“The Ruined Map (Film Music Volume 1)” is a bewildering mix of prog rock, electronic noise, waltzes, East European folk, trad metal, drones, psych rock and free jazz, similar in intention to soundtrack visionaries such as Toru Takemitsu and Ennio Morricone. Each of the eight tracks is based on a different film – not specifically in the form of soundtracks, but rather as companion pieces to the psychic states invoked by the more bizarre outer reaches of narrative cinema. The ideas and filmic techniques of directors such as Seijun Suzuki, Albert Zugsmith and Hiroshi Teshigahara are applied to musical processes in the form of pans, zooms, narrative discontinuities etc. Tracks : ONIBABA (Kaneto Shindo, 1964) BLAST OF SILENCE (Allen Baron, 1962) A QUIET WEEK IN THE HOUSE (Jan Svankmajer, 1969) THE MASCOT (Wladislaw Starewicz, 1934) BRANDED TO KILL (Seijun Suzuki, 1967) LANCELOT DU LAC (Robert Bresson, 1974) CONFESSIONS OF AN OPIUM EATER (Albert Zugsmith, 1962) RUINED MAP (Hiroshi Teshigahara, 1968) REVIEWS "The Ruined Map is for the most part dark in tone, and explores cinematic atmospheres in a range of different, discomfiting ways..."Onibaba" (showing no small debt to Goblin's demonic prog) brims with ominous creaks and indistinguishable satanic whispers over a steady mono-tonal bassline and a nervous, breathy organ...Sure, making a progressive/ambient album dedicated to obscure art-house nuggets is one of the loftier concepts out there in the musical spectrum, but hey, we’re talking about the work of a musician whose work is mentioned in the same breath as Magma. The Ruined Map is an expressive shot at bringing filmic feeling to dimensions of sound, and doesn’t dwell too needlessly in the realm of the inscrutable." (Dusted magazine) "Not so much a collection of music influenced by films, but rather an attempt to write music that would fit the mood of each film. Such a brash attempt to insinuate new meaning into finished work is risky, but here it works, as the emotional benchmarks set by each film helps the new tunes aim high, often reaching their goal of illustrating how one work of art can influence another, and how the receiver of art can inject personal meaning into existing work and make it personal…Thompson’s musical palette includes drone, psych rock, Eastern European folk and a little hard rock. Zithers and gongs and mellotron are mixed in with traditional rock instrumentation; everything is a proper tool when you are trying to communicate what art does to your heart." 8/10 (Foxy Digitalis) "The new solo project from Matt Thompson (Guapo) seeks to go beyond synchronicity and inhabit the same spaces / shadows / crevices as the works of experimental filmmakers…haunted merry-go-round surrealism, Balkan wedding music, heaving prog rhythm sections, falsetto hair metal and freak-outs channelling Sonny Sharrock’s ecstatic guitar style. There are times when directions taken are jarring and bizarre, but there are passages where the idea of reifying cinema’s moods and spaces into sound are thoroughly explored." (Rock-A-Rolla [issue 10]) "Very much worth hunting down...this is really very good stuff, Onibaba and Blast of Silence reminiscent of 5UUs, The Art Bears, in places Thinking Plague, referencing Van Der Graaf Generator...influences aside, the whole premise works extremely well - A Quiet Week In The House captures the surrealist short film of the same name perfectly, right down to its neurotic repetition, broken-down Balkan style and Svankmajer's twitchy editing...something visual, narrative and emotionally distinct is suggested by each composition. Better than alternative soundtracks, they're trailers, sending you straight to the nearest arthouse cinema." (The Organ) "Even after a few listens, I can tell it’s going to take many more for this album to fully sink in, there’s so much to absorb here. Billed as ‘film music’, this is a very diverse and extremely experimental disc…there is a whole world of music to be discovered here…the title track is the most sombre as well as the most moving piece on the album - very quiet with a throbbing drone and some strange haunting instruments and percussion. A very fine ending to an amazing disc...it’s very refreshing to hear such great new music in such an innovative production. Very highly recommended." (Progressive Ears)