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Artists you should know / Milan Pilar

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Milan Pilar (born 1934 in Czechoslovakia) is a master of fantasy melodrama. Once he came to use synths, his music became the soundtrack for finding a magic necklace in a pastel-colored forest where anything can happen. Milan created these images in gorgeously exaggerated detail that fills the room with color. He had a talent to induce the most grandiose emotions with impact and genuine tenderness.

Most songs will have sweeping synths and/or strings as a backbone, with digital bells and flutes playing the melodies. Many are wistful and sensitive as if telling you secrets in their hiding place, some carefree and happy, others cinematic and awestruck. No matter the mood, they never lose their Moomin-worthy fantasy charm and elegant expression. It’s a shame Pilar didn’t wind up directly composing for fantasy movies.

He also kept a distinct sound across ten-plus years, something rare for library composers. For instance, his 2003 album Nature In Motion has the virtual same approach as his late-eighties work.

Playlist

I’ve gathered my favorites from across his albums to give a good taster for his style (link above).

1. February  – Pastoral Seasons, Coloursound, 1982

2. Reconciliation – Nature Spoiled and Unspoiled, Coloursound, 1983

3. Above / Extensions – Extensions, Sonoton, 19??

4. Industrial Signature 11 – Industrial, Coloursound, 1986

5. Fountain Idyll – Above And About, Coloursound, 1989

6. Birdlife – Above And About, Coloursound, 1989

7. Digital Structure 2 – Digital Structures, 1990

8. Digital Structure 25 – Digital Structures, 1990

9. Softly As The Summerwind – Nature Study, 1990

10. Wind And Waves – Nature Study, 1990

10. Caravanseral – Nostro Mondo, 1993

12. Irish Autumn – Floating Line, 1993

13. Rainbow – Textures And Fusion, 1994

14. Lost Game Blues – Signs Of Wisdom, 1999

15. Call Of The Mountains – Nature In Motion, 2003

16. Deep Sea Romance – Green Planet, 2004

hidden treasure

Milan Pilar – Digital Structures / Space And Underwater (1990 / 1993)

 

library music / progressive electronic

Listen here

At this point I’m convinced this Czech composer was in a home stretch in the late 80s-early 90s. He could do no wrong.

One of my personal music missions is to hear just about every ‘aquatic’ library album I can manage, as it’s almost always a sign of quality. Therefore, I HAD to listen to Milan Pilar’s take on it. It turns out this album began as Digital Structures for the unusual Coloursound label, with no true song titles – “Digital Structure #3”, “#12”, and so on. This  Selected Sound re-issue has a new title plus a true name for every song. In fact, it turns out I’d heard Digital Structures before, and got fooled into thinking this was different. Library labels are weird like that; something unfamiliar will turn out to be another, older album, even from another label!

Even so, I’m glad that I wound up hearing this one again. I picked up on a lot more great tracks this time. Plus, the re-titling helped me tell them apart. Even though SS branded this with space/water themes, it does veer into other moods/imagery at times, like the twinkling fantasy that was the trademark of his also-quality Nature Study. Knowing the album’s origin, this makes some sense.

I’ve written about similar albums before; O’Hearn’s Indigo, Above and About, etc. so many of those same traits apply here. It’s the same fascinating mix of varied moods and soaring synth textures – pads that wash over like shores, glittering arpeggios, warbles, flutters. He really brings out the best in digital synths. The sci-fi/water theme in particular adds some interesting moodier elements to Pilar’s familiar style. It’s the best direction he could’ve taken from his previous albums, and with every song being a mere 1.5 minutes, very digestible. Through their brief length, the songs flourish and establish their grip right on contact.

I especially recommend this if you love a good 80s synth film score. That tension, build and release of a good synth score is here and pulled off in expert fashion. The quality it retains over 43 tracks means this would be one of my favorite scores had an actual movie used it. But, as library music continues to remind me, it turns out some of the best film music doesn’t even wind up getting used.