Robin Guthrie’s latest film score is the soundtrack to 3:19, an acclaimed film by the Spanish writer/director Dany Saadia, which is to be released in the US this fall.  The film tells the story of a trio of friends, one of whom is dying of terminal cancer. Though the film has an obvious component of melancholia and loss, this is mediated by the message of love.  A film score must relate without words the emotional narrative of the film, and help the audience to tease out connections that are not made  explicit by the dialogue and cinematography. Best known as the guitarist, producer, and songwriter behind the Scottish dream-pop legends the Cocteau Twins, Guthrie’s cinematic works now outnumber his work with the group with which he built his reputation. His collaboration with composer/ambient legend Harold Budd in 2005 for the film Mysterious Skin garnered much praise, and demonstrated his aptitude as an aural narrator. This is somewhat appropriate, as his style is well suited to augment visuals, and he crafts instrumental music that is powerful is its control of mood and emotion. 

Most of the record features the type of guitar work one expects of Robin Guthrie; mournful, treated guitar ambience, lots of Chorus pedals and reverb,  rhythmic staccatos, and gradual, memorable melodies.  Guthrie has added piano as well, and the occasional string arrangements and percussion, just enough to add  depth and texture. Though it is not really complex enough to be considered ‘contemporary classical’, this is darkly beautiful pop, and it succeeds with or without the accompanying film. Like the film, the music explores how various occurrences, seemingly random, are necessary to cause a specific event to occur, making the chance event resonate with meaning.

The trajectory of the album makes a bit more sense when one is aware that it is the score of a film,  but 3:19 has an architecture of its own. Bookended by sparse, somber tracks, the record builds slowly, culminating in a classic crescendo on the climactic, penultimate song, “A La Eternidad…”,   the sonic and emotional zenith of the film and record. Each track on the way to this pinnacle establishes a separate mood, and one can imagine the scenes unfolding between.  Guthrie perfectly controls the ebb and flow of each track, and thus the power of the climax is not diminished, and the preceding tracks do not sound dull or repetitive. Instead, they relay distinct impressions, such as the meditative chord progressions of “Comprension” (comprehension) which always reach a satisfying resolution without falling into kitsch or predictability. Almost  a ballad, revolving around the piano, the piece culminates with the introduction of strings. “Cuanto Tiempo?”  is darker, somewhat foreboding, and evokes feelings of loneliness. “En Mi Punto, En Ti Punto, y Miy en ti Punto” is sort of the first peak, adding some simple drumming in the background, just enough to make it stand out against the beat-less songs which proceeded it. The timbres of  “lisa@dixo.com”  are as distinct from the others as is its title, largely based on a steady progression of synth tones. “Lucia’s Lament” is one of the more emotionally  moving and memorable pieces.  “Explaining the Game” is classic Guthrie, and the cycle of guitar arpeggii go on and on, drilling the melody into the listeners head, gradually swelling into a euphoric finish. This is an album of sweeping crescendos, and few have mastered the art like Robin Guthrie.

Though Guthrie’s music may gently drift into the background, 3:19 is full of subtleties to reward the attentive listener. His soundscapes create convincing atmospheres, and the result is a subtle and introspective album. I think most people will already know whether or not they like Guthrie’s work based on his past  output, but for those of you who only recently discovered dreamy pop ambience via groups like Hammock,  prepare for a pleasant lesson that sometimes our elders can still hold their own. 

-Joseph Sannicandro