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The Official Jóhann Jóhannsson Thread

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I've begun to explore his music at the recommendation of several people, and only a bit into his work it's obvious why. Way up my alley, this stuff is. The Theory of Everything's lite-potpourri mood was terribly deceiving!

Not yet familiar enough to post examples, but feel free to do so yourself. This guy is good and deserves his own thread.

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Prisoners is his best, in my opinion. It's an absolutely heartbreaking score that manages to avoid the melodramatic route a lot of other composers would have taken. I don't generally tend to like electronica-heavy music, but Jóhannsson finds ways to employ them that are either unobtrusive or uniquely beneficial to the score, which is a feat I've really only found elsewhere with Goldsmith and Mansell.

McCanick is quite good, too. As for his non-film work, Fordlandia is an excellent concept album.

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PRISONERS is fantastic -- love those psalm-like chord progressions in many of the tracks. One of my favourite scores of last year.

Also like McCANNICK, and thought THEORY OF EVERYTHING was nice in a more easygoing, traditional way. Didn't really latch on to SICARIO, though.

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Anyone greatly familiar with his non-film albums? That's what I'm starting with.

I wasn't really taken with anything until I got to IBM 1401, A User's Manual, which is so odd but heartfelt and beautiful.

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I wasn't really taken with anything until I got to IBM 1401, A User's Manual, which is so odd but heartfelt and beautiful.

Just checked this out. Beautiful stuff!

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I think you'd like this cue:

But I don't think the rest would make much of an impression on you, though I could be easily mistaken. This would be followed by a post asking "when did KK start enjoying such shit music". ;)

I actually think Johann has some potential to create an interesting Blade Runner score.

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Well, I'm still a man who likes Andy Price. So naturally I must qualify ;)

And fair warning, that cue is about as "traditional" as the album gets. There's nothing like that in the remainder of the score. It's a very, claustrophobic score, if you will. Other highlight cues you might want to check out; "Night Vision" and "Soccer Game".

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So basically it is not very substantial on the album but works well in the film? Is there any dramatic arc to the score or does it thrive on pure atmosphere?

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I'll give it a go if only so that I can crucify it on these forums and lament the state of modern film music. ;)

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Boy, the way John Williams played!

Songs that made the Hit Parade.

Guys like us, we had it made.Those were the days!

And you knew who you were then.

Films were scored by real men.

Mister, we could use a man like Jerry Goldsmith again.

Didn't need synth mock-ups when

Composer used paper and pen

Gee, if I could see those times again

Those were the days!

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Boy, the way John Williams played!

Songs that made the Hit Parade.

Guys like us, we had it made.Those were the days!

And you knew where you were then.

score were scored by real men.

Mister, we could use a man like Jerry Goldsmith again.

Didn't need synth mock-ups then

Composer used paper and pen

Gee, if I could see those times again

Those were the days!

:crymore:

Beautiful!

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Ray of Sunshine (In The Dark Tunnel of Despair). From the acclaimed motion picture Sicario. Sung by Celine Dion feat. Pharrell Williams. Music by Jóhann Jóhannsson, lyrics by Mikko Ojala. I can smell an Oscar.

Karol

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I am naturally basing my song on the OST album cover. Who needs to see the film to write suitable lyrics for a song about it? Not me!

I imagine this to be more of a Josh Groban piece, I pictured the story from the male perpective but I would not rule out a duet between him and Celine Dion.

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Good review Karol!

Have you seen the film yet? Doesn't a part of you also wish Shore got to score this, Seven-style.

So basically it is not very substantial on the album but works well in the film? Is there any dramatic arc to the score or does it thrive on pure atmosphere?

Not all scores need thematic arcs my friend! The writing has substance. It's just a tougher listen, and the album definitely runs too long.

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So basically it is not very substantial on the album but works well in the film? Is there any dramatic arc to the score or does it thrive on pure atmosphere?

Not all scores need thematic arcs my friend! The writing has substance. It's just a tougher listen, and the album definitely runs too long.

Oh thematic arc is not mandatory, of course it is not, but the writing itself does not simply sustain the long-ish album. It is a dour listening experience and I can't imagine I would be very often in the mood for this type of music, no matter how much substance there might be in the writing. I simply can't reap much joy from endless drone no matter how elegantly it is presented.

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Good review Karol!

Have you seen the film yet? Doesn't a part of you also wish Shore got to score this, Seven-style.

So basically it is not very substantial on the album but works well in the film? Is there any dramatic arc to the score or does it thrive on pure atmosphere?

Not all scores need thematic arcs my friend! The writing has substance. It's just a tougher listen, and the album definitely runs too long.

That's fair enough!

I think I just appreciate this side of Johann over the sentimental crowdpleasers like Theory of Everything.

God, it's like looking in a mirror! ;)

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For the record I have not heard this crowd pleaser yet. I'll give that a spin soon.

But do you honestly listen to Sicario-type music for pleasure? What is the attraction in such music for you? I am honestly interested in knowing.

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Me?

Yes you and your mirror image. ;)

And anyone else who might want to extrapolate on their fascination with this Sicario-styled music.

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