Crow Hill is proud to present the enchanting voice of award-nominated singer, songwriter, and composer Dot Allison. Throughout her illustrious career, she has been in high demand by AAA artists and composers such as Massive Attack, Paul Weller, and Scott Walker, who have used her “honeyed voice” not only in songs, but also as a standalone instrument. Now, for the first time, you have the unique opportunity to add this rare voice to your palette.
- Uninstall the previous version
- Install the program by running the EXE file
- When you first run the tool, specify the path to the Dot Allison – Dulcet Voice_part1.blob 1 file
A key element of the soundtracks of provocative films of the counterculture era.
What zeitgeisty elements unite the brutal police procedural, the tense murder thriller, the tense murder thriller, and the chilling horror film of the late 1960s and early 1970s? It’s the use of the quiet female voice. Not in song, but simply in the pure, innocent sound of the instrument. These soundtracks had a key influence on Dot’s work as a composer. These are three seemingly unrelated, dark film noirs from the heyday of independent cinema during the counterculture. But this was also an era when many composers were breaking away from established musical canons, experimenting with hyperrealistic instruments and effects, electronics, jazz, funk, and “non-Western” instruments.
Lalo Schifrin’s score for Don Segal’s hypermasculine film Dirty Harry contrasted its story of violence and haunting with the ghostly sounds of distant female vocals.
Part of Alan J. Pakula’s seminal “paranoid trilogy,” KLUTE features a stunning score by Michael Small. It combines microtonal marimbas and eerie female vocals, heightening the sense of disorientation.
Of all the films of the era, Polanski’s Rosemary’s Baby features the most female vocals. Mia Farrow’s wordless lullaby is chilling from the very beginning.
