Recording the Music

Updated: Mar 31

In multiple three-day sessions in November, December, January, and this past week, we’ve been working on recording the music for the film. It’s been unfolding a bit slower than we’d have liked, (such is life on an indie film LOL) but the results, we think are going to be spectacular when it is finished.


David Daniel Brown and Shireen Jarrahian recording tracks for the film.

The first sessions were involved in recording the more indigenous-inspired music and drum tracks.


The idea for the music was to create a dialogue between the musicians and the film, wherein the film speaks to the musicians and what they play speaks back to the film. This allows for an unusual collaboration that is rare in cinema, where the work and creations of the musicians may (in some cases) inform the edit and alter the picture cut.


Normally, a composer writes music that exactly fits the locked picture and musicians play it. In this case, we wanted the same sort of collaboration with the music that happens with the cinematographer, production designer and actors. One where their input shapes the film.


The idea is that the music is holding two realms – a higher perspective on the conflicts happening and a calling to awaken. And, alternatively (largely with drums, didgeridoo and some other unique tribal instruments) egging the characters to continue to fight.


Diana Carr at her recording session.

Secondly, we had to record and produce Diana Carr’s three vocal songs that are used in the film and for the end title sequence.


We successfully completed recording these over seven days in January.


Last week, Ram Dass (our music producer) recorded the violin that may accompany these tracks. In the next two weeks, he’ll be performing and recording the second guitar and then mixing them both into the final versions of these songs.


We also recorded Diana singing acapella, which is used several places throughout the film and (if we may say) powerfully and stunningly so during the final fight between William and Elias at the end. We are super excited by this and can’t wait for you all to see it.



Diana Carr and Ram Dass Khalsa getting ready to record.

Adrienne Shamszad

Ram Dass has also been working with Adrienne Shamszad (sorry no image of these sessions) who has composed some stunning tracks that give voice to Jessica’s journey on her two long walks to the house and during her cleaning herself up to “see if she’s worth it.”


These tracks are also quite exciting and give a new powerful female voice to the film. Adrienne (and Bogdan see below) also worked on the moment in the film when the power goes out.


Ram Dass also just completed a seven-day recording session in Mexico working with world-class violinist Bogdan Djukic.

Bogdan Djukic recording music for the "Power's Out" sequence of the film.

We feel quite lucky to have such an accomplished violinist on our team. He’s a close friend of Ram Dass and agreed to come on to help us out.


Bogdan’s violin creates a through-line through the film, helping us blend the different musical cultures that the score uses.


Ram Dass, himself is a very accomplished musician and he will be adding clarinet and guitar throughout, which are being recorded in the coming week or two.


Finally, we are using the deeply healing Sanskrit chanting of Gaiea Sanskrit to add a further awakening and higher consciousness feel to the music. One of the most powerful uses of her music is when Elias and Jessica come together in lovemaking and also when Jessica is searching for food.


The counterpoint between the Sanskrit and what is happening on screen give a deeper meaning to the message of the film and the performances.


We hope to have all this music mixed and placed in the film in the next four weeks. Much of it is already placed, but it now needs to be produced, mixed and the final versions laid in.



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