Kristian Eidnes Andersen is a Danish composer with more than 30 years of experience in film music and sound.
With a degree from The National Film School of Denmark he has designed sound and arranged compositions on more than 100 films including a long list of Lars von Trier's productions a.o. Manderley, Antichrist, Melancholia, Nymphomaniac. He has collaborated numerous times with Norwigian Per Olav Sørensen on the tv-series The Half Brother, The Heavy Water War, Nobel and upcoming Netflix series Quicksand.
Kristian Eidnes Andersen favours both big productions with directors such as Lars Von Trier, Thomas Vinterberg (The Hunt), Nicolas Winding Refn (Only God Forgives), but also more independent films and documentaries such as Democrats (2014), Something better to come (2014) A Caretakers Tale (2011), and The Weight of Elephant's (2012), all with an international festival and theatrical life.
He won a special Bodil for the sound design of Anticrist (2010)and was nominated for a Harpa award for Amada Kernell's Sámi blood (2018).
Described as an existential trip to suburban Hell, Vivarium follows a young couple looking to for the perfect place to live. In search of their dream home, the couple find themselves trapped in a bizarre labyrinthine neighborhood of identical houses. In time, the surreal situation spirals further and further out of control.
The Terrifying Sounds of 2020: The Top 10 Best Horror Soundtracks of the Year
Xanthe Pajarillo writes....It has been a tumultuous year for the music industry, but there was never a loss of resiliency or creativity. This year, the Lovecraft Country soundtrack made history by becoming the first-ever series scored by an online orchestra, with players from Metropolitan Opera, New York Philharmonic, Chicago Symphony and the Toronto Symphony recording solo in their respective areas. Composers worldwide followed suit, developing new ways to simulate live orchestras with clever engineering and mixing. As of late, there has been discussion about creating VR technology where musicians can play at the same time.
As we reflect on the wonderful horror films released in the past months, let us remember how their music deserves just as much recognition. Horror composers generated tracks that ranged from the profoundly powerful to the fun escapism we as listeners needed.
Included in the best in horror music for 2020 is Vivarium - Composer: Kristian Eidnes Andersen
For a film about being trapped in a labyrinth, listeners would be happy to be lost in this cacophony of sounds. Kristian Eidnes Andersen unites his sound design history with music to texturize its story. It drags you through playful, menacing, and somber moods within thirty minutes, making it repeat-friendly. Director Lorcan Finnegan stated: "There is an element of horror in the everyday […], taking something that's normal and looking at it in a different light until it becomes very strange." Listen on days you find yourself trying to make sense of isolation.
Favorite Tracks: Vivarium, Lost, Nest, Tom Died, Garden and the Sun, Gemma Dies
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Recently, I got the chance to listen to the original motion picture soundtrack for Vivarium. Described as an existential trip to suburban Hell, Vivarium follows a young couple looking for the perfect place to live. In search of their dream home, the couple find themselves trapped in a bizarre labyrinthine neighborhood of identical houses. In time, the surreal situation spirals further and further out of control. The soundtrack for this film was written by Danish composer Kristian Eidnes Andersen. He received a degree from the National Film School of Denmark, and has been sound designer on more than 80 films. As a score composer, Eidnes Andersen has credit for more than 20 titles including von Triers Antichrist, Thomas Vinterberg's Submarino, and Per Fly's The Woman That Dreamed About a Man.
The big thing that strikes me about Eidnes Andersen's soundtrack for Vivarium is how the entire thing is filled with a sense of "the Other." That is to say, you listen to this music, and it gives you chills because it doesn't sound like anything that came from here, it is "other than" and that's something that can instinctively set nerves on edge, which can be good if that's the feeling a composer is going for. Given the plot of Vivarium sees a couple trapped in a simulacrum of suburbia, I think this was very much the idea the composer had in mind.
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