Background/Info: Belgian composer Jean-Marc Lederman has never been as prolific and inspired as during the Covid 19-pandemic. His newest work is a new conceptual album driven by his fascination for aquatic life resulting in this ‘homage’ to seahorses and manatees.
Content: Jean-Marc Lederman likes to work with themes which are totally different from each other. But this album deals however again with a pure Cinematic writing. This could be the Soundtrack for a documentary. The orchestral arrangements, strings effects and acoustic sounds are totally devoted to the Cinematic style. But songs also feature slow rhythms and other more exotic cadences. Guest singer Emileigh Rohn has been featured on 2 songs but especially the cover versions of “Song To Siren” is a noticeable one.
+ + + : The concept is maybe less fun than we might expect although titles of songs are sometimes pretty weird. Jean-Marc Lederman feels comfortable composing Cinematic music and this album brings all the different elements together. I like his orchestral arrangements creating this cool bombastic effect. The rhythms are bringing the work more accessible while holding onto the Soundtrack feeling. This is a diverse- and elaborated work and the perfect production to dream about abyssal depths and aquatic creatures.
– – – : I noticed a few songs with an abrupt end. The main difficulty for this production remains its Experimental style.
Conclusion: This new work by Jean-Marc Lederman confirms his great composing skills for Cinematic music. The dreamy strength of the work reminds me of the universe if Jacques Tati.
Best songs: “Where Is Dory?”, “Johnny Deep”, “(Music Industry) Sharks: We’re Gonna Need Bigger Slippers!”
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.