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Emile Mosseri is an exciting up-and-coming composer with an entirely unique and well-developed voice of his own, combining influences from Morricone, Glass, Nyman, and Elfman (he's cited Edward Scissorhands as a favourite in this interview) with a background in indie rock to not only fashion fascinating soundscapes, but also to employ pared-down ensembles and traditional instrumentation in a way that is both cognizant of prior methods and yet still very fresh. He's the latest in a line of composers whose varied musical experiences have allowed them to form their own synthesis between tried and true foundations and current techniques, with other notable examples being Ludwig Goransson and Nicholas Britell (both composers who I admire very much, coincidentally ). Mosseri's filmography consists of a number of indie and arthouse projects, including The Last Black Man in San Fransisco, Kajillionaire and Minari, in addition to HBO's Random Acts of Flyness and the second season of Amazon's Homecoming . His next project is Jesse Eisenberg's upcoming directorial debut titled When You Finish Saving the World, and with his recent Oscar nomination for Minari, he's sure to have plenty of other upcoming opportunities to explore and expand his sound in the next few years. There's something very refreshing about his music, which ranges anywhere from whacky, synth-infused pop to gorgeous lyrical piano and vocal duos. I have some thoughts about each of his scores, and because I've embedded a number of YouTube links I've decided to keep them in spoiler brackets so as not to cripple the webpages of any mobile users, as they often slow things down for me. Fortunately, his score for Random Acts of Flyness is available to stream on SoundCloud, although I don't have anything to say about it presently. In any case, let's take a look at some highlight tracks from the rest of his work thus far: Kajillionaire (2020) Homecoming: Season Two (2020) Minari (2020) The Last Black Man in San Francisco (2019) Each of Mosseri's albums feature fairly simple presentations, but they always offer a new pallet of completely cohesive sounds and instruments grounded in his quickly forming style and surrounded by his usual furnishings. It's extremely encouraging work to say the least, and I for one find myself very much anticipating his future projects as I play these four scores on repeat. Feel free to use this thread to post about announcements, new releases, interviews, general praise and any other insightful comments. Looking forward to what comes next!