The Cinematic Orchestra, Barbican - review

However, they over-reached themselves on their InMotion event, where old and - thankfully - short silent films were given modern live soundtracks.

Naturally, the films were arty: the selection included René Clair's surrealist Entr'acte (1924) and James Whitney's computer-aided short Lapis (1966), a Spirograph-style sequence that overshadowed guest composer Austin Peralta's score.

Jazz drummer Luke Flowers woke us up during Cinematic Orchestra's own soundtrack performance.

But despite the stirring strings, plangent piano and subtle melodies it felt like an underwhelming sequel to 2007's majestic Ma Fleur album.

The music surged for the diverting finale to Entr'acte, where a magician jumped from a coffin and made everyone disappear. However, InMotion stands as a double failure in that the scores were unspectacular and the music and images were only fitfully complementary.

At least Cinematic Orchestra turned to their back catalogue for the final half hour, including Breathe, with its gently clanging electronic sounds and Heidi Vogel's unfussy vocal.

The band cut loose with wild jazz on the encore of Ode to the Big Sea. But overall this was often more nod off than chill out.

The Cinematic Orchestra
Barbican
EC2