Danish aural auteur Emil Friis has always been drawn toward storytelling. As a kid, the Dylan and Elvis records in his father’s collection called to him. From there he developed an interest in artists such as Marty Robbins, Charlie Pride, and George Jones. Friis’ confesses that, “There’s a delicacy and a longing to country music that I really love.”

Before making music, Friis was also passionate about cinema. A fascination with the movies of Stanley Kubrick led Friis, while still in his teens, to travel to the UK and attend a film foundation course. However, upon returning to Denmark he bumped into an old friend and started a band. His ambitions shifting to the writing of “cowboy” songs. Tales of heroes and villains, redemption and revenge. 

Friis’ first big break came when he was commissioned to pen the theme song for a French gangster movie. Someone at The Danish Broadcasting Corporation subsequently heard the ballad and signed Friis up to score a full TV series. Effectively kickstarting his career as a soundtrack composer. 

Beginning with improvisation mainly at the piano or synthesiser, Friis’ approach is very intuitive. He says, “I’m always searching for something. I don’t know what it is, but when I hear it, I know it’s right.” Friis describes the computer as his “instrument”. Where he adds texture and character, sometimes through the use of a vintage Ampex pre-amp. Moving Images, his debut solo release for FatCat‘s classical imprint 130701, was originally conceived as a series of 5 individual E.P.s. These “mini-suites”, containing 3 or 4 pieces, each developed their own melodic theme while together building a larger whole. It was music intended to “inspire and help tell stories”, as Friis puts it.

During the writing and producing the project morphed, instead, into a full length LP. The core concept behind the music remained though, as did Friis’ idea of having it accompanied by short films inspired by pieces from the album. Friis explains: “I wanted to create a work that transcends how modern classical music is presented and perceived, and have it tied tightly to film.” To do this Friis turned to different directors he’d collaborated with in the past.

The music employs an eclectic range of instruments and textures. While typically using very few elements – Friis pointing out that, “The record is generally not super Hi-Fi, it’s more handheld” – several tracks, however, are given a wide-screen treatment via the addition of woodwinds and up to 12 strings. Transforming the initial compositions into cinematic modern classical works, through contributions from artists such as renowned string player Davide Rossi and Leonard Cohen’s former violinist, Bobby Furgo. The pieces are largely quiet and introspective, and often play like duets, conversations, between the instruments. The solos are sometimes lonely. At others, they take flight. Despite their brevity, the results are emotion-packed.

The album’s artwork features a painting by Friis’ wife, Julie de Tengnagel, and each section is, as planned, accompanied by a short film. There are 5 movies in total, delivered by Kevin Brooks, Morgan Jon Fox, Shaun Hart and Jonathan Meyers. The project, therefore, acts as a rich collection of audio and visual cues, inviting the listener to create their own narrative. Friis explains, “Everything tells a little story, one that’s always open to interpretation. Each small story then connects to a bigger story. What that is, is up to you.”

Emil Friis’ Moving Images won’t be released until the fall, but you can order a copy now, directly from FatCat Records.