The Italian band RANESTRANE was formed back in 1998, although it would take them more than a decade before they started releasing any material. "A Space Odyssey Part One: Monolith" is their third studio album, and was released through the Italian label MaRaCash Records. Ranestrane is a band that has specialized in the creation of concept albums based on movies, and in this case it is "2001: A Space Odyssey" that is the source of inspiration…
Special Features: 2001: The Making Of A Myth, Standing On The Shoulders Of Kubrick: The Legacy Of 2001, Vision Of A Future Passed: The Prophecy Of 2001, 2001: A Space Odyssey - A Look Behind The Future, What Is Out There? 2001: FX And Early Conceptual Artwork, Look: Stanley Kubrick!
"2001" is a story of evolution. Sometime in the distant past, someone or something nudged evolution by placing a monolith on Earth (presumably elsewhere throughout the universe as well).
A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path.
Music plays a crucial part in 2001: A Space Odyssey, and not only because of the relatively sparse dialogue. From very early on in production, Kubrick decided that he wanted the film to be a primarily non-verbal experience, one that did not rely on the traditional techniques of narrative cinema, and in which music would play a vital role in evoking particular moods. About half the music in the film appears either before the first line of dialogue or after the final line. Almost no music is heard during any scenes with dialogue.