You might as well know now that I think what they’re going to be putting out there is unlike anything I’ve ever seen a composer do with a film score, at least in my lifetime. I really do think that Trent Reznor and Atticus Ross’ score for The Social Network stands on its own as a brilliant album. The music tells a story. With Dragon Tattoo it’s at a whole different level. The whole thing is mind-boggling. They really have, I think, reinvented the wheel in a way — similar to what Peter Gabriel did with Passion of the Christ and Bob Dylan with Pat Garrett and Billy the Kid. People who love movie scores tend to fall into two categories -the traditionalists, who like film composers who stick to the rules of the medium. And then those who prefer the composers who work outside the confines of tradition. If you’re in the latter group, you are in for a major treat. The remix of Led Zeppelin’s Immigrant Song is making the rounds – you can watch it with visuals at Pitch Fork Media’s website. Visuals created by David Fincher! Here it is without.
In the meantime, get your hands on the DELUXE soundtrack asap.
On a more critical note: I think anyone who knows the source material will clearly find this score insanely in keeping with the feeling of reading this book at 4am. You’re jumpy, you’re tired, you’re invested, you’re involved. This does everything for me.
Superlative, Superlative, Superlative.
*Gushes*
This score just makes me want to have insanely animalistic sex. That’s all.
I just listened to the six tracks for TGWTDT and was left…cold? Which is probably the intended effect so kudos for that. Reznor and Ross have laid some interesting evolving sound beds for their processed plucking and ominous percussive clanging. But, to be honest, I could probably hear this from a student composer whipping up a last minute project in her electronic music class (albeit without the professional polish and production). I’m sure it will work awesome in the movie (which is its purpose!), but I’m not sure it deserves the onslaught of superlatives many will shower upon it just because it’s from Trent Reznor and in a Fincher film.
To my ear, It doesn’t sound like anything Cliff Martinez or Clint Mansell haven’t already done in the past. Thomas Newman has written these same ambient drones, pulses and clangings and then done something with them: added interesting rhythmic figures or an exotic melody or a complex chord progression on top. Of course, interesting rhythms, melodies or chord progressions aren’t always needed for a movie, but, at least for me personally, they make music more enjoyable.
Sasha, I believe you mean Peter Gabriel’s score for Scorsese’s The Last Temptation of Christ, not the score for Mel Gibson’s Passion of the Christ, which to my knowledge, is not by Peter Gabriel.
T.
I’d really like to call this a mood-piece more than anything else.
This is the kind of score that will probably sound really dated in the next 15 or 20 years. Layers of Ambient Sound and Electronica usually do.
Just downloaded the sample that Ryan linked to in his post above this.
You’re right, Sasha. Absolutely right. (reference title of your post).
I love this, but no way is Academy giving another Oscar to them right after.
The cover for Immigrant Song is one of the best cover songs I have ever heard.
I love it. And I’m usually tough on covers–particularly those from highly regarded acts, songs, or both.
LOL, ok I actually really loved TSN’s score but this is too screamo I think…
The score’s enhancement of the action in TSN was one of the most memorable things about it and I think the material they are working with in TGWTDT gives them even more room to experiment.
Good comparison to Peter Gabriel’s score for Last Temptation, Sasha (I knew that you meant). Reminds me, too, a bit of G Moroder’s early scores for Midnight Express and Looking for Mr Goodbar.
I have a hard time believing they will be nominated again when they just won last year, and that was novelty, like ‘ooh like at them in a tux’. I’m not into this movie at all, but I’ll put up with the many posts about it because I know Sasha is a Fincher Fanatic and loved the movie. Can’t wait til people start openly discussing it. All kinds of stuff out there. Anne Thompson and Kris Tapley saying it’s not even a strong contender for top 8. Hmmm…
Sasha, I probably belong to both of those groups you mentioned. I love nothing more than traditional orchestral scores, but I also like experimentation. I’m sorry to say I wasn’t that crazy about The Social Network (liked the movie, but was so-so on the score), but I’m absolutely in love with the soundtrack for this film. Everything I see about this movie tells me it’s probably gonna blow my mind.
Also, that video is insane! I hope that’s the opening of the movie itself. Guess I’ll find out in a little over a week. 🙂
As a whole the score is insane, brilliant. I can’t wait to hear it in the context of the film.
John Williams for the Oscar win!
Pretty interesting piece. Undoubtedly worth listing to more than just one time. Am I right assuming that you preferred Reznor/Ross winning the Academy Award for TSN, Sasha?
i love the score. Trent is such a talented musician
I just stop listening to it. I couldn’t stand it honestly.
My tastes in film scores embraces both the traditional and the groundbreaking. I found Reznor’s score for The Social Network incredibly overrated. But I’m willing to give this one a listen.
Do you know when the album will be out? Or is it already out?