Sonic Dystopia: Matthew Atticus Berger’s Score for Sci-Fi Noir ‘April X’ Set for Digital Release

As the cinematic landscape pivots toward increasingly atmospheric and high-concept storytelling, the synergy between visual aesthetic and sonic texture has never been more critical. The upcoming sci-fi noir thriller April X, directed by Michel K. Parandi, promises to be a masterclass in this synthesis. Ahead of its theatrical rollout, Milan Records has announced the release of the film’s original motion picture soundtrack, composed by the versatile Matthew Atticus Berger. Featuring the haunting, ethereal vocal work of Amanda Achen, the score is set to provide the heartbeat for Parandi’s neon-drenched, post-Soviet vision of the future.

The Sound of Survival: An Overview of the Release

Milan Records, a label renowned for its dedication to innovative film music, has confirmed that the digital soundtrack for April X will hit streaming platforms globally on September 18. This release coincides with the film’s theatrical debut in the United Kingdom and Ireland, preceding its highly anticipated arrival in U.S. theaters on October 2 via Sunrise Films and Rialto.

The score, composed by Matthew Atticus Berger, represents a significant evolution in the composer’s career. Having built a reputation for emotive and narrative-driven compositions in works such as A Party to Die For, Patrick and the Whale, and the documentary Bending the Arc, Berger here pivots toward a darker, grittier, and more synthesized soundscape. The collaboration with featured vocalist Amanda Achen is central to the album’s identity; her voice acts as a constant, ghost-like presence throughout the score, bridging the gap between the film’s cold, industrial setting and its deep, human tragedy.

Listeners can already get a taste of the sonic atmosphere via the track "He Won’t Get Far," which is currently available for streaming. The track hints at a score that is both propulsive and melancholic—a perfect sonic mirror to the film’s exploration of identity and urban decay.

The Narrative Landscape: A Vision of ‘April X’

To understand the weight of the score, one must first look at the world Michel K. Parandi has constructed. April X is a high-stakes, black-market thriller set within a sprawling, futuristic post-Soviet cityscape. The story follows a protagonist who makes a living in the illicit body-parts trade—a premise that immediately establishes a tone of moral ambiguity and physical fragility.

When the protagonist’s twin sister goes missing, he is thrust into a desperate search that forces him to navigate the deepest, most dangerous corners of his crumbling society. As he descends into a violent criminal underworld, he is forced to confront existential questions regarding the cost of identity, the endurance of love, and the raw mechanics of survival. Starring Connor Storrie and Lilly Krug, the film is a taut, character-driven exercise in tension, which made the selection of a composer capable of balancing nuance with industrial menace vital to the project’s success.

Chronology: From Rhode Island to the Global Stage

The journey of April X to the silver screen has been a measured one. The project first garnered significant attention during its premiere at the Rhode Island International Film Festival last year. Festival audiences were struck by the film’s visual language—a stark, noir-inspired aesthetic that eschews traditional sci-fi tropes in favor of something more visceral and grounded.

Following its festival run, the film secured distribution through Sunrise Films and Rialto, setting the stage for its late-summer and early-autumn release window. The decision to stagger the release—debuting in the UK and Ireland on September 18 before arriving in the U.S. on October 2—suggests a strategic push to build word-of-mouth momentum. The digital soundtrack release, timed precisely with the international premiere, serves as an essential companion piece, allowing audiences to engage with the film’s atmosphere even before the wider U.S. release.

Breaking Down the Score: A Track-by-Track Perspective

The album consists of 16 tracks that chart the protagonist’s descent into madness and his search for his missing sibling. The track list reveals a narrative arc that moves from tentative discovery to high-octane confrontation and, eventually, a resolution that feels both heavy and inevitable.

The Track List:

1. She’s Got It All (1:17)
2. He Won’t Get Far (4:15)
3. Second Chance (1:18)
4. Here’s My Offer (Collecting Dust) (4:01)
5. The Darker the Night (The Brighter the Stars) (4:28)
6. You Should Be Happy (2:20)
7. I Need More (Some Lazarus Shit) (2:59)
8. Cutting Me Short (1:34)
9. There You Are (1:43)
10. Have a Seat (1:38)
11. Bon Appetit (Not for Sale) (2:39)
12. I’m Good for It (The Bacon Factory) (3:50)
13. The Key to Happiness (4:32)
14. In the Bag (I’m With a Friend) (2:49)
15. Sweet and Simple (1:49)
16. La Gloria in G Major (with H. Scott Salinas) (4:04)

The inclusion of "La Gloria in G Major," a collaboration between Berger and H. Scott Salinas, stands out as a potential centerpiece for the film’s conclusion. The track titles themselves—ranging from the industrial "The Bacon Factory" to the ominous "Bon Appetit (Not for Sale)"—suggest a film that balances dark humor with extreme brutality.

Official Responses and Creative Direction

While the film’s trailer showcases the sharp, kinetic editing style of the thriller, it is the music that provides the emotional tether. In interviews surrounding the film’s production, the creative team has emphasized that April X is not merely a "chase movie" but an exploration of what remains of humanity in a world where the body itself has become a commodity.

Berger’s choice of instrumentation—likely a hybrid of analog synthesis and organic, processed vocals—reflects the film’s central conflict: the tension between the artificial and the biological. By utilizing Amanda Achen’s vocals, the score gains a sense of haunting, lyrical beauty that prevents the darker, more aggressive sections of the music from becoming purely dissonant.

Implications for the Sci-Fi Genre

The release of April X and its accompanying score arrives at a time when the "tech-noir" subgenre is undergoing a resurgence. As audiences demand more grounded, character-focused speculative fiction, the role of the composer becomes increasingly vital. Berger’s work here suggests a move away from the bombastic, orchestral soundscapes of traditional blockbusters toward something more textured and intimate.

For Milan Records, this soundtrack is another entry in their growing catalog of high-concept, genre-bending film music. By prioritizing the release of the score alongside the film’s theatrical run, the label is banking on the fact that modern cinephiles view the soundtrack not just as an accessory, but as a primary component of the viewing experience.

Furthermore, the film’s international release strategy highlights the global interest in neo-noir cinema. By positioning April X as a prestige thriller with a unique stylistic identity, the producers are tapping into a niche yet deeply passionate audience that values high-fidelity audio production and atmospheric world-building.

Conclusion: A Sonic Invitation

As the September 18 release date approaches, the anticipation for April X continues to grow. Whether it is the film’s gritty exploration of the criminal underworld or Matthew Atticus Berger’s hauntingly evocative score, all signs point to a project that refuses to compromise on its vision.

For those eager to experience the soundscape of this futuristic odyssey, the album is currently available for pre-order on Amazon. As the protagonist of April X prepares to dive into the neon shadows of his city, the audience is invited to follow him—guided by the spectral vocals of Amanda Achen and the meticulous, unsettling composition of one of modern film music’s most promising talents. April X is not just a film to be watched; it is a world to be felt, and its soundtrack provides the keys to that experience.