Composer and musical director AJ True’s soundtrack to Erica Glynn’s film, \u201cShe Who Must Be Loved,\u201d has been released digitally. The film offers an intimate portrayal of the director’s own mother, Freda Glynn: a vibrant and tenacious Kaytetye woman from central Australia. This film won \u201cBest Documentary\u201d at the 2019 Sydney Film Festival.<\/p>\n\n\n\n
\u201cShe Who Must Be Loved\u201d is a documentary that tells the epic life story of Alfreda Glynn \u2013 78 year old Aboriginal woman, stills photographer, co-founder of the Central Australian Aboriginal Media Association (CAAMA), and Imparja TV, mother, grandmother, great grandmother, radical, pacifist, grumpy old woman, who in equal measure loves the limelight and total privacy.<\/p>\n\n\n\n
AJ True is an APRA Award nominated composer and musical director for film, TV, and theatre. One of Australia’s most versatile and experimental composers, his scores are organic and modern, blending traditional instrumentation with electronic elements and textures. AJ seeks to write music that serves the story and the vision of the director, this often results in minimal underscore that carries an emotional weight. He frequently collaborates with a team of highly experienced musicians and award winning personnel including; Liam Egan (sound design), and Dave Hammer (music mixer).\u00a0His recent credits for screen composition include: \u201cShe Who Must Be Loved\u201d (dir. Erica Glynn, 2019),\u00a0 \u201cTruth Be Told; Lest We Forget\u201d (dir. Erica Glynn, 2018), \u201cJirga\u201d (dir. Benjamin Gilmour, 2017),\u00a0\u201cParamedico\u201d (dir. Benjamin Gilmour, 2012).\u00a0<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" Composer and musical director AJ True’s soundtrack to Erica Glynn’s film, \u201cShe Who Must Be…<\/p>\n","protected":false},"author":1,"featured_media":13279,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","footnotes":""},"categories":[23,2],"tags":[620],"class_list":["post-13278","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-news","category-news","tag-aj-true"],"_links":{"self":[{"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/posts\/13278","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/comments?post=13278"}],"version-history":[{"count":1,"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/posts\/13278\/revisions"}],"predecessor-version":[{"id":13280,"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/posts\/13278\/revisions\/13280"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/media\/13279"}],"wp:attachment":[{"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/media?parent=13278"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/categories?post=13278"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/skylight.gr\/index.php\/wp-json\/wp\/v2\/tags?post=13278"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
ABOUT THE SCORE:<\/strong>
\u201cFor this film, Erica wanted a minimal, organic and-at times-haunting sounding score. The smaller budget allowed for a limited number of instruments, which was a good thing for a film like this.\u00a0A dialogue heavy documentary, it was important that music stayed out of the way as much as possible. Each cue was approached first as a soundscape, with various keyboard and electric guitar elements added later as colour. I used lots of vintage keyboards, organs, synths, harmoniums and my 1916 upright Beale piano. Recorded mostly in my bedroom in September 2018.\u201d – AJ True.<\/em><\/p>\n\n\n\n
In 2019, his debut feature film score for the Australian drama \u201cJirga\u201d was nominated for \u201cBest Music\u201d at the Film Critics Circle of Australia Awards, and the coveted \u201cFeature Film Score of the Year\u201d at the 2019 APRA\/AGSC Screen Music Awards.<\/p>\n\n\n\n
\u201cShe Who Must Be Loved\u201d \u2013 Original Motion Picture Soundtrack by AJ True Format: All digital platforms including band-camp released May 10, 2020.\u00a0 Country: Australia Genre: Stage and Screen, Instrumental, Experimental Style: Soundtrack\/Original Score\u00a0 Duration: 24mins (9 tracks)\u00a0<\/p>\n\n\n\n
LEAD SINGLES:\u00a0
\u201cElders of Kaytetye Country\u201d
\u201cAlice Springs Telegraph Station\u201d
\u201cReflecting at Hatches Creek\u201d
\u201cFreda’s Theme\u201d<\/p>\n\n\n\n
PERSONNEL:\u00a0
All tracks written, performed, engineered, and produced: AJ True at \u2018The Cabin\u2019, Wyong Creek, NSW, September 2018.
Mixed and Mastered: Dave Hammer, October 2018.
Album Design: HQ Covers, April 2020.
Film Sound Designer and Sound Mixer: Liam Egan
Film Music Mixer: Dave Hammer
Film Producer: Tanith Glynn-Maloney SINCE 1788 PRODUCTIONS Film Writer\/Director: Erica Glynn<\/p>\n\n\n\n
FILM CREDITS:\u00a0
SINCE 1788 PRODUCTIONS WITH SCREEN AUSTRALIA AND NATIONAL INDIGENOUS TELEVISION AND THE ADELAIDE FILM FESTIVAL \u201cSHE WHO MUST BE LOVED\u201d WITH FREDA GLYNN EDITOR KAREN JOHNSON DOP KATHRYN MILLISS SOUND DESIGN LIAM EGAN COMPOSER A.J. TRUE PRODUCER TANITH GLYNN-MALONEY WRITER\/DIRECTOR ERICA GLYNN
To purchase:<\/strong>https:\/\/music.apple.com\/au\/album\/she-who-must-be-loved-original-motion-picture-soundtrack\/1513989858<\/a>
https:\/\/open.spotify.com\/album\/4CE2rBfoTYA9NyCE9n1znE<\/a>
ajtrue.bandcamp.com<\/a><\/p>\n\n\n\n
For more information:<\/strong>https:\/\/ajtrue.net<\/a>facebook.com\/ajtrue<\/a><\/p>\n\n\n\n