Reza Safinia's Enter The Dangerous Mind
With Performances By Reza Safinia featuring Nothing But Thieves
Lakeshore Records has released the Enter The Dangerous Mind – Original Motion Picture Soundtrack digitally on February 10, 2015. The album features the film’s original score by Reza Safinia (FILLY BROWN, MERCY) and the songs “In My Head” (Reza Safinia feat. Nothing But Thieves) and “Broken Soul” (Reza Safinia).
“The music was part of this film when it was just a script,” explained Safinia. “The directors had a very specific vision and we worked together to give both the music and the film a feel that was not just confined to EDM, although obviously that is a strong influence. The film is about psychological trauma and so they didn’t want the music to be euphoric and clubby, but rather harness the intensity of EDM and turn it into dramatic score.”
ENTER THE DANGEROUS MIND enters the mind of Jim (Jake Hoffman) - a socially awkward EDM musician with a traumatic past, a tenuous grip on reality, and voices in his head. When he meets Wendy (Nikki Reed), he thinks he might finally have a shot at happiness. But as long-buried memories begin to stir, and his crush turns into obsession, Jim finds himself looking into a violent abyss... and he won't be going alone. Pulsating with raw energy and an intense electronic soundtrack, ENTER THE DANGEROUS MIND is a pitch-black psychological thriller that doesn't let off the gas for a second as it twists to its shocking conclusion.
“Reza was with us on the days we shot music scenes to make sure we were getting things right and he provided much of the temp music we used to cut the film to,” said directors Youssef Delara and Victor Teran. “He was really clear about the sound we were going to go after for the film and the work flowed out of him very quickly, which will come as a shock to people when they hear how good it is.”
“Besides all the electronic stuff there’s a lot of sampler instruments I made using natural ambience. I got this idea that for Jim, even the ambient noise around him could be either a trigger or a pacifier, and I started paying attention to the sounds we hear every day in life. Gradually it morphed into an approach for the score.” Safinia continued, “I recorded a lot of everyday sounds. With them I would do different things, sometimes I’d take a harmonic approach and make normal sound playable as a tonal instrument; sometimes I’d do the sidechain gate and compression trick, triggered by a kick drum, like they do in EDM music, to create a throbbing sound. Any sound you hear in the score that isn’t a synth or a piano was created from organic sound.”