Gustavo Santaolalla

I had been drawn to this artist after hearing music of his backing a LVMH commercial played frequently on CNBC.
Very beautiful, dense, atmospheric and melodic.
This CD uses many guitar-like instruments that are unfamilar to my ears, which is interesting. However, I was expecting something very musical like the LVMH piece, but found more noodling than melody.

Still, worth hearing for the instrumentation.

I was not aware of what a ronroco was until I heard Argentinean composer Gustavo Santaolalla play one quite masterfully on the soundtrack of 2004's The Motorcycle Diaries. Among the film's many noteworthy qualities is the singularly resonant sound of the ronroco, a mandolin-like instrument, used to fill in the aural background for the adventurous road trip of the two young medical students out to experience the world outside Buenos Aires. Six years prior to the film in 1998, Santaolalla released this mesmerizing recording highlighting the versatility of his instrument in an evocative twelve-song cycle. Depending on the atmosphere he is trying to achieve with each composition, he plays a combination of eight different instruments, including guitar, pipes, tin whistle, and charango, a smaller cousin to the ronroco. Keyboard accompaniment is provided expertly by Anibal Kerpel, who plays both vibraphone and melodica, on several of the tracks.

As a whole, the album works seamlessly as a mood piece. Nonetheless, a few tracks are worth highlighting. The opening track, "Way Up", showcases the quiet fury of Santaolalla's uninterrupted strumming, while "Gaucho" , with its gentle beat, sounds like a street dance between two weary tango dancers. "Atacama" evokes mirages on a vast desert with the intricate fretwork seeming to escalate to a crescendo but never quite does. "Zena" and "Lela" are quietly seductive tracks. A certain geographical sensibility is evident on "Pampa", which springs to mind the image of a lonely cowboy sitting astride a loping horse over the grassy pampas, and "Iguazu", which sounds exactly like the torrential waterfall of its namesake. "Iguazu" was used again in the Mexican border deportation scene in Babel. The most familiar track is "De Ushuaia la Quiaca", which he also used again to great cinematic effect in The Motorcycle Diaries. "La Vuelta" is an appropriate closer as it is defined purely by Santaolalla's bravura playing.

This heavenly music is subtle and powerful at the same time. It makes you feel light and and slightly melancholic. It evokes the high land of South America.
This musician composed this type of music also for the movie 'motorcycle diaries'. The music has firm roots in the South-American Indian folkmusic.

I would recommend this CD even if you have gotten the Motorcycle Diaries soundtrack. It contains the tracks that make this work complete, wholesome.

Like several reviewers, I first heard of Gustavo Santaolalla via Michael Mann's film 'The Outsider' which made expressive use of the track `Iguazu'. This album (from which 'Iguazu' is taken) is an work of stunning beauty. All the tracks are slow, haunting guitar-driven mood pieces composed almost totally in minor keys. I was expecting `Iguazu' to be the highlight but there are many tracks that are equally exquisite. I recommend this album unreservedly to anyone with an ear for a beautiful melody and a romantic soul - believe me, you will not stop playing this. Quite outstanding.

The music is wonderful, and it is great for any social gathering. The theme is haunting, and I can't seem to hear enough of it.

I loved the movie and the music. However, I'm very disappointed to discover that I cannot get the CD to copy to my iPod. This is a pet peeve of mine - I buy the music, I should get to listen to it on whatever device I choose.

This album is a mixture of the instrumental theme, which is incredibly beautiful and haunting, and some very solid country songs. I was surprised by how good the other songs were (you still have to like country music, though). There are only two songs that I don't like at all, and those are the two by Rufus Wainwright - one a cover of "King of the Road" (originally by Roger Miller). They are great demonstrations of him at his most nasal and whiny. It sounds like he is a French guy holding his nose and singing too slow. It's too bad, because they are good songs otherwise. I guess if you like him, you're golden; but I can't stand these versions. Fortunately, the rest of the disc is really good.

I listened to it over and over and over last year. Such quality all 'round.

The product is what I expected. It arrived on time and in the condition advertised.

Some wonderful, special songs, that give the movie an awfully magic athmosphere. Others are choosen to follow the story in its different ambientations. Santaolalla and Sakamoto worth alone the soundtrack.

I don't think I've ever seen a film in my 40 odd years wherein a final piece of music helped the entire long, arduous, wonderful work gel and come together on so many gorgeous, tender levels as I did in "Babel", thanks to the hypnotic, simple music, "Bibo no Aozora" by Ryuichi Sakamoto. I loved this exceptional, humane film after seeing so much H-wood junk and clutter for a decade. And this piece of music will pierce your heart.

Babel is just one of those movies that exemplify the fact that we are all one sharing the consequences of each one's actions. Whether we realize it or not, our behavior at one place ripples all over reaching everywhere there is life. It will make you think and reflect.

Wonderful ... So much music to transport us to "another world," from so many fine artists I had never heard of before. Arab, Argentina, Latino, Indian, Indonesian, Moroccan, North African, Nordic, Japanese, American... so many styles I do not really know the names of, but the overall sound is a trip to the far east and around the world, as if I too have flown.

I have imported both CD's TWICE into iTunes in order to enjoy them over and over again, and a number of songs 4 or more times. Example: "The Phone Call," "World Citizen - i won't be disappointed/looped piano," "Bibo no Aozora/Endless Flight/Babel," "Bibo No Aozoro / 04 - Ryuichi Sakamoto, Jaques Morelenbaum & Yuichiro Gotoh" and more.

New artists (new to me, anyway): David Sylvian/Ryuichi Sakaomoto/Amadeo Pace/Keigo Oyamata/Sketch Show, susumu yokota, Takashi Fuji, Hamza El Din, Ryuichi Sakamoto, Jaques Morelenbaum & Everton Nelson / , Nortec Collective, and of course one of my favorites of all time, Senor Gustavo Santaolalla.

I leave it to the listener to match the song titles to the artist names; it's a journey well worth taking.

Wonderful CD, highly recommended. Leaves me as breathless as the film, with the wind blowing through my shirtsleeves raising me up into the dream of flying high into the air. Rising above the turmoil and strife of daily life surrounded by Life and "humans" everywhere. This is one dream most of us share.

The CD cover photos of the boys arms raised into the wind feeling as though they could fly "says it all." Then comes the dark turn and turmoil of "when things go wrong." No matter who is to blame, when things go wrong everyone suffers in the end. How can we begin to hear? How do we find a cure? What language can speak from the heart and cure our ills? Speaking can so often fail. What will bring people together, parents and children, men and women, adult to adult? Will people ever learn to "hear" and to "heal?"

No one listens, as can be seen even here in the comment and reviews.

One reviewer called this CD "excessively heterogeneous." What the heck does this mean? (Ah, just looked it up: "definitions for heterogeneous consisting of elements that are not of the same kind or nature; "the population of the United States is vast and heterogeneous"

Does this person never "dream to soar?" Indeed!

The great mix of music and of sound reflects the great mix and chaos and mud slipping and sliding as we Babel our way through life... even though the songs are quite different in many areas, one can delete those songs from their play list and duplicate others to make for a longer meditative song as I have learned to do. The entire premise of "Babel" the film is well-represented in the mix of musical styles that bring us together and keep us apart.

I applaud the musicians and the director of this fine and moving film to continue leading the way on this journey we call "life."


I have been shot in the heart and this "symphony of sounds" has become my own Red Cross. Today, listening to this sweet "cacophony of sounds" has kept me alive. We are all "Citizens of the World."

Like it or not. Cacophony or Symphony?

It's all in how we play...

Some pieces are outstanding (in particular those by Santaolalla, Sakamoto and Sylvian) but, at the end, the double LP is too much heterogeneous.

This soundtrack is so beautiful. Each piece is better than the other. It's fun, romantic, relaxing, and just a wonderful addition to any collection. We definitely enjoy it!

Perfect CD to bring along for a long drive when you want to relax and not let the outside world (traffic etc) bother you. Perfect for the summer or anytime of year. Even if you didn't see the film you would still enjoy this. Also nice for background party music.

I was initially impressed by the number of tracks on the CD, however on further inspection I noticed this was achieved due to the length (or lack thereof) of tracks and an appropriate "Ah Ha!" response was emitted.

To use the old addage "It's not quantity, it's quality" in this case would be an understatement.

The talent of the various artists, variety and complexity of the music, and the authenticity created an imaginitive atmosphere that had me sitting in an Argentinian (or Peruvian) bar drinking organic coffee whilst patting a llama, after a hard day spent on the back of a Norton 500. (You get the idea anyhow).

It is equally enjoyable played loudly enough to share with a city block, so you can hear it while mowing the lawn, or quietly as background music (watching someone else mow your lawn).

An excellent soundtrack, to accompany an excellent film, is money well spent.

I just recently went to Peru and Bolivia for a month, and this soundtrack was on my iPod. I'm so happy it was on there.
On the breath-taking bus ride to Machu Picchu, the tourists next to me kept yammering on about shampoo. I turned on this soundtrack to drown them out, and the spiritual experience was salvaged.This is the first time I've every truly felt indebted to a CD.
While some of the music I heard while travelling was truly amazing, at the same time there is only so many times you can hear "El Condor Pasa" before you want to stuff cotton in your ears. This gorgeous soundtrack was a great relief. It takes the traditional sounds of South American music and makes them sound modern. Occasionally minimalist, occasionally wild, but always very polished and haunting. Don't go to South America without it.

This is indeed a great effort by this very talented composer. The music never gets boring, it's always shifting gears, which it's not surprising , since it is -after all- the original Soundtrack for the equally original movie. At times becomes similar to middle eastern pieces, at others undoubtedly South-American. This is a classic example of what one might call 'evolutionary' music which by no means should be confused with a revolutionary kind. Tune your ear, earn some peace for yourself and if you can use your HEADPHONES for a better effect.

yours truly,

Rene

Now in her early 60s, Asha Bhosle's voice has matured since the heyday of her Bollywood career in the 60s-70s and in these reworkings of some of her greatest hits (written by her late husband R.K.Burman) it's positively honey-like. The collaboration with Kronos Quartet is inspired: substitute electronically enhanced violins for Duane Eddy guitars and you have an inkling of the ideas flying around the disc. The liner notes are informative and there's plenty of information for the Bollywood novice. However, whether you understand Hindi or not, this is a collection of songs - humorous, romantic, tacky, and at times so hilariously naff in the way of Indian homages to western pop it's actually cool! I would be amazed if you don't want to keep going back to it, once heard.

Chronos has always emphasized being clever over being musical- although they are splendid musicians- and this album is perhaps the ultimate exegesis of that. The actual music is perhaps exotic, to western ears, but it is also uninteresting. Indian film music combines the sound of the East with the banality of pop, and the result isn't anything that bears more than one listening; personally, I was continually reminded of the incidental Indian-themed music that kept popping up in the Beatles' movie "Help", although that soundtrack was a bit more clever. Another volume for the library of the die-hard Chronos fan, perhaps, but not necessarily anyone alse.

Some vocalists are one-of-a-kind, brilliant and beautiful, setting the standard for their particular music. Asha Bhosle is one of them. I heard her with the Kronos in performance in San Francisco, and they took my breath away. This album isn't quite the same as being there but it's very, very close. Asha, Kronos - please do it again!

I dont know how the kronos quartet to come down so low. The music is cheap. I couldn't hear any of the tracks completely. They were so insipid.Complete waste of money. I have heard much better from Asha.

I love Asha Bhosle and one only has to listen to her Live at the Albert Hall album. Problem is, she has aged, and her voice shows it. Regrettably, her vocals on this album constantly remind me of this and I can't listen to the album with pleasure. I would say the same of such wonderful singers as June Carter and Amalia Mendoza. This was a wonderful opportunity to introduce much of the world to the zaniness of Bollywood movie music, with its fabulous arrangements and wacky use of all imaginable instruments from all over the world. Instead it makes me sad to hear Asha not at her peak.

For those who love the tango style of the Guardia Vieja and of the Golden Age, those days often seem to be alive only in the thankfully widely available recordings of the day. Tango Nuevo is now ascendant and the heirs of Tango Nuevo genius/prophet Astor Piazzolla are today taking tango in directions unimagineable just ten years ago! But wait, many of the old guard are still with us and still making great music today.
Cafe de los Maestros is a compilation in loving tribute to all those who continue maintain the traditions in the face of the mass-market touristic glitz that is the only face of the old guard of which most tango dilettantes are aware. In this set, each featured musician puts his/her own mark on an old composition using a base orchestra (Orquesta Tipica de los Maestros) and suitable chamber formations comprised of some of the best tango musicians of the day.
When I first saw this box advertised, I saw the song list and the list of artists. Some I knew, and some I didn't, but the idea behind its issue intrigued me, so I ordered it. What a rare treat! Not only were some of my favorite musicians here, but some of my favorite compositions as well. The rarity of the treat is in that the arrangements and the players of those arrangements are mostly new to me.
Let's look at the set one CD at a time.
On the first CD, I expected to enjoy mostly the work of Atilio Stampone, Osvaldo Berlingieri, Leopoldo Federico, and Mariano Mores.
As it turned out, my favorites on the disc were those numbers featuring Berlingieri, Federico, and Mores. The surprise is Alberto Podesta who belts out a memorable rendition of Percal.
On the second CD, I expected my favorites would be the works of Leopoldo Federico, Horacio Salgan, Osvaldo Berlingieri, Atilio Stampone and Mariano Mores again. While I did enjoy their contributions as I did the ones on the first disc, the surprise cuts turned out to be Un Cielo Para Los Dos, a guitar-based duet featuring Lagrima Rios and Gustavo Santaolalla, Carlos Lazzari's rendition of the famed La Punalada, and the magnificent interpretation of Chique by Ernesto Baffa and Ubaldo de Lio.
You might wonder why the box set costs considerably more than the two volumes bought separately. The reason is that with the box you get an elegant hard cover booklet containing photos, biographies and lyrics in Spanish and English. If that appeals to you, then the extra few dollars you spend is well worth it.
Whether you are one who prefers to listen to tango or are an avid dancer, this box set is right for you. This set is already getting heavy action in my CD rotation.

Kicks butt, this soundtrack. Has two of my top 5 Dylan songs, "Sweetheart like you" and "Lay Lady Lay". I prefer the version of "Girl from North Country" Dylan did with Johnny Cash, but the one on the soundtrack is listenable. Great song from the Scorsese film "Color of Money"--Werewolves of London, that you can hardly find anywhere else.

I bought this for Cat Powers Path to Victory. she has a very hypnotic voice. I play just that song over & over & would prefer a CD with just her singing.

Dylan's new song Ask Ol Bill is as good if not better than Things Have Changed...He sings in a John Wesley Harding style...limited but nonetheless clear throated that is easy on the ear..This song just chugs along with great images worthy of the best from Dylan..There are previously released Dylan songs on this cd plus songs from other artists...Warren Zevon's Werewolf..still a hoot, the two corny country songs I just don't like...But I did not see the movie so they may bring some appropriate comic relief to the script...??? If you are Dylan fan, you gotta get this cd just for Ask Ol Bill....

I would recommend this soundtrack highly and I especially thought the Dylan presence fit perfectly. More Dylan would have set the scenes even better. Leo K was also a nice marriage to the story. As for "Minnesota not so nice", be cautious about speaking for others. I have been a girl of the "North Country" all 53 years of my life, and Dylans lyrics have always resonated with me. If he truely hated Hibbing at some time in his life,and wanted to escape or pretend no relationship, I and many others can resonate with that sentiment as well. For better or worse, everywhere Dylan has called home, is a part of his story, and his time in Hibbing is part of our story. Many of us backwoods "northerners" are honored to know that such a voice could come from any of our little northern towns,even Hibbing. Dylans music was the perfect fit for this picture,and more Dylan would have made this soundtrack even more relevent in my opinion. (from "very near "Hibbing")

I really enjoyed this soundtrack and would recommend it to anyone, however, I would like to sound off for a minute on the Amazon review of the soundtrack. Bob Dylan was indeed from Minnesota, he was actually from Hibbing, which is the town where "North Country" takes place. However, Bob Dylan hated Hibbing and Hibbing hated Bob Dylan. I personally thought it was a bit lame that they titled the movie "North Country" as it is a song that Bob Dylan first wrote and recorded. Considering Dylan's tumultuous history with Hibbing and the fact that the movie takes place over thirty years after he left, it seemed that the titling the movie after the song attempted to make a connection that simply didn't exist. I was pleased however, that the song is included only in the background of one scene and that it is sung by another artist. I just don't think it's necessary to detract from the film's main point by making yet ANOTHER Bob Dylan connection. As a Minnesotan with several friends from Hibbing, I know we would all appreciate it if comments like "there should be more Bob Dylan on this soundtrack" would be reserved for those of us who are actually entitled to an opinion on the matter, namely the people who understand the historical background of Dylan's relationship with our state.

(15+ years of consistently great music)

Look at the year this came out. WAY AHEAD OF IT'S TIME.

This album is a perfect album for them as a band, because they really do show how DIVERSE and talented they really are.

Yo!, but what's up with these prices???!!!

Este es probablemente el mejor disco de los tacubos. Sin embargo, muchas personas sienten que no sirve porque es tan diferente a otros disco de la banda, pero esa diference es lo que hace este album una obra de orta. Canciones como El Padre y Dos Ninos demuestras la madures del grupo. Este grupo es mas a alegre en otras producciones, pero no hay nada de malo en ser mas analitico. La primera vez que escuche este disco no me gusto francamente, pero despues me di cuenta de que el disco es impresionante despues de escucharlo varias veces La musica es genial. Este album es una excellente inversion.

In 1999 Café Tacvba released this double album entitled `Reves/Yo soY' (both were also sold separately) Again, the graphic design is very unusual but compelling at the same time, the double cd edition didn't have any bonus at all but the two cd's in a carton box with a very suggestive design on it.

The idea behind this double album seemed interesting but odd at the same time: `Yo soy' would include 52 new tracks (they are actually 15, but two of them are divided into many) from the band and `Reves' would include 12 instrumental themes original from the band and performed by themselves and other artists, such as Kronos Quartet, Arghul and Compañia Nacional de Danza Folklorica.

Yo soY

This album is different from its antecessors, we listen to a more mature and calm band, the vocal style of Nru has obviously improved from last album (listen to `El rio' and you will know what I'm talking about) and the mature ness of the band is present in the entire album. This album may not contain their most famous pieces but I believe what happened is that a lot of people got so caught with `Re' that they were expecting something similar.

Songs like `El rio', `El polen' (sung again by Emmanuel) are pieces that didn't transcend as much as `La locomotora' for example, but that are very interesting pieces, the piano and the vocals in `El polen' are something like never before shown in their albums, `Bicicleta' is another very interesting piece from this disc.

Reves

Among all the Café Tacvba albums this is the one I find the most experimental. It contains 9 instrumental songs performed by the band in a variety of styles that are hard to define. One of the highlights of these is track 9, that would later be entitled `Reves'.

The most interesting pieces from this album are tracks 7, 8 and 10. `10' is a musical piece made with the sound of people dancing, what you actually listen to is people stomping their feet on the ground directed by Nieves Paniagua, this track gives you a sense of emptiness on the performance but it definitely is one of a kind song. `5.1' performed by `Arghul' is a classical type piece performed with `clarinetes'. The last piece is `M.C.' performed by none other that the `Kronos Quartet', this song is just beautifully played and well executed.

Overall, this is a very enjoyable album for any Café Tacvba fan interested in the evolution of the band and not in having another `Re'. It shows an evolution and mature ness, but it is not definitely the ideal album if you are going to listen to them for the first time, you had better buy their first two albums, enjoy them, understand them and then listen to how they evolved in these two interesting pieces that are `Reves/Yo soY'

These guys are re-inventing music!! It is such a refreshing CD!! After years of being bombarded with the boy bands and the britney spears, and the limp biscuits this album is an oasis of beauty, creativity, talent, and courage! Once you listen to this album you will get hooked forever! It is like nothing you have heard in your life! Buy it!

Just get to your closest music shop and buy it, no matter if it is extremely expensive (wich it isn't)

This song has become a cult wherever the movie was a hit. These remixes take the original song of the movie to a dance club level, specially the Collaboration Remix that keeps the beauty of the original score lead by an electronic base line. The track is so inspiring and beautiful that will make you cry of happiness while you're dancing hypnotized by the strings chord line and the Trance/House beat. One of the best G anthems ever, better than "I Will Survive" We need more of this, please!!!

This "remix" is alright, nothing special just the same song played over and over and over. Quality was good, like most things ordered from amazon.

Reading some of the reviews of this CD-single are quite hillarious! It's pretty clear most who reviewed this do not understand what remixes are about, and what these mixes were supposed to do. These are for clubs, and for people who like to listen to Club music. It was also very funny to read some of the descriptions of the first mix on the CD. Next time you guys buy a CD-single that are remixes, you might remember the key word on the CD...REMIXES!

Now on to the mixes.. Gabriel & Dresden's 'Organized Nature Remix' is unbelieveable! Completely doing the theme justice. It is a truly beautiful mix of the song, and the breaks in and out of the theme are perfect. Gabriel & Dresden are the top Trance remixers in the U.S. When I first found out they were from the United States, I was shocked! They definitely sound much more Euro, and their darker style is just amazing with all the mixes they do.

Now on to the other two... these mixes are completly aweful! The theme sounds all chopped up, and these horrible House versions of the song just do not match up. I have heard that the 'Collaboration Mix' is the most popular of the three, and I do not know how. The guitar is sped up in the mix, and in another is sampled over and over which again just does not make any sense and sounds dreadful. Tony Moran, Manny Lehman and Warren Rigg are much better than that, and their remixes are very disappointing. You guys, especially Moran, can do better than this garbage.

I give this 4 stars because the Gabriel & Dresden version is just amazing, and is definitely worth the price of the CD-single!

I love love love "The Wings" theme from Brokeback. It's beautiful and understated. These remixed interpretations really bring it another (however, different) level. Check it out. My only gripe is I'd like some radio edits. I'm not a huge fan of remixes over about 6 mins.

BROKEBACK is one of the BEST movies and soundtracks EVER, no contest - but sadly, this remix CD project simply bastardizes a brilliant, haunting original score to make it...er...danceable...no...palatable...nah...to circuit queens high on meth or Tina. In theory, it's a semi-interesting conceit - in reality, it's one long, flat, tribal drone that goes on ad nauseum long after what little interest there was has already peaked. Do yourself a favor and support the film by buying the DVD and the original score/soundtrack, but take a pass on this - this MIGHT have worked with a cooler DOWNTEMPO remix - maybe HERBERT or JOAKIM or PORTISHEAD...anyone...but these hacks!

This movie is not exactly average. And the same applies to this magnificent soundtrack.
Some of the tracks featured are very flawed. Tracks 4, 7, 9, and 12 aren't really necessary. 4,9, and 12 are songs by other artists that I guess must be in the movie, and 7 is a totally bizarre track of Benicio Del Torro just saying, "Wash your face and hands. Get in the kitchen. I'm hungry," and so forth. I don't know what exactly went on during the production of that, but it kind of sounds like a drunken rant.
The other tracks however, are wonderful. The same theme is played in several, but the music is so atmospheric and charismatic that it doesn't get mundane. The tracks are filled with beautiful, and moody melodies that echo greatly the themes and meaning of the film itself.
A great aspect of the soundtrack is that the tracks are extremely short. The longest (Del Torro's insane hypnotic track) clocks in at six minutes. Most are about 2 minutes. This makes them accessible, short and sweet.
I especially love the second to last track "Can Light Be Found in the Darkness."
Rent the film, buy the soundtrack.

Gustavo's score for 21 Grams is haunting, beautiful, and evocative...unfortunately, too little of it appears on this album. Which is not really a fault of Varese Sarabande (this time), but mostly because there doesn't seem to be much more than 20-25 minutes of score in the movie, either. On the plus side, there is more score here than the terrible 15 minute treatment of Gustavo's Brokeback Mountain CD, but not much, and the additional songs are rather useless - Low Rider is a gooder, but completely out of place, Ann Sexton's is boring, the rap song is horrendous, and Shake Rattle and Roll is almost painful to listen to (6 minutes of Benicio Del Toro mutter an Elvis song is a lot to take).
That having said, I should really be focusing more on what's here than what isn't. The score is understated, but beautiful, and captures the mood of the film perfectly. The two final tracks were worth my 11 bucks alone - they're mysterious, moving, and rather wonderful. Because of the impact of the music, one wishes more of it was here than 20-25 minutes (not exactly sure how much score exactly is here), but then, that might just be a creative choice for the film.

This was a gift intended to be of the Motorcycle Diaries genre. A severe disappointment. Very little music, a lot of deep voice mystical inference. A little too extreme (weird?) if you are expecting music.

Being one the most popular producers in Rock En Espanol, I've kept an eye on Gustavo Santaolalla's solo productions. They are appealing to me partly because of how different they are from the material he produces for others. Among the bands that have worked with him are Cafe Tacuba, Molotov and other acts that are do not precisely play "quiet" music. Yet, Santaolalla's music is not jumpy or upbeat, but rather calm, almost on an ambient note, incorporating instruments native to South America.

In the score to "21 Grams", thanks to the extensive use of the bandoneon, there's a strong Argentinian flavor in the midst of the darkness that the music carries. The songs almost all have a voice of their own, which allows them to answer in musical terms the questions that the songtitles pose: "Do We Lose 21 Grams?", "Can I Be Forgiven?", "Can Light Be Found In The Darkness?". Complementing Santaolalla's tracks are a solid Ozomatli song, inviting eclectic tunes by War and Ann Sexton, a Ronroco-like song by Kronos Quartet and the most interesting rendition of "Shake Rattle and Roll" you will ever hear, sung (or rather recited in a dark tone) by Benicio Del Toro himself.

Though I didn't find the album to be his best work to date (I still feel his first one, "Ronroco" and the OST to "Amores Perros", which he majestically produced, are his best and second best albums), still I recommend it as an incredible work, one that I particularly enjoy listening at night, while writing or reading.

This is one of the best soundtracks I have ever come across. I totally recommend it, it's deep, moving, and powerful.