{"id":369455,"date":"2026-03-12T15:27:51","date_gmt":"2026-03-12T14:27:51","guid":{"rendered":"https:\/\/germany.10magazine.com\/?p=369455"},"modified":"2026-03-13T18:00:01","modified_gmt":"2026-03-13T17:00:01","slug":"laurel-halo-on-her-soundtrack-for-julian-charrieres-film-midnight-zone","status":"publish","type":"post","link":"https:\/\/germany.10magazine.com\/en_gb\/laurel-halo-on-her-soundtrack-for-julian-charrieres-film-midnight-zone\/","title":{"rendered":"Laurel Halo on her soundtrack for Julian Charri\u00e8re&#8217;s film Midnight Zone."},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><div class=\"vc_row wpb_row vc_row-fluid\" ><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element\" >\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p>For her latest project, Laurel Halo turns her attention to the deepest parts of the ocean.<\/p>\n<p><em>Midnight Zone<\/em>, composed as the original score for a film by Julian Charri\u00e8re, follows a drifting Fresnel lighthouse lens as it sinks through the Clarion-Clipperton Fracture Zone, a remote Pacific seabed increasingly targeted for deep-sea mining.<\/p>\n<p>In Charri\u00e8re\u2019s film, the abyss emerges not as darkness but as a fragile, luminous ecosystem populated by bioluminescent life and slow-moving predators.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<div class=\"vc_empty_space\"   style=\"height: 32px\"><span class=\"vc_empty_space_inner\"><\/span><\/div><\/div><\/div><\/div><\/div><div class=\"vc_row wpb_row vc_row-fluid\" ><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div  class=\"wpb_single_image wpb_content_element vc_align_left wpb_content_element\">\n\t\t\n\t\t<figure class=\"wpb_wrapper vc_figure\">\n\t\t\t<div class=\"vc_single_image-wrapper   vc_box_border_grey\"><img decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\/\/germany.10magazine.com\/wp-content\/uploads\/2026\/03\/18_JulianCharriere_MidnightZone_2024_FilmStill_CopyrightTheArtist_VGBildKunstBonnGermany.jpg\" class=\"vc_single_image-img attachment-full\" alt=\"\" title=\"\" \/><\/div>\n\t\t<\/figure>\n\t<\/div>\n<div class=\"vc_empty_space\"   style=\"height: 32px\"><span class=\"vc_empty_space_inner\"><\/span><\/div><\/div><\/div><\/div><\/div><div class=\"vc_row wpb_row vc_row-fluid\" ><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element\" >\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p>Halo\u2019s compositions mirror this strange environment. Built from electro-acoustic ambient passages, drones, and subtle orchestral textures, the score drifts between synthetic sound and physical resonance, recorded using a Montage 8 synthesizer and Yamaha TransAcoustic piano in New York City. Released on her own imprint Awe, the album expands the atmospheric world hinted at on\u00a0<em>Atlas<\/em>.<\/p>\n\n\t\t<\/div>\n\t<\/div>\n\n\t<div class=\"wpb_text_column wpb_content_element\" >\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p><em>Midnight Zone<\/em> is central to Charri\u00e8re\u2019s current solo exhibition at Kunstmuseum, Wolfsburg, Germany, which runs from 14th March to 12th July, 2026, exploring underwater ecologies and the fragility of the deep ocean. Here, Halo discusses composing to image, sonic gravity, and imagining music from a perspective beyond the human&#8230;<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><div class=\"vc_row wpb_row vc_row-fluid\" ><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_raw_code wpb_raw_html wpb_content_element video-rick\" >\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<div style=\"padding:56.25% 0 0 0;position:relative;\"><iframe src=\"https:\/\/player.vimeo.com\/video\/1172900351?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;autoplay=1&amp;muted=1&amp;loop=1\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"Julian Charriere Midnight Zone 2024\"><\/iframe><\/div><script src=\"https:\/\/player.vimeo.com\/api\/player.js\"><\/script>\n\t\t<\/div>\n\t<\/div>\n<div class=\"vc_empty_space\"   style=\"height: 32px\"><span class=\"vc_empty_space_inner\"><\/span><\/div><div class=\"vc_empty_space\"   style=\"height: 32px\"><span class=\"vc_empty_space_inner\"><\/span><\/div><\/div><\/div><\/div><\/div><div class=\"vc_row wpb_row vc_row-fluid\" ><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element\" >\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p><strong><span style=\"font-family: Arial;\">You grew up in Detroit. What were the first sounds that really stayed with you?<\/span><\/strong><\/p>\n<p>I remember transport sounds a lot as a kid. Hearing the train whistle carry on from a distance at night. I remember being fascinated by going to the airport as a young kid when I would visit family in New York and the sound of airplanes taking off and landing and the confusion of boarding and gate announcements.<\/p>\n<p><strong><span style=\"font-family: Arial;\">Do you remember the first film score that made you aware of music as atmosphere rather than background?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">Probably\u00a0<i>Solaris \u2014\u00a0<\/i>the way that that ambient synth sounds were used to become sound design to imitate deteriorating headspace, the sound of the space station, or the sound of the planet.\u00a0<\/span><\/p>\n<p><strong><span style=\"font-family: Arial;\">What drew you to Midnight Zone in the first place, and did you compose directly to picture?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">I was drawn to working on Midnight Zone because I was a fan of Julian Charri\u00e8re\u2019s work and general outlook. His work addresses big topics surrounding environmental collapse, but handles them with nuance and precision. He also pays a lot of attention to sound which I appreciate. I was composing to picture when I worked on the score.\u00a0<\/span><\/p>\n<p><strong><span style=\"font-family: Arial;\">Working with Julian Charri\u00e8re, did the music develop in parallel with the images or in response to them?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">Fully in response to the images. I was working with an edit of the film the whole time.\u00a0<\/span><\/p>\n<p><strong><span style=\"font-family: Arial;\">The deep ocean in the film feels luminous rather than dark. Did that shift how you approached tone and texture?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">I think this was an interesting score to work on, because of the duality of the dynamic that was being brought out in both the visual and the music. The fact that the ocean at that depth already has crushing pressure and yet there are schools of fish, sharks and bioluminescent creatures essentially floating, soaring or even dancing in their natural element. Julian stressed the importance of the music not having specifically a sense of \u2018awe\u2019 or \u2018wonder\u2019 but rather approaching from a perspective perhaps non-human or dissociated from a human perspective. Not necessarily otherworldly, or alien, but also not anthropomorphizing.\u00a0<\/span><\/p>\n<p><strong><span style=\"font-family: Arial;\">You blend digital synthesis with the physical resonance of piano and strings. Are you consciously exploring the space between technology and touch?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">I think that it relates to this idea of creating a feeling that is quite heavy and dense in the music, but that also contains traces of lightness, levity or air. It\u2019s also unmistakeable that the film is containing traces of a human element, there being a Fresnel lens that once existed above sea level as an eye or oracle now abstracted into this territory it once prior had only a glimpse of.<\/span><\/p>\n<p><strong><span style=\"font-family: Arial;\">What was the most challenging part of scoring this project?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">The film is wordless and has very sleight-of-hand, almost imperceptible edits. The entire film is essentially a descent &#8211; not without rises in energy or drama, but without dialogue or cuts it was necessary to write longer form pieces that conveyed the descent, pulsation, variations in luminosity and texture.\u00a0<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<div class=\"vc_empty_space\"   style=\"height: 32px\"><span class=\"vc_empty_space_inner\"><\/span><\/div>\n\t<div  class=\"wpb_single_image wpb_content_element vc_align_left wpb_content_element\">\n\t\t\n\t\t<figure class=\"wpb_wrapper vc_figure\">\n\t\t\t<div class=\"vc_single_image-wrapper   vc_box_border_grey\"><img decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\/\/germany.10magazine.com\/wp-content\/uploads\/2026\/03\/31_JulianCharriere_MidnightZone_2024_FilmStill_CopyrightTheArtist_VGBildKunstBonnGermany.jpg\" class=\"vc_single_image-img attachment-full\" alt=\"\" title=\"\" \/><\/div>\n\t\t<\/figure>\n\t<\/div>\n<div class=\"vc_empty_space\"   style=\"height: 32px\"><span class=\"vc_empty_space_inner\"><\/span><\/div>\n\t<div class=\"wpb_text_column wpb_content_element\" >\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p><strong><span style=\"font-family: Arial;\">Your studio practice often feels very tactile and precise. Are you fast when capturing ideas, or do you let them unfold slowly?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">Sometimes I\u2019m fast, but mostly slow. It\u2019s honestly a lot of patience, and trial and error. I generally work in short bursts for a few hours at a time, and then have to take breaks and do something else because I\u2019ll stop hearing what I\u2019m doing. Most good ideas happen decisively and quickly, but that\u2019s because of a good recording take or a sudden burst of inspiration. There\u2019s a lot of bad and mid ideas in between the good ones and so the process just requires patience in the form of diligence, practice, ears training, listening and decision making skills. Collaboration is essential for getting better and wrapping your head around new ideas you wouldn\u2019t have considered otherwise.\u00a0<\/span><\/p>\n<p><strong><span style=\"font-family: Arial;\">Many artists are reflecting on AI right now. Do you see it as a threat, a tool, or simply another phase in music technology?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">I don\u2019t know if I\u2019m an authority to talk on it. I think it\u2019s corny to use it creatively. Maybe it\u2019s more interesting to use as a tool.<\/span><\/p>\n<p><strong><span style=\"font-family: Arial;\">When you move between your own albums and a film score like this, does your mindset change?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">Yeah, it\u2019s impossible to have the same mindset. Working on a score or a composition you are working in a creative team &#8211; it\u2019s a full collaboration. The music exists as atmosphere, scaffolding, tone, but not the thing in and of itself. Artist albums you can dive deep and worldbuild.\u00a0<\/span><\/p>\n<p><strong><span style=\"font-family: Arial;\">Looking back at Atlas now, how does it sit with you?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">I am glad that Atlas touched people the way it did. It was a record that cut to the spiritual quick and I had to bleed a bit for it to happen.\u00a0<\/span><\/p>\n<p><strong><span style=\"font-family: Arial;\">Finally, what does the near future look like for you creatively?<\/span><\/strong><\/p>\n<p><span style=\"font-family: Arial;\">Coming up I\u2019m doing a short run of live score versions of\u00a0<i>Midnight Zone<\/i>\u00a0in Berlin, London, Istanbul and the Hague. Before that I\u2019m going to Tokyo as Jil Sander is releasing some of the runway music I composed for them as a phonosheet that\u2019s part of a zine they are making for the stores. Other than this just practicing scales and starting to build repertoire again. I got a new drum machine so I\u2019m excited to get into learning that as well. Have a couple collaborations I can\u2019t talk about now but they should be out soon\u2026<\/span><\/p>\n<p>Portrait CALLE HENKEL and MAX PITEGOFF<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><div class=\"vc_row wpb_row vc_row-fluid\" ><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element\" >\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p><strong>Laurel Halo performs the Midnight Zone score live at:<\/strong><\/p>\n<p>Berlin, Zenner, 2nd April 2026 (Analogue Foundation)<\/p>\n<p>London, ICA, 4th April 2026<\/p>\n<p>Istanbul, S\u00f3nar, 10th April 2026<\/p>\n<p>The Hague, Rewire Festival, 11th April 2026<\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"For her latest project, Laurel Halo turns her attention to the deepest parts of the ocean. Midnight Zone, composed as the original score for a film by Julian Charri\u00e8re, follows a drifting Fresnel lighthouse lens as it sinks through the [...]","protected":false},"author":218,"featured_media":447706,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_wpscp_schedule_draft_date":"","_wpscp_schedule_republish_date":"","_wpscppro_advance_schedule":false,"_wpscppro_advance_schedule_date":"","_wpscppro_dont_share_socialmedia":null,"_wpscppro_custom_social_share_image":0,"_facebook_share_type":"default","_twitter_share_type":"default","_linkedin_share_type":"default","_pinterest_share_type":"default","_linkedin_share_type_page":"","_instagram_share_type":"default","_medium_share_type":"default","_threads_share_type":"default","_google_business_share_type":"default","_selected_social_profile":[],"_wpsp_enable_custom_social_template":false,"_wpsp_social_scheduling":{"enabled":false,"datetime":null,"platforms":[],"status":"template_only","dateOption":"today","timeOption":"now","customDays":"","customHours":"","customDate":"","customTime":"","schedulingType":"absolute"},"_wpsp_active_default_template":true},"categories":[878],"tags":[],"season":[],"class_list":["post-369455","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v24.7 (Yoast SEO v27.0) - 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