IN THE MEDIA
"... His music is once again totally engrossing and stunning, it has a highly emotive sound to it which is created by the composers use of strings and choir which are enhanced further by woodwind and brass which have a kind of Barry-esque aura to them, they create a sound of solitude but at the same time have a warmth and emotion to them that is heartrending and attractive...’’
Movie Music Italiano
‘‘… Laurent Eyquem is a composer who has the talent and ability to create wonderful tone poems that enhance and support every project he is involved with, and as well as serving the images and storylines the composer also manages to create music that is enjoyable to sit and listen to away from those images and scenarios. There are no highlight moments within the score, because each track each piece and each theme is a highlight itself. The combination of sorrowful but attractive cello and piano at times is memorable and enriching… One for the collection, one of the best scores thus far this year’’ - (18 Clash of Futures) -
John Mansell – Movie Music International
‘‘…Laurent Eyquem’s score is completely gorgeous. The “Opening Theme” has a jazzy tinge – sultry, smoky, melancholic, very beautiful. Piano features prominently in that and indeed most cues: the following “A Life in Pictures” sees the strings join in for the first time. It’s heartmelting – so sincere and full of emotion. And then “The Granddaughter” – it’s even better. Tender and soft but packing a heavyweight emotional punch, it’s really quite something…’’ - (Nostalgia) -
James Southall - Movie Wave
WINNER - Best Original Score 2022 - Malta Film Awards
‘‘...Eyquem has a history of writing excellent music for historical dramas – Copperhead (2013) and The Red Tent (2014) are amongst my personal favorites – and Blood on the Crown is a new addition to that list. It’s a rich, emotional orchestral score augmented with a great deal or regional color, notably some flamboyant writing for bouzouki lutes, which comments on the drama and intrigue of the political situation in Malta at that time, defines the romantic relationship between the two protagonists (two idealistic dissidents who fall in love), and then builds to a bloody, thrilling climax as the events of Sette Guigno unfold, and the fate of a country is decided…Occasionally Eyquem bolsters his orchestra with an exotic wailing vocalist, or with the more contemporary touch of synth percussion, and in those moments the score takes on a feeling akin to something that someone like Harry Gregson-Williams might write – Spy Game meets Kingdom of Heaven…
It’s really good…”
Jonathan Broxton - Movie Music UK
‘‘...I would like to explore the atmospheric and haunting musical score, which is the work of composer Laurent Eyquem., who has over the past decade or so written numerous film scores that have attracted the attention of both critics, film music collectors and his peers. Blood on the Crown is in my opinion one of his finest scores for cinema, it is a work filled with emotion and drama, where the composer integrates ethnic sounding instrumentation into the symphonic content of the work. His use of bouzouki lutes is particularly affecting as the composer utilizes the instrument in a very different way to how we as film music fans have come to expect. Forget the bouzouki as in the upbeat employment used in film classics such as Never on a Sunday, Zorba the Greek and Topkapi, and think more of the tense and dramatic use of the instrument as displayed in the Mikis Theodorakis score for the movie Z…”
John Mansell - Movie Music International
WINNER - World Soundtrack Awards 2018 - Public Choice Award
Nominee - World Soundtrack Awards 2018 - Discovery of the Year
‘‘…Like the emotion it describes, the music of “Nostalgia” will live forever. In a film music world that is dominated nowadays by cold and impersonal, it is a privilege and a gift to be able to hear a composition as beautiful and moving as this one. An ode to loss and emptiness and to the love that feels these voids, “Nostalgia” is a perfect score if I ever heard one and regardless of what kind of music you like or what kind of person you are, listening to it will make your life better and will make you want to hug your loved ones tightly. There’s no higher compliment I can pay a musical composition than that my eyes were misty for the duration.’’
Mihnea Manduteanu– SoundtrackDreams
‘‘…The Opening Theme is sublime, scattered piano notes lifted by the trumpet and completed by the cello. It’s flawless. The 11 cues are variations of the same but each one holds the attention. The Absence is particularly moving; almost ambient in the way the strings hold long notes and the piano is reduced to 5 plaintive notes. It conjures up empty space…it deserves to be heard as a master class in moderation and because, in parts it’s beautiful’’ - (Nostalgia) -
Ley Bricknell – Filmic Tracks
‘‘The composer has written a score of immense beauty that is elegant and graceful…This is an incredibly expressive work which I have listened to over and over many times and each time I am moved and affected by its delicacy and tenderness. To say one cue is better than another is impossible, or to name a highlight or stand out piece is something I cannot do with this score, as each track on the release is simply exquisite, it is a score that I know you will revisit again and again after your first listen, I also know that like me you will be mesmerised and affected by each note, each theme and each track as the alluring melodies wash over you and invade your mind. This is a must have soundtrack.’’ - (Nostalgia) -
John Mansell – International Film Music Critic Association
‘‘…Laurent Eyquem’s score is completely gorgeous. The “Opening Theme” has a jazzy tinge – sultry, smoky, melancholic, very beautiful. Piano features prominently in that and indeed most cues: the following “A Life in Pictures” sees the strings join in for the first time. It’s heartmelting – so sincere and full of emotion. And then “The Granddaughter” – it’s even better. Tender and soft but packing a heavyweight emotional punch, it’s really quite something…’’ - (Nostalgia) -
James Southall - Movie Wave
WINNER - UCMF Awards 2019 - Best Score for Series/Documentary
‘‘…Laurent Eyquem knows the human soul like few composers do and has the extraordinary ability to express very clearly all its complex nuances, From love to sadness to doubt to determination through music, I receive his messages, I understand what he tells me and I can experience the tribulations of the characters by listening to this score. The composer took elements of jazz, of noir and of minimalism and blend them into a poignant mix. It’s the kind of score I can see myself returning to quite often and one hour I’m sure you will consider gained once you’ve spent it’’ - (18 Clash of Futures) -
Mihnea Manduteanu – International Film Music Critic association
‘‘…Laurent Eyquem is a composer who has the talent and ability to create wonderful tone poems that enhance and support every project he is involved with, and as well as serving the images and storylines the composer also manages to create music that is enjoyable to sit and listen to away from those images and scenarios. There are no highlight moments within the score, because each track each piece and each theme is a highlight itself. The combination of sorrowful but attractive cello and piano at times is memorable and enriching… One for the collection, one of the best scores thus far this year’’ - (18 Clash of Futures) -
John Mansell – Movie Music International
WINNER - Breakthrough Film Composer of the Year 2013 - IFMCA (International Film Music Critic Association)
Nominee - World Soundtrack Awards 2013 - Discovery of the Year
Nominee: Film Composer of the Year 2013 - IFMCA (International Film Music Critic Association)
Nominee: Best Original Score for a Drama 2013 - IFMCA (International Film Music Critic Association)
''...utterly beautiful, highlighting Eyquem’s skill at writing deeply emotional melodies and that capture the location, the time period...having now heard Copperhead, one can only assume that this is the beginning of a long and successful career scoring much more prominent films for Eyquem, because it’s quite wonderful...''
Jonathan Broxton - Movie Music UK
“…(Copperhead’s) main title which opens the disc is a lush, beautiful piece highlighted by piano and fiddle solos that will appeal to all fans of James Horner’s Legends of the Fall or Rachel Portman’s romantic scores. A beautiful melody is placed in a gorgeous orchestral setting; it’s heart-melting stuff...I am sure it will signal the start of a very successful career for the clearly-talented composer…’’
James Southall - Movie Wave
''...Right from the start of “Copperhead’s” gently flowing music, you can tell that Eyquem hails from the richly harmonic country that produced the likes of such superb melodists as Georges Delerue and Alexandre Desplat, a tradition that Eyquem impressively follows, but with a feeling that’s homegrown Americana...’’
Daniel Schweiger - Film Music Magazine
‘‘...Copperhead may well be one of the best new scores of this year, and is an excellent display of the young composer’s abilities...”
Chris Hadley - www.filmscoremonthly.com
‘‘...Exquisitely sublime, the score’s themes waft gently and sorrowfully across a landscape torn by violence and heartbreak. It’s an extremely heartfelt score whose emotions surface in each gathering of strings or sturdy note of trumpet, every tender caress of piano keys or filigree of woodwind...For its emotional honesty and eloquent compassion, COPPERHEAD is one of my favorite scores of the year thus far...’’
Randall Larson - Randall Larson's Soundtrax
‘‘...I had such a wonderful time with this score and I wasn’t expecting a score so full of life, so full of emotions. I was tested every second I listened to this score, challenged not to burst into tears. Copperhead is easily one of the best orchestral scores of the year!...’’
Jørn Tillnes - www.soundtrackgeek.com
‘‘...a rich and eloquent sounding score, which I think not only contains elements of what can be categorized as the Hollywood approach to film scoring, but it also has running through it a secondary sound that is most definitely European sounding having affiliations to the intimate and melodic style of composers John Barry, (for the graceful but effective woodwind and melancholy sounding horns), Zbignew Preisner (for woods again and an almost playful sounding ambience gained by the fusion of woods and strings) and Georges Delerue (for the ever present melodic atmosphere, via strings, harp and woods)..’’
John Mansell - Movie Music International
WINNER - Breakthrough Film Composer of the Year 2013 - IFMCA (International Film Music Critic Association)
Nominee - World Soundtrack Awards 2013 - Discovery of the Year
Nominee: Film Composer of the Year 2013 - IFMCA (International Film Music Critic Association)
Nominee: Best Original Score for a Drama 2013 - IFMCA (International Film Music Critic Association)
‘‘...Laurent Eyquem...now stands at the forefront of the next lushly accented invasion to hit Hollywood’s shores...Practicing a thematic gift for unabashedly soaring music that’s marked the work of such progenitors as Maurice Jarre, Georges Delerue, Michel Legrand and Alexandre Desplat, Eyquem has begun to catch soundtrack admirers’ears...”
Daniel Schweiger - Film Music Magazine
By far the most exciting new composer to emerge into the mainstream in 2013 is the Los Angeles-based French composer Laurent Eyquem, who left many – including me – stunned with his work on the dramas Copperhead and Winnie Mandela, which contained more beautiful, rich orchestral music over their two hours as many others compose in a career.
Jonathan Broxton - International Film Music Critic Association
"... His music is once again totally engrossing and stunning, it has a highly emotive sound to it which is created by the composers use of strings and choir which are enhanced further by woodwind and brass which have a kind of Barry-esque aura to them, they create a sound of solitude but at the same time have a warmth and emotion to them that is heartrending and attractive...’’
Movie Music Italiano
