Xurxo Romani, a valued member of the So Fare Films team, was the brilliant composer behind the score for Simulating Religious Violence. Xurxo was given the difficult task of creating a soundtrack that would resonate with the audience without taking away from the serious topics discussed, all in the midst of the Coronavirus pandemic. His work exceeded expectations as he used his spiritual interests and expertise in early Medieval and Renaissance music to evoke emotions that perfectly embody the ideas of the film.
We began our conversation by asking him about the challenges of this project.
Composing a film score is a very daunting task. What made you decide Simulating Religious Violence was a challenge you wanted to pursue?
Xurxo: Jenn approached me for this project because a mutual friend, Pamela Beth Harris from John Cabot University, introduced us. Pamela had told Jenn about my musical abilities and my enthusiasm for new challenges (this was my first soundtrack). When Jenn explained the concept of the documentary, I accepted the offer immediately, without even watching any footage. The film's core themes—spirituality (religion as a pretext for violence) and science (computer modeling)—resonated with me from the start. While I’m not religious, I am deeply spiritual and passionate about social science, philosophy, and history. I’m also a scientist, a doctor, and a professor involved in research, which you can explore further on my Google Scholar page. Every aspect of the project excited me, and I knew I had the skills and ideas to contribute.
This all happened during the early months of COVID, when I was working as a doctor at an overwhelmed hospital in Barcelona. It was an intense and exhausting experience. Between shifts, when I should have been resting and preparing for the next 24-hour period of chaos, I would sit down in front of my equipment and compose music. In a way, it was therapeutic for me.
Which part of the score are you most proud of?
Xurxo: I’m particularly proud of the opening and closing themes, which form a cohesive introductory-conclusive unit. These are my favorites. I’m also fond of shorter sequences that serve as connectors. One example is 'Un()expected Bombs,' which recreates the moments before the Boston bombing. It’s a simple, traditional Galician melody played on the hurdy-gurdy, but heavily processed with effects like ping-pong delays and octavers. I think it creates a disturbing atmosphere.
I know you utilized a lot of uncommon instruments, including the citole and the hurdy-gurdy. What made you decide that these Medieval instruments embodied the emotions you were trying to evoke from the audience in a movie about computer programming?
Xurxo: I’m an expert in early music, particularly medieval and Renaissance, so I’m familiar with these instruments. They’re rarely used in film scores, which made it a challenge to make them sound cinematic and orchestral, like a modern synthesizer might. These instruments have an archaic, earthy sound that can reach deep into the unconscious. They’re made from bone, gut, and wood—natural elements tied to death itself. Their tuning is also distinct from modern instruments, often using Pythagorean tuning, which reflects the harmony of nature, the universe, and the cosmic spheres.
While these instruments often evoke medieval or Celtic imagery, I believe they have a deeper, more primal personality if you listen without preconceptions. Modern orchestras don’t include these instruments because they’re primitive, difficult to tune, and don’t meet the standards of a symphonic palette. But I’ve always felt that modern music lost something by relegating them to museums and academic performances. They deserve a second chance. The citole isn’t too different from a modern guitar, but the hurdy-gurdy is unique. It hasn’t evolved much and survived because it was used by blind beggars in places like Galicia or Ukraine. It has capabilities that nothing in modern music, except maybe synthesizers, can match.
Xurxo Romani and his collection of traditional folk instruments, including two hurdy-gurdies, a mandolin, and a cittern.
Artists and musicians always take inspiration from others. Who inspired you while making this score?
Xurxo: I tried to distance myself from my classical early music influences and instead drew inspiration from composers like Hans Zimmer, Vangelis, Philip Glass, and Wim Mertens.
Not many people see the trial and error that comes with creating a soundtrack. What was the most difficult part of creating the score?
Xurxo: The hardest part was gathering different ideas and references and uniting them into a cohesive whole. I wanted to create a conceptual record that could stand on its own, separate from the film, and be enjoyable to listen to on its own terms.
Simulating Religious Violence is very informative and dialogue-heavy. How did you utilize the score to enhance the narrative without overpowering it?
Xurxo: That was Jenn's team’s responsibility. I provided sound capsules and connectors that they could use as they saw fit. I didn’t participate in the final editing or placement of the music.
What process do you go through when creating a score?
Xurxo: I plug my instruments into my rack and start playing. I record ideas, then go back to them, deciding whether to delete or edit. I don’t transcribe anything into sheet music. I keep tweaking, re-recording, and layering until I’m satisfied with the result.
The sources of my music are important, and they naturally guide me toward the final outcome. For instance, when I chose melodies from The Red Book of Montserrat or Hildegard von Bingen, I knew they would work because they carry strong spiritual resonance. The Red Book has a historical link with religion and violence—Nazis were obsessed with Montserrat, and even Heinrich Himmler visited the monastery during World War II, believing the Holy Grail was hidden there, which he thought would give them power to rule the world. It’s absurd, but mirrors how religion has often been used as an excuse for violence. And Nazism was a sort of religion. Using Hildegard’s music was straightforward, especially when I processed it through the Mellotron effect, which is a primitive sampler used by artists like The Beatles and King Crimson.
Silence is often an underappreciated aspect of a score. Were there specific moments when you chose to let the moment linger rather than include music?
Xurxo: As I mentioned, Jenn’s team handled that aspect. I provided enough material to illustrate and connect the scenes, and I think the result worked well. Since it’s a documentary, the music needed to create an emotional context to help the audience understand the messages. It needed to establish an atmosphere that highlighted the problem of religious violence and the scientists’ efforts to study it.
Did the score change throughout the time you worked on it, or did it stay true to your original vision?
Xurxo: I had complete creative freedom, and the project remained true to its original vision. It unfolded naturally, guided by the instruments I chose, the medieval and folk inspirations, and a process of trial and error in sound processing.
Growing up, were there any soundtracks in particular that inspired you to score films yourself?
Xurxo: Absolutely. Blade Runner by Vangelis and Interstellar by Hans Zimmer are masterpieces I couldn’t ignore. I’m also a fan of Wim Mertens’ score for The Belly of an Architect. But probably the first soundtrack I listened to closely was Ennio Morricone’s For a Few Dollars More, which my father played obsessively on our vinyl record player. It’s still worth a careful listen today.
Do you have any upcoming projects that you’re excited to share with us?
Xurxo: Yes! I’m currently working on another project for So Fare Films called Minding Shadows, which takes place in Africa. I’ll be radically changing my methods and sound palette for this one. I’m also recording an LP about the Camino de Santiago and continuing to perform live with my early music ensembles, Arc&Volta and Contretemps.
If you haven't already, be sure to check out Xurxo's Spotify page to listen to his other amazing tracks. And don't forget to stay tuned for more exclusive content!
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