Caio Souza is a well known new generation music composer and producer. He has been in touch with music since he was 7 years old. He started writing and arranging songs at an early age and first debuted as a composer with the original score for the 2011 theatrical montage of the play O Pelicano. In 2015 he moved to Los Angeles and opened Banana Music Studio, a place specialized in producing high quality music for media.

“Most of all, I came from my mother’s womb, hairless and naked as anyone else. Cried a little bit but soon after started to smile.

Nowadays people call me a music producer, composer, arranger and even sound designer from time to time, but most of all I say that I create music metaphors. For once I found a book that tried to describe all the words with other words, I decided to turn all of them into sounds.

Born in the land of football, samba and caipirinhas and now living in the heart of the entertainment industry, I spread music with each heartbeat.”

The score for the movie “Parasite” is among Caio’s latest works. The film directed by Manuel Lopéz Cano was fully shot and produced in Los Angeles and approaches the abusive relationship between son and parents and how the main character slowly drains the life out of his own father.

“I see the story as an analysis of the contemporary western social economical system. Capitalism disguises itself as a kid and with its harmless look finds shelter under all kinds of roofs. After sucking all the existence out of the ones who provided him the most, it coldly moves to his next host. The dominance is implicit. The lack of effort to get rid of the parasite is shown in a similar way as how the world economical powers maintain themselves by using the labor and resources from the third world.”

Aside from his compositional skills, the musician also shows himself as an activist. For him, writing music is an act of protest and film scores should not be faced differently. Although Caio is very strong about his position, he says that finding the right balance is not always elementary.

“It took me a little while to find the right tone for this movie score. When I first got in contact with it, I realized that I would have to go deep if I were to drive the spectators to the same zone as the characters. I locked myself in the studio and started writing themes and motives but nothing would appear to fit quite right, it would always seems like music had no real meaning. I knew I had to go lower. Not only emotionally but sound wise as well. I felt that I was in the right disturbed zone. However, it was only after hitting a few keys in the synthesizer that I found the perfect match ”

In movies like “Parasite” music has a major role. Without big dialogues and with a very quiet atmosphere, the score is responsible for most of the sound spectrum.

“More than just filling the gaps, music should also be meaningful, it should always have something to say. Writing music is telling a story through sound.”

The composer’s work is a clear example of how score and narrative should walk together. As the son keeps draining his father’s life, low synthesizers pull down the viewers putting them in the same emotional space as the characters. The fatal moment occurs with the deepest low hit and the following moments develop as an expectation game. With no more host to drain from, the parasite looks lost, the low electronic sounds give space to an ethereal string ensemble and the tension seems to fade away. Without a major happening on the screen it becomes hard to read what could possibly be going on and Souza’s music punctuates this passage perfectly. The scene is moved by music, high open chords are gradually transformed into more dissonant ones and when we see that the main character is now calling his mother, a final hit brings the score back to its original concept surrounded by synthesizers and low tones as the main credits close the film.

“The ending scene was quite interesting. Me and Manuel discussed a few times what should be the best approach for the situation but in the end he told me that he trusted me to solve that issue. When he first saw the scene with music he told me how good it was to work with a composer who not only knows how to write amazing music but also has a fantastic critical thinking ability.”

Caio also signed the score for the movie “Charlie’s Dead” that is scheduled to be released in February and is also running a YouTube channel called Blak Magik focused in video game music.