[Thor Joachim Haga]

Finally had a “window” to explore a bit of Reiser’s work, on YouTube. Quite lovely indeed, a lot of it.

JENSEITS DER STILLE (which I’m guessing is the same as the BEYOND SILENCE you mention) is beautiful. Combining come-of-age with woodwinds (clarinet apparently plays an important part in the story as well) is a solid combo for me. Some of the source music(?) jolts you out a bit, but that main theme….wow. Right up my alley.

Piano and woodwinds are also prominent in PÜNKTCHEN UND ANTON. There’s a bit there, in the opening track, that reminds me of the love music from JNH’s WYATT EARP. But of course, this — too — has several tracks in a completely different style (jaunty kiddie music) that feel a bit like ‘verfremdungseffekts’.

IM WINTER EIN JAHR feels like it could fit in our “Film music for freezing cold” thread, with some zither(?)-like instrument, guitars and a generally chilly atmosphere. More impressionistic than outright melodic.

His version of HEIDI is more lean than the more lush stuff we’re used to from Williams, Holdridge etc. Not quite sold on this.

He goes more electronic/indiepop in SOMMERSTURM. With some grander tracks. But not terribly interesting, overall.

Some good ethnic/African workout in DIE WEISSE MASSAI (which is one of the few titles I had heard about beforehand) and NOWHERE IN AFRICA, previously mentioned. The latter is lusher, but I quite like the leaner High Life stylings of the first as well. Melodically, they’re both a bit static, though.

DER SCHEICH didn’t do much for me. Lots of contemporary rhythmical tropes.

DER JUNGE MUSS AN DIE FRISCHE LUFT returns him to coming-of-age-type stories, where he seemingly does well. It’s okay, but it’s a type of score I hear dime-a-dozen these days — kinda quirky, lightweight drama music.

That’s it so far. Some good ones, some less so. But I feel like at least I have sort of a handle on him, musically, now. He’s excellent with woodwinds. Loves his guitars.

But JENSEITS DER STILLE stands in a class of its own.