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by Guy Bartell (from Fiction, January 1999)
No stranger to soundtrack composition, this is long time PJ Harvey collaborator Parish's third major score, the previous two being restricted to theatre productions. Parish has produced an altogether unnerving score for this Belgian film, using slide guitar, accordion and minimal orchestration to create a sound which can veer from intimate acoustic compositions to avant garde string led discordance. Comparisons with Wim Wenders' minimalist masterpiece for Paris, Texas are obvious, but lazy, as Rosie evokes fear, loss, longing, happiness all in a score. Pretty Baby, the only vocally assisted track on the album (sung by a breathless Alison Glodfrapp) evokes the frankly unhinged dark blues usually found on a David Lynch soundtrack. All in all, a superb example of modern classicism.
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