The film “Finder of Lost Children”
will feature an original pan score by you - how did this come about?
Sune: Actually, I
think it came about through the old WST message board, where Ricardo
Scipio, the director, had posted a message telling briefly about the
project and that he was looking for a pan composer. I responded to
his message and sent him some examples of my previous work. He was
especially turned on by the music I recorded with the trio SUMI,
which is based on real-time processing and sampling of our
instruments’ original sounds. However, Ricardo said he would like some
entirely new music written for the film, so we decided not to use SUMI’s recordings.
How did you approach writing the music
for this project?
Sune: I approached
the task of writing the music pretty much straightforward. I wanted
to make the music reflect one of the underlying themes in the film:
that the atmosphere often identified with the tourist-myth of Caribbean
culture with sunshine, happy people with enough love for everyone,
also could have a flipside to the coin. That a lifestyle that on the
surface seemed unconcerned and happy (of course) may not necessarily be
all that it appears to be, that
there are consequences to one’s choices and actions. So my main idea
was to compose music that on the surface had the texture of a
steelpan because that is the instrument most associated with the
Caribbean, but also hinted at a darker and more troublesome expression. I obtained this notion through various effects, processors and
samplers through which I manipulated the steelpans’ original sound.
I had some phone conversations with Ricardo, where I told him
about my ideas, and it turned out that we were pretty much on the
Was there something particular that
moved you about this project?
Sune: What I liked about this
project and what turned me on, was the possibility to write some
music for the steelpan that (hopefully) could spur people to embrace
the versatility of both the steelpan as an instrument in its own
right, as well as a conveyor of more than “happy sunshine music,”
which it is always associated with. The film itself also tells a
different story than what most people associate with Caribbean
culture. No matter what the subject is (Caribbean or American,
steelpan or guitar), embracing a fuller picture is always a goal in
itself. I’m definitely into projects that can broaden my own
Who performed the score?
Sune: I performed
all the instruments in the score. The steelband tune, “Family” is
recorded in layers, where I began with laying down drum/percussion
tracks, then bass, chords and melody.
The other music is created on my double tenors, and run through
I recorded and produced everything myself.
What are your expectations for this
project - or what would you like to see come from this project?
Sune: Well, obviously I would
like the film to become a success, ha ha:-)
Other than that, I hope that it will contribute positively to give
people a broader perspective on both steelpans and the culture that
it originated in. Generally, the story is of course also a generic
one of the issues all diasporas’ populations are dealing
with: identity, family, mix of cultures, relating to one’s roots,
etc. And that is always a fascinating schism.
What is Sune into musically these
Sune: For the time being
I am working on a Sonic Steel tour to Lithuania this summer, where - amongst other places
- we will be performing as the main act at the
country’s most prestigious music festival, the Kristupo Festival. We
were there last year as well, as the first steelband (to my
knowledge) to perform in Lithuania. They welcomed us extremely well
with great interest in steelpan music, and we hope to be able to
live up to it again...
We are working on a pretty serious jazz repertoire, and plan to
record our next album with that in late August 2009.
Thank you for your interest in my work!
Click for more on
“Finder of Lost Children”
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Contact Sune Borregaard at
+45 2370 2939
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