. Muddy Boots (4:01)
29. Putting Bob in LA (1:54)
30. I Wanna Testify (2:50)
Clyde Lawrence
* Music by John Kusiak
§ unused