OST for 'Things of the Aimless Wanderer' out now.

The Original Soundtrack to Kivu Ruhorahoza's award-winning film ‘Things of the Aimless Wanderer’ has now been released as a download only album (CD coming soon). This 1-hour long ambient/sound-collage/synth piece is available from our Shop

Here are links to a couple of great reviews of ‘Things Of The Aimless Wonderer’ film by Kivu Ruhorahoza scored by Daniel.

“… Daniel Biro's score bellows across the treetops as we become entranced, losing ourselves deeper and deeper into the forest…” Read more.

“In a Sundance Film Festival marked by outstanding scores, in particular Sam Shalabi's  The Amina Profile, Biro's wide, wild and wonderful music is like Brian Eno and The Orb (my Occidental ears!) got together with African Rwandan artists, smoked some cannabis and then got down to creative business.” Read more.

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The new film by Rwandan director Kivu Ruhorahoza 'Things Of The Aimless Wanderer' for which Daniel wrote the music and sound, was been selected for the 'New Frontier' section of the Sundance Film Festival in 2015. Daniel flew to Utah for the event.

See the film's page on the Sundance website here.

Read Daniel's comments about making the soundtrack for the movie:

"It’s not often that a film director approaches a composer with a new film saying “There’s very little dialogue so we need lots of music and I want it to be as experimental as possible! And yet this is the kind of project I was offered with “˜Things Of The Aimless Wanderer”.

Based on some of my previous work and as founder of experimental music label Sargasso (www.sargasso.com), director Kivu Ruhorahoza and producer/editor Antonio Ribeiro thought I’d be well suited to provide for the considerable sonic needs of the film. They also gave me some intriguing references to watch as examples of the direction they wanted the film to go. I was pleased to see these references were classic art/auteur films like Chris Marker’s ‘Sans Soleil’ and ‘La Jetée, Kurosawa’s ‘Rashomon’ and other European avant-garde directors like Alain Resnais.

Kivu wanted the music not just to accompany the visuals but also to go against them and pervert the meaning of the images. As the whole film is about three different perspectives on the same event: the disappearance of a young girl., We decided early on that each of the three protagonists would inhabit a particular sonic universe that reflected their inner-states.  I therefore started looking at the background of each character and define what their ‘cultural imprint’ would be. The last thing Kivu wanted was ‘African music’. His artistic vision is much broader, surreal and unorthodox. It was exciting to be encouraged to try out improbable juxtapositions of sound and image to warp any expectations.

We went from the primeval/organic wails of a ram’s horn to totally electronic synth warbling, via the classic ‘Western’ acoustic piano. One of the sounds I ended up using are church bells I had recorded years ago in one of the oldest bell foundries in Italy, based in this tiny village near Rome. They kindly allowed me to visit their storerooms and capture the extraordinary richness of the hundreds of bells of all sizes that were hanging from the ceiling. There I was, hitting, scraping, swiping away, under the bemused gaze of the local workers. I knew these sounds would come in handy one day…”