In the category: composer, Andrew Barnabas is one of those who teleport you in two notes in another dimension of the world.
For many, he is the brilliant composer of MediEvil – and those who are not English thought they were transported to Albion, years before Fable.
How did he get everyone to be in the misty shadows of England from his notes? How did he get us to see twisted benches, bits of English gardens, and flickering lampposts?
I don’t know – but he did.
You can’t be anywhere else but in England – that old country where the cemeteries are full of bells hanging on the dead people’ s fingers, ringing, ringing, with every gust of wind.
You never know, kids, if I wasn’t dead, would you come and dig me up?
And the children, panicked by the bells, dreamed of the living dead coming out of their graves.
This was the subject of MediEvil and Mr. Barnabas impregnates us to the very depths of our soul and flesh with this disturbing atmosphere of wet pavement, very old gates, very chic gentlemen, ladies, frozen castles, filled with old woodwork.
Two examples will suffice, I think, to illustrate what I’m saying: the museum – and frankly, what a great idea to assemble a monster bone by bone – and what fabulous music watching each bone fly to its place!
As for the music that illustrates Kensington, it is – at least for foreigners – all the music that was to accompany the atrocious crimes of Jack the Ripper, lurking in the dark alleys of the city.
It is a music that has stuck to him and with his accomplice Paul Arnold, they have renewed – seriously ? it is a great, great, work :
Then together …. they have reached all the heights of composition – listen to this extract and here is unveiled a part of the soul of China – it is absolutely amazing:
So not to highlight them, these men, is just plain stupid. Don’t you think so ?
Featured Image : MediEvil – SCE Studio Cambridge – from 1998