From Lakeshore Records comes the score for The Great Invisible
Lakeshore Records will release The Great Invisible – Original Motion Picture Soundtrack digitally on December 16th and on CD early 2015. The album features original music by David Wingo.
“Margaret Brown has been one of my favorite documentarians for the last several years,” said Wingo. “After seeing ORDER OF MYTHS she definitely became one of the filmmakers that I most wanted to work with, so I was thrilled to have a chance to work with her on THE GREAT INVISIBLE.”
Documentarian Margaret Brown's new film depicts the response to the 2010 Deepwater Horizon explosion and resultant oil spill from multiple viewpoints. On April 20, 2010, communities throughout the Gulf Coast of the United States were devastated by the explosion of the Deepwater Horizon, a state-of-the-art, offshore oilrig operated by BP in the Gulf of Mexico. The blast killed 11 of 126 rig crewmembers and injured many more, setting off a fireball that was seen 35 miles away.
After burning for two days, the Deepwater Horizon sank, causing the largest offshore oil spill in American history. The spill flowed unabated for almost three months, dumping hundreds of millions of gallons of oil into the Gulf of Mexico and the Atlantic Ocean, shutting down the local fishing industry, polluting the fragile ecosystem, and raising serious questions about the safety of continued deep-water offshore drilling. Brown traveled to small towns and major cities across Alabama, Louisiana and Texas to explore the fallout of the environmental disaster. Years later, the Southern Americans still haunted by the Deepwater Horizon explosion provide first-hand accounts of their ongoing experience, long after the story has faded from the front page.
“Margaret and I spoke a lot about how the music should reflect both the region as well as the subject matter,” explained Wingo. “I thought in terms of approximating the sound of machinery and gears grinding when coming up with the background beds in some of the pieces, after creating, then running musical loops through several other effects it sounded like various repetitive motions of some machines slowly deteriorating.”
Wingo wanted to tie in the juxtaposition of the hard, industrial timbre with the distinctive flavor of the region. He described, “I was thinking of these industrial types of sounds as the background, so with the foreground we wanted to reflect more of a regional feel of the bayou and Deep South, so the score sort of oscillates between this folksy/bluesy vibe and the ambient, darker, sometimes industrial sound…even when one side of the equation is much more prominent, the two styles are co-existing together in various degrees throughout.”