Foehn ‎– Hidden Cinema Soundtrack

FatCat Records ‎– FAT-SP01
CD, Album

Companies, etc.


  • Written-By, PerformerFoehn


(p) (c) Fat Cat Records Ltd. 2000.
Released in a Digipak.
Distributed by SRD - 0181 - 802 3000.
Made in England.

Many thanks to Matt Roger Oktober Music Cinema Kathryn Kerry Dave Fat Cat Rick and anyone I forgot.

On the CD, the main title is given as 'Hidden Cinema Soundtracks'.

Barcode and Other Identifiers

  • Barcode (Text): 5 033826 022920
  • Barcode (String): 5033826022920
  • Mastering SID Code: ifpi LD81
  • Mould SID Code: ifpi 8Y12
  • Matrix / Runout: 04260 FAT-SP01 SP F
  • Other: 189884 020600



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January 25, 2012
edited over 6 years ago
Music like this can be seen as overindulgent and self centred but this takes us into another realm altogether. Foehn's music is spooky, inquisitive and unnerving. Opening with ‘To The Forgotten Forest Deep In Space’ we set off with a pleasant low-end sine-wave and ambiguous flute. An abrasive beat plods along with an undertone of misery and regret, which grows into a swirl of anxiety pulling at our hearts with its pleading strings.

These tracks emulate and embrace film music, all of which could serve as a purpose for cinematography. Yet, they are far more intelligent and have their own incredible style. They encompass a subtle cinematic theme with various orchestrations of sound embedded into its veins. The mood is sombre and heartfelt, yet dark and stubborn. A good use of samples circulate, as does various field recordings.

‘A Wild Face Pours Words On The Last Beach’ would be perfect for a spy thriller down a dark and dank alley while ‘This Time Was In A Dream’ sets us adrift on a sea of brutality swaying in awkward directions. ‘Into The Darkness And Stars’ is a dramatic organ led piece followed by the more upbeat and exotic ‘Suddenly He Realised He Could Fly’

All these tracks have one thing in common, a searing smear of unease and intense lo-fi bearing. Debbie Parsons’ experimentation leads even further afield on tracks such as ‘Piano Clatter’ and ‘I Really Love High Winds’ in which she introduces even more odd field recordings and musique concrete.
This record works well, if only a little disjointed when compared to Parsons' brilliant predecessor ‘Silent Light’