[TCA 51] This Is Not A Burial, It's A Resurrection (Original Motion Picture Soundtrack), by Yu Miyashita

[TCA 51] This Is Not A Burial, It's A Resurrection (Original Motion Picture Soundtrack)

by Yu Miyashita

supported by

Nicholas Croft I was dreaming of this film's title on my own time, then the movie came into my life as a surprise. A happy coincidence, since it is such a well conceived project! A warm thank you goes out to all involved in the work. Favorite track: Drone – Variation VII.

Oriental Love a.k.a Kaya Takada thumbnail

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Full Digital Discography

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	1.	String - Variation I 00:28
	2.	String - Variation II 02:14
	3.	Drone - Variation I 01:09
	4.	Drone - Variation II 01:53
	5.	String - Variation III 00:36
	6.	String - Variation IV 01:47
	7.	Drone - Variation III 00:50
	8.	Drone - Variation IV 00:32
	9.	Drone - Variation V 01:05
	10.	Drone - Variation II (Short Edit) 01:40
	11.	Drone – Variation VI 00:25
	12.	String – Variation V 00:46
	13.	String – Variation VI 00:52
	14.	Organ / String – Variation I 00:37
	15.	String – Variation VII 01:58
	16.	Drone – Variation VII 02:19
	17.	String / Voice – Variation I 01:10
	18.	Drone – Variation I + VII 10:00

about

“The entire film, in fact, is made more haunting by its sound design, and by Yu Miyashita’s score. Listen to the low and scratchy drone of the music as Mantoa finds her home ablaze, and then, afterward, to the high keening of the strings as she sits amid the ashes, on her charred bedstead, with sheep nosing peacefully around her.”
- Anthony Lane at The New Yorker

“The director suffuses the piece with an entrancing mysticism, accompanied by a spectral score by Yu Miyashita. Its sharp dissonance resonates as if it were a choir of voices screaming from the afterlife.”
- Carlos Aguilar at RogerEbert

“Along with the images, the score by Yu Miyashita and its accompanying sound design constitute a challenge to conventional Western film language. It’s a welcome and necessary one, I think.”
- Glenn Kenny at RogerEbert

"The film’s memorable visuals are matched by its soundtrack. Electronic composer Yu Miyashita, born in Japan but based in Berlin like Mosese, provides the film with a musical score that frequently dissolves into static and swells into shrill, harsh tones, a sonic interpretation of the unstoppable wave that is set to wash away everything Mantoa holds dear. In marked contrast to these aggressively modern sounds."
- Lee Jutton at Film Inquiry

“The score, in particular, is a standout for me. Japanese composer Yu Miyashita, who also goes under the name Yaporigami (great IDM in the same vein as Aphex Twin) creates a twisted, unsettling and terrifying sound collage that is unlike anything else I’ve heard over the past year in film and is a likely candidate for my favourite score of 2020. It perfectly embodies the tense undercurrent surging within Mantoa, adding a specific flavour to the film that truly differentiates itself from anything else you will see over the past year.”
- Perrin Faerch at Poorly Written Musings

"His visual approach, accompanied by an ethereal musical score composed by Japanese musician, Yu Miyashita, is dreamlike, visionary, and otherworldly."
- Wael Khairy at RogerEbert

credits

released June 23, 2021

Tr.4, 8 & 10 contain the altered Lesiba sound, originally played by Mahlomola

Music. Yu Miyashita
Mastering. Yu Miyashita

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about

The Collection Artaud Berlin, Germany

Berlin-based label of auditory alchemists forging the alternative future of sonic art, run by Yu Miyashita

"I abandon myself to the fever of dreams, in search for new laws." - Antonin Artaud

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