Under-Terrestrial

Given that this album's release date was purportedly August 9th - which it is in Japan - I thought the entire album would be available to preview on Japanese sites by now. Aw well, this little snippet will have to suffice My first impression will be even more out of context than usual given that no one knows what this movie is except A) people who have read the book, and B) Japanese audiences (btw, Japanese audiences must regulate in-cinema pirating like crazy, one thinks there would've been a footage leak by now!). I wonder if I'll feel about this score the way I feel about John Williams' score for The Fabelmans: both feature stripped down melodies with simple harmonies that are hella bittersweet, as if a farewell to a life-long creative partnership between director-and-composer has imbued into the music. I like it so far, look forward to samples with more symphonic ingredients (also, that poster is entrancing. Does the heron have two sets of eyes?!)

So my impression will naturally morph once I've listened to the score in-context (got tickets for next weekend!) My exposure to Ludwig Goransson is TENET, the first CREED, TURNING RED, and BLACK PANTHER (I haven't seen THE MANDALORIAN). Even though he doesn't hail the Remote Control mold [to my knowledge], I hear some shades of that sonic influence here, so it's tricky for me to disassociate his input on TENET and OPPENHEIMER from the Zimmer Nolan contributions. But even though the Nolan-Goransson relationship is young, I might prefer it to the Nolan-Zimmer relationship. Goransson's electronic palette is consistently lively. Tracks like "What Have We Done" and the second half of "Gravity Swallows Light" have a clear sense of storytelling in their harmonic progressions. The feeling in the performance of the symphonic instruments doesn't sound diluted (folks on here probably know already that Nolan expressly wanted prominent violin to represent the character of Oppenheimer). My favorite track is "Quantum Mechanics", the ebullience and lift in the string writing is my kind of minimalism. (my apologies if the above paragraph comes across as a low-key diss of Zimmer. He's hit and miss for me (though INTERSTELLAR is 100% hit, has that aforementioned "lift" across the board .) In summation, I'm all about it! The symphonic and electronic ingredients sound harmonious. Look forward to the full album!

Me likey "Quantum Mechanics"

Unsure.

https://music.apple.com/nz/album/oppenheimer-original-motion-picture-soundtrack/1697599270

https://music.apple.com/nz/album/asteroid-city-original-score-ep/1692987585

https://music.apple.com/nz/album/elemental-original-motion-picture-soundtrack/1692392329

To whom it may interest, the following lullaby by Daniel Hart in Peter Pan And Wendy (which recurs throughout the score) starts out identically to Dario Marianelli's music box theme from The Boxtrolls: Starts at 0:33 --

First impression is: doesn't rival JNH's Peter Pan, but still brings it https://music.apple.com/nz/album/peter-pan-wendy-original-score/1683663831

https://music.apple.com/nz/album/the-whale-original-motion-picture-score/1655344840 https://music.apple.com/nz/album/empire-of-light-original-score/1656642218 https://music.apple.com/nz/album/guillermo-del-toros-pinocchio-soundtrack-from-the/1653184761

Ahh! Thank you, iTunes New Zealand!!!

https://music.apple.com/nz/album/she-said-original-motion-picture-score/1653879972

WHITE NOISE - Danny Elfman https://twitter.com/lulamaybelle/status/1589824467949486083 BARDO - Bryce Dessner And Alejandro G. Inarritu https://twitter.com/lulamaybelle/status/1589831253230235648 GLASS ONION - Nathan Johnson https://twitter.com/lulamaybelle/status/1589836878144245762 PINOCCHIO - Alexandre Desplat https://twitter.com/lulamaybelle/status/1589842773410467841?

https://music.apple.com/nz/album/wendell-wild-soundtrack-from-the-netflix-film/1649290661

https://music.apple.com/nz/album/prey-original-soundtrack/1636383813 I don't know the Predator scores very well (seen the 1st one and dug Silvestri's work). On Twitter, director Dan Trachtenberg has suggested that Sarah Schachner "rekindles GIANT movie themes with modern sensibilities". Does anyone on here recognize any prior themes in these samples?

I’m always slightly disappointed when I learn that a score cue is based on pre-existing music (in this case Abels’ own classical catalogue) but still this cue SLAYS (as does the score on the whole)

That’s “Klinek”

https://music.apple.com/nz/album/crimes-of-the-future-original-motion-picture-soundtrack/1627314005

YES

https://www.hollywoodreporter.com/news/music-news/female-composers-metoo-missed-us-1235058603/ "When there's an expectation of a certain grandiosity from male composers, female composers can be penalized for displaying the same passion, some say. [Laura] Karpman heard from her agent that she was being "too emotional" when explaining her musical choices to one TV show's producers. "You're just trying to defend a cue like a guy does," she says." Ugh

If Wikipedia's wording about the score / blurbs from reviews are to be believed, there's more to this score than just this single theme that is Greenwood's entire presence on this soundtrack release. Hoping for a proper score release, because this is loverly Haven't gotten around to watching this yet, but this is beguiling. Feels like a relative to Britell's Beale Street score.

❤️

https://music.apple.com/nz/album/old-original-motion-picture-soundtrack/1575809498