Recently, I’ve become a little bit obsessed with the new Netflicks series – Sense8.
From the creators of “The Matrix” and “Babylon 5” comes this tense series in which eight people can telepathically experience each other’s lives.
Eight strangers around the globe find themselves connected — first by a violent vision, then by their shared ability to connect with one another’s thoughts and actions, and finally by the urgent need to find out what happened and why.
Their need to know goes beyond simple curiosity — as they pursue answers, a mysterious organization hunts them down, intent on destroying them.
The intense thriller is the first foray into television (or, more accurately, Netflix) for renowned filmmakers Lana Wachowski and Andy Wachowski (“The Matrix Reloaded”), who created the series with J. Michael Straczynski (“Thor”).
The international cast includes veteran actors known to U.S. audiences, like Daryl Hannah (“Kill Bill”) and Naveen Andrews (“Lost”), and others well-known in their home countries, like German actor Max Riemelt and Doona Bae of South Korea.
In keeping with the global premise of the series, shooting takes place all over the world, including London, Reykjavik, Nairobi and Mumbai
Finally – this is the show I’ve been waiting for and I didn’t even know it. Every character feels three dimensional and with real feelings and situations. So many social topics – such as gender, identity, loyalty, family, love, sexuality – are explored here without ever appearing judgmental or preachy.
However, as I’m planning to have a full on squee blog session about this at some point in the future, I’ll try and stick to the point here.
Naturally, as is my nature, I’ve started collecting the music from the series.
Music plays varying roles within the show. Each character brings with them musical context and style resulting in a soundtrack that should sound disjointed but instead manages relevance and coherency. A mate online described it as being ‘on point – the soundtrack to this particular moment in time’, which was so delightfully daft and pretentious, but also made a sort of sense to me. [insert worried look here!]
In an early episode the song ‘What’s Up’ by the Four Non Blondes was used to tremendous effect to demonstrate the Sensates linking together in a more conscious way.
The classical piece Piano Concerto no. 5 in e-flat major op. 73 by Beethoven is used in at least 4 different episodes – each time it is a different rendition by a different performer/conductor. As a result the piece is at once a hauntingly familiar motif and yet new to the ear.
Sigur Ros is perhaps the lynch pin of the set of songs as a whole. Every time I hear one of their tracks, I wonder why I don’t listen to more. I can’t think of another artist that so well mixes melodies to produce such delicate, haunting and grounded refrains.
There are of course the usual absences and versions by other artists – one does ones best, but with all of the classical music being noted as Beethoven, Mozart and so on, it gets a bit difficult to find the exact desired version of songs.
Sadly, I couldn’t find the beautiful version of Baba Riley used in the actual show – oh my gosh, it’s so sweet – Riley’s father sings this lovely sweet version to his daughter in what ends up being their motif.