Here’s what I know about Emerson Antoniacomi: He’s Brazilian; he’s a talented composer and performer; and he released ten (ten!) freaking albums of Free Culture-licensed music from September to November 2010.
So we must focus on the album at hand. Trilhas Sonoras Para Filmes Vol. II (“Soundtracks for Films vol. II”) starts off with a two-part symphony (all synthesizer) that feels audacious, in some way I can’t quantify. This isn’t just a musician knocking out some generic background music, it’s more complete and layered than that.
The rest of the album could be taken as “just background music”, but it also manages to be more complex than you would expect.
If there is a drawback, it is that Antoniacomo seems not to be a sound geek, and lets his synth instruments sound… cheap, or possibly cheesy, I’m not sure quite how to describe it. There are moments that sound like bad soundtrack instrumentation for one of Roger Corman’s late-’80s straight to video production, attempting poorly to sound like a real instrument, instead of embracing its own sound. It’s only occasional, and the quality of the compositions overcomes the possible awkwardness, but it is there from time to time.