Ad Astra (Original Motion Picture Soundtrack) Max Richter, Lorne Balfe, Nils Frahm
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- 1To The Stars03:30
- 3Cosmic Drone Gateway02:57
- 4I Put All That Away03:27
- 5A Trip To The Moon04:36
- 6Terra Incognita02:49
- 7Ex Luna Scientia - Requiem05:17
- 8Journey Sequence03:20
- 9The Rings Of Saturn02:57
- 10The Wanderer04:50
- 11Erbarme Dich03:38
- 12Forced Entry02:27
- 15Let There Be Light02:18
- 16Ursa Minor - Visions03:14
- 17Event Horizon06:13
- 18Musurgia Universalis03:05
- 19You Have To Let Me Go05:56
- 20Tuesday (Voiceless)21:08
- 23Space Journey02:39
- 24Rover Ride02:51
- 25Pirate Attack02:48
- 27Underground Lake02:15
- 28Trip To Neptune05:02
Info for Ad Astra (Original Motion Picture Soundtrack)
Acclaimed composer Max Richter has released ‘To The Stars’, his first single from the forthcoming soundtrack to Brad Pitt’s highly anticipated new movie Ad Astra. The track was released today coinciding with the film’s release in cinemas.
Ad Astra, a sci-fi thriller set in the future, stars Brad Pitt as an elite astronaut who travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet. His journey will uncover secrets that challenge the nature of human existence and our place in the cosmos.
Max Richter’s score, informed by detailed conversations with Brad Pitt and the film’s director James Gray, combines strings, electronics and vocals creating an epic soundscape underpinning the emotional power and scale of the movie. His soundtrack has been described as “a stunning kind of symphony” by Vanity Fair. Max Richter first began composing the music for Ad Astra almost two years ago, in the initial phase of the film’s production.
“I first saw a rough-cut of the film in early 2018 and was immediately intrigued,” Richter recalled. “I knew I wanted to be part of the world James was inventing in Ad Astra. After James, Brad and I had discussed some initial thoughts, I began by making sketches away from the picture, exploring the themes and psychology of this material in musical terms.”
The composer was inspired by the NASA Voyager probes that left Earth in the 70s, destined for the outer planets – a journey similar to that of Brad Pitt’s character in the film. He incorporated sounds transmitted from Voyager 1 and 2 into the fabric of his music.
Max Richter explained, “This ‘location recording’ approach allowed me to use actual material recorded at the sites depicted in the story: when Brad is travelling past Saturn or Jupiter for example, we can actually hear music made from the data the Voyager probes transmitted from that site. The music thus illuminates the story in two ways at once: it illustrates what’s happening in the story a traditional film score way, but it also documents the journey in an entirely new way, by incorporating actual material gathered on the trip.”
Ad Astra premiered at the Venice Film Festival last month and has been described as a “superb space-opera” by The Guardian, and a “memorable journey to the stars” by Time Out, in glowing reviews.
Max Richter concluded, “This film has been a major endeavour. It’s a heartfelt project from both Brad and James – who poured everything into it – and meticulously chipped away at the story over years till they were happy. I have nothing but admiration for this dedication.”
The work of the award-winning British composer Max Richter includes concert music, film scoring, and a series of acclaimed solo albums.
Working with a variety of collaborators including Tilda Swinton, Robert Wyatt, Future Sound of London, and Roni Size, Max's work explores the meeting points of many contemporary artistic languages, and, as might be expected from a student of Luciano Berio, Max’s work embraces a wide range of influences.
Recent projects include the ballet INFRA, for Wayne McGregor at The Royal Ballet, with scenography by Julian Opie, the award-winning score to Ari Folman's Waltz with Bashir, and the music installationThe Anthropocene, with Darren Almond at White Cube.
Max's music has formed the basis of numerous dance works, including pieces by Lucinda Childs, NDT, Ballet du Rhin, American Ballet Theatre, Dresden Semper Oper, The Dutch National Ballet, Norwegian National Ballet, among many others, while film makers using work by Max include Martin Scorsese (Shutter Island).
Recent commissions include the opera SUM, based on David Eagleman’s acclaimed book, premiered at The Royal Opera House, London and Mercy, commissioned by Hilary Hahn.
Current projects include Vivaldi Recomposed for Deutsche Grammophon, recorded by British violinist Daniel Hope and the Konzerthaus Orchester, Berlin, as well as a variety of other recording and film projects.
This album contains no booklet.