Paul Leonard Morgan - 'Filmtales' (EMI) Released 03/12/07

Like an accidental tourist, Glasgow's' Paul Leonard Morgan begat 'Filmtales' from the task of writing film-scores, TV productions, advertising arrangements, and working with a whole gamut of contemporary artists who include Snow Patrol, Belle & Sebastian, The Young Knives et al, as well as working with the acclaimed and innovative Craig Armstrong who first gained kudos with 'Weather Storm' on Massive Attacks 'Protection'. Having won a BAFTA at the age of just 25 for Best New Composer, Paul went on to win a Ivor Novello nomination for his score to the ITV drama Fallen, and is presently scoring the new US Olympic anthem and the second series of Spooks.

Dramatic orchestral tensions are built and let loose throughout with guest vocalists and swelling instrumental scores. 'Wilderness' creates a sublime wonderland where slo-beats mingle with atmospheric twanging guitar, while vocals from Isobel Campbell's hushed whisper slay the song with repetitive lines - "...slow down boy/ your coming on way too strong..." where a Portishead-styled dystopian or melancholic song would have fitted snug. 'All For You' smooches with syrupy vocals from Esther like a sappy X-Factor contestant with lines "...al I am is for you...", and 'No Peace Of Mind' checks in with jazz vocal from Jenna G (Shapeshifters) on an Air-like ambiance, whilst the vocal assistance of Beta Bands' Steve Mason on 'Standing Up' reminds how much the band is missed with his psychedelic-tones on a riffing dubby dance-number.

Minimal piano loops build an orchestral richness of a Craig Armstrong nature on 'Seen From The Outside' and 'Snatcher', the former with walloping beats to build broody and sombre clouds that weigh the score for a club-night closer, the latter ruminative in tone with piano and skittering trip-hop beats and a melancholic heart proves stern stirring stuff. 'Elektra' moves with dramatic techno, beats and strings from the tutelage of Craig Armstrong, and 'Sweet Denial' focuses-inward on a reflective piano and acoustic guitar comforter, 'whilst 'Sienna' tinkles the ivories like a theme tune for Six Feet Under with momentous crescendos. 'Like A Bullet Through The Head' treads a stuntman high-wire Bond/Mission Impossible score with standing bass adding a nocturnal dimension drenched in strings and trip-hop beats, and 'Camera' could conceivably soundtrack any modern city with well greased wheels in action.

'Filmtales' packs a punch with the cache of neo-classicists such as David Arnold and Craig Armstrong, providing edifying moments that surge with emotion whilst having an Air/Massive Attack-like accessibility and eclecticism. There is a sense that Paul is yet to find his signature collaborative singer that raises the stakes for his scores and compositions, and the best indicator from 'Filmtales' would be Steve Mason as the man. Could well be, that Paul Leonard Morgan is the next John Barry waiting in the wings.