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The follow-up to Hosenfeld's first film music promo is a sampler of his most recent material, this time in co-operation with Moritz Denis. As with volume 1, this is highly eclectic music that manages to cover a lot of terrain over 16 tracks, the only difference being that this one also presents a number of film songs and not merely instrumentals. The album starts off with what sounds like an italian folk song - plenty of oompah to go around, but which apparently is a commercial for Panasonic(!). The FILMKOLLEKTIV trailer that follows is a tangoish tune occasionally interupted by an assault of percussion and el-guitar. "Why Don't You Hold Me Darling" from the children series PENGO! STEINZEIT! is a typical and appropriately naïvistic 50's love song, vocals performed by the two composers themselves (as are several songs on this album). The other selections from this series - both songs and score - follow this sentiment stylistically, although the score track - a lovely guitar fantasia called "Familiengurke" - is more reflective in nature. A suite of NEUE ZUNKUNFT MEDIEN was also available on volume 1, but track 4 and 5 further elaborate on the bossanova-like themes and guitar riffs from that documentary. Another trailer, this time for something called the "Fraunhofer Institute", showcases a melodic brass and string tune on top of laidback ambient rhythms. Four tracks from WIE VERLIEBT MAN SEINEN VATER follow suit, the first of which is a song that returns to the 50's sentiment from earlier, complete with wacky lyrics. The rest of this score is a mix of pop, funk and semi-rap. Interesting mix, for sure. Finally, we are treated with a couple of bonus tracks: "Birthday Song", another bossanova exercise with female guest vocalist. "Decke auf den Kopf" sounds like something Moby could have composed - a semi-techno groove underlining a melancholic two-note jazz chord. "Nighttrain for Teenie" is a somber tune for sampled percussion with piano and guitar. The album does not indicate where these tracks are from, unfortunately. Overall, this once again showcases the composers' excellent versatility, although one can clearly sense a preference for traditional dance meters, such as tango and bossanova, in most of the tracks. Unlike volume 1, this is mostly electronic with certain acoustic additions. No symphonic music. I cannot help but be impressed by this versatility and clearcut professionalism - plus the melodic skill that pops up when the music occasionally strays away from the non-textural. The only gripe is a certain skimpiness in the production department, particularly when you sense the music calls for a bigger scope or smoother sound than what the equipment (or finances) can allow. Some of the tracks are also a bit short (less than a minute) to be properly digested. Let's hope Hosenfeld and Denis will be able to release some of this music commercially in a not-too-distant future.
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