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Justin Tierney | At the Conflux (Original Film Score)

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At the Conflux (Original Film Score)

by Justin Tierney

The complete electro-acoustic soundtrack to the time-lapse film exploring urban Japan comprised of tender and minimal piano harmonies, sombre violin lines, and poignant brass melodies accompanied by field recordings of the Tokyo streets.
Genre: Classical: Film Music
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  Song Share Time Download
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1. Aerial Arterial
4:51 $0.99
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2. Tokyo Aglow
4:44 $0.99
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3. We Drift (A Sonder)
3:56 $0.99
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4. We Drift (In Laughing Mist)
4:37 $0.99
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5. In Praise of Shadows
4:05 $0.99
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6. Edifice Complex
1:43 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
At The CONFLUX
Justin Tierney

At the CONFLUX is a time-lapse film that tours Japan by road and rail. Its sprawling nocturnal cityscapes crisscrossed by thruways. Its urban grid illuminated by fiery-hued highways pulsing through the city like arteries circulating blood. Its towering skyscrapers watching over all, unmoved—soaring sentinels of steel and glass. Its crowds converging. Its patterns of people rhythmically engaging with the machinery of modern life. All backed by a tender Japanese flavored soundscape poignantly contrasting with the frenetic energy of the imagery.

- - -
FILM PRESS
“A futuristic roller coaster ride. A breakneck front seat to the gorgeous streets of the planet’s biggest urban centre.” ~ BBC
“Colorful and intoxicating. Incredible images magnified by somber music.” ~ DozoDomo
“Resounds in the memory long after viewing.” - Tabi Labo
“You may become addicted to this mystical world.” - Spotlight JP
“Justin Tierney takes us on a kaleidoscopic ride through Tokyo’s transit systems. Sit back, turn up the volume, and sink into your chair. ” ~ Matador Network
“A masterpiece.” ~ Rocket News 24

- - -
TRACK NOTES
AERIAL ARTERIAL
Aerial Arterial presents Tokyo from above. Its sprawling nocturnal cityscapes crisscrossed by thruways. It begins with shots atop the world's tallest tower—the Tokyo Skytree—with the expanses of the urban grid illuminated by headlights below. It ends closer to the concrete with dizzying loops traced by traffic. In between, the massive fiery-hued highways pulse through the wards of Minato and Shinjuku, like veins circulating blood. The towering skyscrapers watch over all, unmoved—soaring sentinels of steel and glass. Not a soul is seen. Only machines.

​The music is minimal. The images need space to breathe. Tender Japanese flavored chords are accompanied by street beeps, night noises and satellite hums. After all, in the metropolis, the crickets are replaced by singing machinery.
It is an ode to edifices of the great eastern capital. To its atmosphere and infrastructure. A static lullaby for a city on stilts.

TOKYO AGLOW
​Tokyo Aglow tours the Japanese capital by road and rail. Whereas Aerial Arterial (the first installment) explores the edifices of the city from elevated perches, Tokyo Aglow captures the city from the blacktop.

The automated Yurikamome flows through Odaiba and arrives downtown. A taxi whips to converging clusters of crowds in Shibuya. Scores surge, stream and swarm, tangle and scramble. Patterns of people, probabilities and periodicities, play. Weaving and knotting, the masses rhythmically engage with the machinery of modern life.

​Koto inspired chords underpin the music of the piano. Trombone, trumpet and violin map to the patterns recurrent and emergent. Crosswalk chimes, chirps and cuckoos echo into the night

IN PRAISE OF SHADOWS
In Praise of Shadows tours Japan's transportation systems in time-lapse. This runs the gamut from the massive monorails of Kobe and Chiba, the automated transit in Tokyo, and the trains of Osaka, as well as more modest transport methods–escalators, taxis, crosswalks, rickshaws, and sushi conveyor belts.

While the first two installments of At The CONFLUX are exclusively nocturnal, “In Praise of Shadows” begins at dawn. Twilight gradually approaches, shadows sweep the city, and night falls, concluding high above the city where Aerial Arterial began.
It takes its title from a 1933 essay by the Japanese author and novelist Jun'ichirō Tanizaki. Tanizaki uses shadows (both real and metaphoric) to contrast the subtlety of traditional Japanese aesthetics with the gleaming light of the modern era.

The music is brighter than the previous installments. Clarinet, upright bass, and violin chords and lines punctuate simple koto-inspired melodies of the piano. Field recordings of train announcements, monorail accelerations, crosswalk jingles, elevator chimes, conversing crowds, and summer cicadas decorate the texture.

- - -
Recording Engineer
ARTEM SMIRNOV
Soundpure Studios (solo piano recording)

Recording Engineer​
RICK NELSON
Duke University Music Department
(Deviant Septet recording)

Recording Musicians
JUSTIN TIERNEY
Piano, Violin, Koto
Recorded In Soundpure Studios April 18th, 2016

THE DEVIANT SEPTET
KAREN KIM—Violin
DOUG BALLIETT—Bass
BILL KALINKOS—Clarinet
BRAD BALLIETT—Bassoon
MIKE GURFIELD—Trumpet
MATTHEW MELORE—Trombone
JARED SOLDIVIERO—Percussion
Recorded In Baldwin Auditorium, Duke University, April 26th, 2016

Advisors
JOHN SUPKO
PHILIP RUPPRECHT
STEPHEN JAFFE
​BILL SEAMAN
PAOLO BORTOLAMEOLLI

Special Thanks
GODFREY REGGIO
CASEY KIERNAN
PETER BILL
GUNTER WEGNER
TIMELAPSE FILM FESTIVALS
SUSAN GREENBERG
THE DEVIANT SEPTET
DUKE UNIVERSITY MUSIC DEPARTMENT
YALE SCHOOL OF MUSIC
AERO THEATER
AMERICAN CINEMATHEQUE
THE NOMOTO FAMILY
YASUO NOJIMA
SOUNDPURE STUDIOS
ERIC OBERSTEIN
AARON GREENWALD
DUKE PERFORMANCES
ELIZABETH THOMSON
MOFU MOFU BLANKET - ANSHIN MOUFU
ALEXANDER JAMES BENNETT

Film Website: attheconflux.com
Personal Website: justintierney.com
Instagram/Twitter: @jtimelapse | #attheconflux

© 2016 JUSTIN TIERNEY. ALL RIGHTS RESERVED.

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