Much as Theo Anthony’s film uses rat infestation in Baltimore, the city both he and Deacon call home, as a starting point from which to probe deeply entangled issues of race and class, Deacon’s bold and beautiful score, takes the listener on an exploratory sensory trip through the city streets.
For the soundtrack, made in close collaboration with director Theo Anthony as he built and refined the film’s edit, Deacon drew inspiration from recent scores such as Mica Levi’s Under the Skin and Mark Korven’s The Witch, as well as Philip Glass’ raw early work North Star.
Rat Film marks Deacon’s first full record devoted to modern composition. In between his four ecstatic electronic-pop albums, Deacon has frequently flexed the 21st-century classical muscles he first developed studying at SUNY Purchase’s Conservatory of Music. He’s provided soundtracks for film and stage giants ranging from Francis Ford Coppola’s Twixt to New York City Ballet’s presentation of Justin Peck’s “The Times Are Racing.” Deacon’s array of compositional commissions includes pieces with Kronos Quartet at Lincoln Center, Sigur Rós at the L.A. Philharmonic, and So Percussion at the Barbican Centre.
Rat Film offers the first recorded document of this parallel career—and both as a self-contained album and a companion piece to an equally potent film, it astounds.
Rat Film (Original Soundtrack) is available to pre-order on CD, limited edition “rat hair” colored vinyl, and limited edition pink colored cassette now through Domino. The release will also be available on digital platforms on October 13, 2017