12/12/2023 0 Comments Best recent movies oundtracks![]() ![]() ![]() Under the guise of The Haxan Cloak, Bobby Krlic has been championing sinister and atmospherically rich music for over a decade, so it’s no surprise that his score for folk horror Midsommar, the second Ari Aster film to make this list, is so commanding. Stetson’s work is unsettling, but it’s rarely dramatic, instead complementing the visuals with a score that seeps, moans and scratches, at all times operating in a realm between freaky and mournful. Hereditary’s occult themes occasionally play second fiddle to its exploration of a family experiencing grief, and the score is what brings these two sides of the film together. Just as Aster’s storytelling and cinematography enraptures audiences during Hereditary ’s runtime, the score has viewers holding their breath, but as dark as the music is it’s not always accentuating horror. ![]() Stetson may be best known for his work with Arcade Fire but his limitless solo albums, brimming with post-rock majesty, are perhaps more of a touchstone here. ![]() Even its love theme is a bleak affair, full of forlorn guitar swells that instil a sense of foreboding dread.Īs is shown on several examples on this list, left-field filmmakers have always turned to those on the fringes of popular music to score their films, and no one could argue with director Ari Aster’s decision to turn to Colin Stetson for his debut feature-length. Lingering primarily on poignant ambient music and menacing orchestrations, the release features guitar-work from Sunn O))) ’s Stephen O’Malley and was co-produced by Randall Dunn, so it’s no surprise that it sounds huge. The final full outing from the late Jóhann Jóhannsson, who will more likely be remembered for his Oscar-nominated scores for Sicario and The Theory Of Everything, the Mandy OST showcases some of the Icelander’s greatest work. The second outing from visionary director Panos Cosmatos got a lot of attention from metal fans for being “the most metal film of 2018”, but whilst it is metal-as-fuck – from the serene but hallucinatory opening half to the brutal fistfights and chainsaw duels of the second half’s revenge arc – Mandy ’s soundtrack borrows from the genre only in bits and pieces, be it the wailing guitar of ‘Dive-Bomb Blues’ or the low-end thuds of ‘Waste’. Throughout, he collaborates with Alva Noto and, less frequently, Bryce Dessner of The National to give weight to this modern classic. The score feels formless and hazy, drifting forward with a staggering poignancy made all the more real by the knowledge that Sakamoto was still recovering from throat cancer during its creation. It’s fascinating to see Sakamoto’s work with such big production values, but despite grand orchestral themes, this is still quirky ambient music at its core. nature epic The Revenant is perhaps experimental Japanese artist Ryuichi Sakamoto’s most mainstream project, and he certainly didn’t disappoint. Far removed from the fantastic but familiar orchestral scores of John Williams, here we dive into some of the more left-field original soundtracks ever put together for the big screen. In this pursuit, artists have turned to all manner of weird and wonderful sounds, with a wide array of varying results. Film and video game soundtracks are a broad umbrella, offering composers a chance to experiment with whatever styles they may find necessary to invoke specific moods and feelings. ![]()
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