The Myth of Fingerprints

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All Music Guide - Darryl Cater
The Myth of Fingerprints is a film about a Thanksgiving weekend which reunites a dysfunctional family in their near-empty, snow-covered hometown -- a setting which leaves the characters little to do but stare at the mysteries, desires and dissatisfactions they've been avoiding in their busy urban lives. The soundtrack evokes that feeling a good sight more consistently than the movie, which is dotted with quiet fits of underdeveloped brilliance. The CD maintains its mellow, reflective mood through an impressive array of sensitively sequenced genre changes: jazz, opera, mellow alternative rock, 1940s pop standards, and the ethereal acoustic, new age instrumental score by ...
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Editorial Reviews

All Music Guide - Darryl Cater
The Myth of Fingerprints is a film about a Thanksgiving weekend which reunites a dysfunctional family in their near-empty, snow-covered hometown -- a setting which leaves the characters little to do but stare at the mysteries, desires and dissatisfactions they've been avoiding in their busy urban lives. The soundtrack evokes that feeling a good sight more consistently than the movie, which is dotted with quiet fits of underdeveloped brilliance. The CD maintains its mellow, reflective mood through an impressive array of sensitively sequenced genre changes: jazz, opera, mellow alternative rock, 1940s pop standards, and the ethereal acoustic, new age instrumental score by David Bridie and John Phillips formerly of the Australian band Not Drowning Waving. The score uses vast expanses of shimmering guitar ambience, shaded with oboe, cello, piano, and subtle sampling, to capture the wide geographical and emotional spaces in the film. The song selections include tracks by Bing Crosby, the Rosh Nazz Quartet, and My Friend the Chocolate Cake Bridie's current band, whose wonderfully warm "Low" underscores one of the film's most winningly intimate scenes. Rufus Wainright also contributes a couple of tracks in an appearance which predates his 1998 solo debut, providing wistfully contemporary covers of two old standards which appear in other versions elsewhere on this album. Collectively, this is music of melancholy and mysterious peace; music which furrows in quiet moments for the source of the sadness and tension which gnaws at the many noisy moments; music which pauses to absorb easily overlooked beauty and warmth; music which listens for the subtle sources of hope. The Paul Simon song for which the movie is presumably named does not appear on the soundtrack.
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Product Details

  • Release Date: 9/16/1997
  • Label: Velvel Records
  • UPC: 634677970528
  • Catalog Number: 79705

Tracks

Disc 1
  1. 1 Hal Sings (0:37)
  2. 2 Myth (5:19)
  3. 3 I Like It Like This (3:34)
  4. 4 Verandah (2:38)
  5. 5 Le Roi d'Ys - Beniamino Gigli (3:23)
  6. 6 Don't Be That Way (2:39)
  7. 7 Low (2:27)
  8. 8 Mia Cries (2:12)
  9. 9 Tenderly (3:19)
  10. 10 Le Roi d'Ys (0:38)
  11. 11 Bad Person (4:03)
  12. 12 Underneath (4:32)
  13. 13 Super 8 (1:58)
  14. 14 Fingerprints (2:36)
  15. 15 Banks of the Wabash (4:34)
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Album Credits

Performance Credits
Bing Crosby Track Performer
John Phillips Acoustic Guitar, Electric Guitar, Keyboards, Bilas
David Birdie Track Performer
David Bridie Piano, Harmonium, Keyboards, Vocals, Bilas
Ethan Johns Track Performer
Peter Luscombe Drums
Helen Mountfort Harmonica, Cello
Simon Polinski Bass
Rufus Wainwright Track Performer
My Friend the Chocolate Cake Track Performer
Beniamino Gigli Track Performer
Andrew Carswell Mandolin, tin whistle
Hannah Cooper Oboe
Technical Credits
John Phillips Producer
David Bridie Producer, Liner Notes
Michael Hill Executive Producer
Tracy McKnight Executive Producer
Mark Wilder Mastering
Simon Polinski Engineer
Rufus Wainwright Arranger
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