Why Experimental Artists Are Crossing Over to Mainstream Film
why-experimental-musicians-score-films
February 13, 2020
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16
# Why Experimental Artists Are Crossing Over to Mainstream Film
In one of *Joker*'s pivotal scenes, Arthur flees into a shabby bathroom,
churned up from committing his first homicides. He realizes what just
happened and channels his agitation into a spontaneous, graceful
dance---it's the Joker's spiritual awakening. The power and poetic
quality of these two minutes, and the film as a whole, is largely
indebted to Hildur Guðnadóttir's congenial compositions, which, with
their moaning strings and plodding percussive lines, lurk in the
screenplay's background, unfolding with grave grandeur as the film's
events escalate in severity.
[YouTube Content][1]{: target="_blank" rel="noopener noreferrer"}
This year, the Icelandic cellist and composer became [the first woman
ever][2]{: rel="noreferrer noopener" target="_blank"} to receive the
Golden Globe for best Best Original Score as a solo artist. And just
recently, she added an Academy Award to her list of accolades. While the
historic win hopefully signifies a change in female composers'
visibility and representation in film scoring, it also indicates that
the field isn't under control of a composer establishment anymore.
Instead, over the last few years, experimental musicians untied to any
movie industry cronyism have been stepping up as the industry's
innovators. Some, like Hildur Guðnadóttir herself, the omnipresent Max
Richter and the sadly deceased [Jóhann Jóhannsson][3]{: rel="noreferrer
noopener" aria-label="Jóhann Jóhannsson (opens in a new
tab)" target="_blank"}, come from a neo-classical background, and many
are indie luminaries, like [Trent Reznor][4]{: rel="noreferrer noopener"
aria-label="Trent Reznor (opens in a new tab)" target="_blank"}, [Colin
Stetson][5]{: rel="noreferrer noopener" aria-label="Colin Stetson (opens
in a new tab)" target="_blank"}, [Nick Cave & Warren Ellis][6]{:
rel="noreferrer noopener" aria-label="Nick Cave & Warren Ellis
(opens in a new tab)" target="_blank"}, [Geoff Barrow][7]{:
rel="noreferrer noopener" aria-label="Geoff Barrow (opens in a new tab)"
target="_blank"} (of Portishead) and [Mica Levi][8]{: rel="noreferrer
noopener" aria-label="Mica Levi (opens in a new tab)" target="_blank"}.
But film scoring has also become an increasingly fertile industry for
artists rising from the more experimental branches of electronic music
and club culture. Last year, Bobby Krlic---who many may know for the
dismal instrumental sounds somewhere between field recordings, hefty
drones and meticulously textured noise released under his alias [The
Haxan Cloak][9]{: rel="noreferrer noopener" target="_blank"} on labels
like [Tri Angle][10]{: rel="noreferrer noopener" target="_blank"},
[Aurora Borealis][11]{: rel="noreferrer noopener" target="_blank"} or
Southern Records' spin off Latitudes---scored *[Midsommar][12]{:
rel="noreferrer noopener" aria-label="Midsommar (opens in a new tab)"
target="_blank"}*, Ari Aster's second masterful revamp of the horror
genre.
The case of Daniel Lopatin (A.K.A. [Oneohtrix Point Never][13]{:
rel="noreferrer noopener" aria-label="Oneohtrix Point Never (opens in a
new tab)" target="_blank"}) is quite similar. After building up his
portfolio of idiosyncratic, synth-laden productions---like the
deeply-narrative LP, *[Age Of][14]{: rel="noreferrer noopener"
target="_blank"}* , and EP, *[Love In The Time Of Lexapro][15]{:
rel="noreferrer noopener" target="_blank"}*---on labels like [Editions
Mego][16]{: target="_blank" rel="noreferrer noopener"
aria-label="Editions Mego (opens in a new tab)"}, [Warp][17]{:
target="_blank" rel="noreferrer noopener" aria-label="Warp (opens in a
new tab)"} and more, the cult experimental musician composed the
original scores to two of Josh and Benny Safdie's films, *Good Time* and
*Uncut Gems*.
[Afrodeutsche][18]{: target="_blank" rel="noreferrer noopener"
aria-label="Afrodeutsche (opens in a new tab)"}, whose electro- and
Detroit-techno-informed club productions have always showcased a
penchant for the cinematic, also made the move into scoring, writing the
music for *Kamali*, a documentary about a young skateboarder in India
that qualified for the Oscars shortlist.
The film industry has increasingly warmed up to sonic experimentation,
and this means new opportunities for musicians looking to branch out.
The digitization of the film industry and Netflix-ization of viewing
habits has led to tougher competition between production companies and
content providers, leading to a total increase in production---or the
so-called "content wars". From 2000 to 2019, the number of movies
released in North America has more than doubled, and more content on the
market means a greater need for work that really stands out.
[1]: https://www.youtube.com/embed/BBY4zUFxUjA?feature=oembed
[2]: https://www.latimes.com/entertainment-arts/movies/story/2020-01-05/hildur-gu%C3%B0nadottir-is-the-first-female-solo-winner-of-original-score-globe
[3]: https://www.discogs.com/de/artist/52220-J%C3%B3hann-J%C3%B3hannsson
[4]: https://www.discogs.com/de/artist/27457-Trent-Reznor
[5]: https://www.discogs.com/de/artist/262225-Colin-Stetson
[6]: https://www.discogs.com/de/artist/3208457-Nick-Cave-Warren-Ellis
[7]: https://www.discogs.com/de/artist/22504-Geoff-Barrow
[8]: https://www.discogs.com/de/artist/2576890-Mica-Levi
[9]: http://tri-anglerecords.com/the-haxan-cloak-excavation/
[10]: http://tri-anglerecords.com/
[11]: https://aurora-b.com/
[12]: https://www.youtube.com/watch?v=I0UWIya-O0s
[13]: https://soundcloud.com/oneohtrix-point-never
[14]: https://open.spotify.com/album/05A41BF3z2E5F0tnTyWRNh
[15]: https://open.spotify.com/album/2f3Olo7eaVxnmgaencFKmv
[16]: https://soundcloud.com/editionsmego
[17]: https://soundcloud.com/warp-records
[18]: https://soundcloud.com/afrodeutsche-ad
[YouTube Content][1]{: target="_blank" rel="noopener noreferrer"}
In times of ever-present and diversely curated Spotify-playlists,
licensing a bunch of well-known tunes, putting the movie's artwork on
that compilation, and selling it as an original soundtrack is an
outdated model. And the orchestral arrangements we all know too well as
the affect-boosting modus operandi in movie scores don't set a work
apart anymore. Conversely, the use of the score as the movie's
custom-made sound-signature is more significant than ever.
All of these factors lead to more than favorable conditions for
experimentation, and not only when it comes to indie productions. A
major player like Netflix can offset the commercial risk that comes with
unorthodox approaches with its massive portfolio of blockbuster content,
and branching out into arthouse content extends the realm of the
streaming giant's potential subscribers even more.
For both budding and accomplished producers, however, composing for
film---for a narrative usually written by someone else---comes with its
own challenges. Alec Empire, frontman of [Atari Teenage Riot][2]{:
target="_blank" rel="noreferrer noopener" aria-label="Atari Teenage Riot
(opens in a new tab)"} and longtime maverick of the German noise,
industrial, ambient and digital hardcore scenes, has been involved in
several A/V and film-scoring projects in his multifaceted career. His
most recent was the soundtrack to *Volt*, directed by Tarek Ehlail---a
dystopian take on our current, migration-related social conflicts. For
the score, Empire provided a multilayered cycle covering a wide sonic
spectrum, from subtle ambient moods over anthemic synthetic arrangements
to heavy industrial eruptions, maintaining Empire's signature concern
for radical sound design even in its quietest moments.
[1]: https://www.youtube.com/embed/xzlXrVqMtNY?feature=oembed
[2]: https://www.facebook.com/Atari.Teenage.Riot.ACTIVATE/
[YouTube Content][1]{: target="_blank" rel="noopener noreferrer"}
To Alec, it's all about connecting to the visual material: "Composing
film music is interesting, because it's not my thoughts that matter,
it's the story. I have to fully immerse in it. I have to understand it
completely," he explains. "Given that, the music has one function, it
has to intensify that story for the viewer. Within that momentum lies
the fascination of writing scores. All the time you have to find
solutions, fine-tune your tonal language, accelerate or slow down the
tempo of the plot, carve out emotion and character of the cast. This way
of composing is a craft in itself and can be very rewarding."
For Alec and other musicians crossing over, stepping outside of oneself
can reignite creativity, the artist new challenges and, ultimately, new
rewards.
While in the short run, digitization and everyday streaming habits have
taken their toll on most musicians' economic survival, these recent
changes have also positively impacted artists' visibility. Underground
subgenres that would channel their output through limited, vinyl- or
tape-only releases are now accessible through every smartphone carrying
a streaming app, which means it's much more likely that lesser-known
sounds and far-out soundscapes make it into production meetings.
But still, the loss of physical sound carrier sales is hard to balance
with streaming revenues---especially in niche markets. The go-to
solution for most artists has been to exploit material through extensive
touring and performing. But Alec is quick to point out the limitations
of this change: "Lots of musicians turn to film music because they just
can't tour anymore," he says.
The strain of tour life can thwart your creative workflow, as it sucks
up time you might spend making music otherwise. Film scoring pushes an
artist's career in the opposite direction, adding a new revenue stream
to time spent in the studio.
Not to mention the most obvious impact of lending your creative
potential to the film industry: the pay. The economic prospects of a
small film production can hold a much higher potential than a regular
artist release if it becomes a box office giant. Take *Midsommar* as an
example. With a budget of less than $10 million, its box office earnings
(as of October 2019) more than quadrupled its budget. Proper negotiation
assumed, Bobby Krlic's score should make a better cut than a new Haxan
Cloak album.
Film scoring also opens musicians up to new streams of promotion. The
industry's well-endowed PR machine, award shows, and buzz generated
around movie releases can introduce the artist to entirely new
audiences. And as more underground musicians get involved with film
productions, a new market for releasing movie scores as standalone
projects has been surfacing. Several record labels are specializing in
the release of scores and soundtracks, including [Death Waltz][2]{:
rel="noreferrer noopener" aria-label="Death Waltz (opens in a new tab)"
target="_blank"}---which focuses on re-issues of film music luminaries
like John Carpenter, Ennio Morricone or Alan Howarth---[Milan
Records][3]{: rel="noreferrer noopener" aria-label="Milan Records (opens
in a new tab)" target="_blank"} and Geoff Barrow's [Invada Records][4]{:
rel="noreferrer noopener" aria-label="Invada Records (opens in a new
tab)" target="_blank"}. All of these factors combine to diversify the
ways that artists are seen and heard.
[1]: https://www.youtube.com/embed/AxZI1k9mbF0?feature=oembed
[2]: https://www.discogs.com/de/label/406649-Death-Waltz-Recording-Company
[3]: https://www.discogs.com/de/label/81208-Milan
[4]: https://www.discogs.com/de/label/15480-Invada-Records
[External Content Content][1]{: target="_blank" rel="noopener
noreferrer"}
So, is the film industry the starving musician's saviour, its new
creative lotusland? For any artist looking to move into the burgeoning
industry, Alec Empire weighs in a reasonable evaluation: "You need to
take risks in that profession. You need to prepare yourself for your
best music to get cut out. You need to be aware of all the drawbacks in
that industry. Otherwise, you're going crazy. The fees might look good,
but compared to the music industry, the film music industry is no Las
Vegas. It's more like Russian roulette," ultimately concluding: "And
that's why it's so much fun!"
[1]: https://open.spotify.com/embed/album/7ua9yjYsmUO77joP5fknf7
---
id: 397bc871-a589-45d3-a51f-b3b06f06bf7f
blueprint: article
title: 'Why Experimental Artists Are Crossing Over to Mainstream Film'
date: 2020-02-13T17:43:04+01:00
wp_id: '181546'
slug: why-experimental-musicians-score-films
teaser_image: legacy/why-experimental-musicians-score-films/EB-Site-2000x3000-0-scaled.jpg
contents:
-
type: text
text: '<p>In one of <em>Joker</em>‘s pivotal scenes, Arthur flees into a shabby bathroom, churned up from committing his first homicides. He realizes what just happened and channels his agitation into a spontaneous, graceful dance—it’s the Joker’s spiritual awakening. The power and poetic quality of these two minutes, and the film as a whole, is largely indebted to Hildur Guðnadóttir’s congenial compositions, which, with their moaning strings and plodding percussive lines, lurk in the screenplay’s background, unfolding with grave grandeur as the film’s events escalate in severity.</p>'
-
type: text
text: '<div class="ar-16-9"><p><a href="https://www.youtube.com/embed/BBY4zUFxUjA?feature=oembed" target="_blank" rel="noopener noreferrer">YouTube Content</a></p></div><p>This year, the Icelandic cellist and composer became <a rel="noreferrer noopener" href="https://www.latimes.com/entertainment-arts/movies/story/2020-01-05/hildur-gu%C3%B0nadottir-is-the-first-female-solo-winner-of-original-score-globe" target="_blank">the first woman ever</a> to receive the Golden Globe for best Best Original Score as a solo artist. And just recently, she added an Academy Award to her list of accolades. While the historic win hopefully signifies a change in female composers’ visibility and representation in film scoring, it also indicates that the field isn’t under control of a composer establishment anymore. </p><p>Instead, over the last few years, experimental musicians untied to any movie industry cronyism have been stepping up as the industry’s innovators. Some, like Hildur Guðnadóttir herself, the omnipresent Max Richter and the sadly deceased <a rel="noreferrer noopener" aria-label="Jóhann Jóhannsson (opens in a new tab)" href="https://www.discogs.com/de/artist/52220-J%C3%B3hann-J%C3%B3hannsson" target="_blank">Jóhann Jóhannsson</a>, come from a neo-classical background, and many are indie luminaries, like <a rel="noreferrer noopener" aria-label="Trent Reznor (opens in a new tab)" href="https://www.discogs.com/de/artist/27457-Trent-Reznor" target="_blank">Trent Reznor</a>, <a rel="noreferrer noopener" aria-label="Colin Stetson (opens in a new tab)" href="https://www.discogs.com/de/artist/262225-Colin-Stetson" target="_blank">Colin Stetson</a>, <a rel="noreferrer noopener" aria-label="Nick Cave & Warren Ellis (opens in a new tab)" href="https://www.discogs.com/de/artist/3208457-Nick-Cave-Warren-Ellis" target="_blank">Nick Cave & Warren Ellis</a>, <a rel="noreferrer noopener" aria-label="Geoff Barrow (opens in a new tab)" href="https://www.discogs.com/de/artist/22504-Geoff-Barrow" target="_blank">Geoff Barrow</a> (of Portishead) and <a rel="noreferrer noopener" aria-label="Mica Levi (opens in a new tab)" href="https://www.discogs.com/de/artist/2576890-Mica-Levi" target="_blank">Mica Levi</a>. </p><p>But film scoring has also become an increasingly fertile industry for artists rising from the more experimental branches of electronic music and club culture. Last year, Bobby Krlic—who many may know for the dismal instrumental sounds somewhere between field recordings, hefty drones and meticulously textured noise released under his alias <a rel="noreferrer noopener" href="http://tri-anglerecords.com/the-haxan-cloak-excavation/" target="_blank">The Haxan Cloak</a> on labels like <a rel="noreferrer noopener" href="http://tri-anglerecords.com/" target="_blank">Tri Angle</a>, <a rel="noreferrer noopener" href="https://aurora-b.com/" target="_blank">Aurora Borealis</a> or Southern Records’ spin off Latitudes—scored <em><a rel="noreferrer noopener" aria-label="Midsommar (opens in a new tab)" href="https://www.youtube.com/watch?v=I0UWIya-O0s" target="_blank">Midsommar</a></em>, Ari Aster’s second masterful revamp of the horror genre. </p><p>The case of Daniel Lopatin (A.K.A. <a rel="noreferrer noopener" aria-label="Oneohtrix Point Never (opens in a new tab)" href="https://soundcloud.com/oneohtrix-point-never" target="_blank">Oneohtrix Point Never</a>) is quite similar. After building up his portfolio of idiosyncratic, synth-laden productions—like the deeply-narrative LP, <em><a rel="noreferrer noopener" href="https://open.spotify.com/album/05A41BF3z2E5F0tnTyWRNh" target="_blank">Age Of</a></em> , and EP, <em><a rel="noreferrer noopener" href="https://open.spotify.com/album/2f3Olo7eaVxnmgaencFKmv" target="_blank">Love In The Time Of Lexapro</a></em>—on labels like <a href="https://soundcloud.com/editionsmego" target="_blank" rel="noreferrer noopener" aria-label="Editions Mego (opens in a new tab)">Editions Mego</a>, <a href="https://soundcloud.com/warp-records" target="_blank" rel="noreferrer noopener" aria-label="Warp (opens in a new tab)">Warp</a> and more, the cult experimental musician composed the original scores to two of Josh and Benny Safdie’s films, <em>Good Time</em> and <em>Uncut Gems</em>.</p><p><a href="https://soundcloud.com/afrodeutsche-ad" target="_blank" rel="noreferrer noopener" aria-label="Afrodeutsche (opens in a new tab)">Afrodeutsche</a>, whose electro- and Detroit-techno-informed club productions have always showcased a penchant for the cinematic, also made the move into scoring, writing the music for <em>Kamali</em>, a documentary about a young skateboarder in India that qualified for the Oscars shortlist.</p><p>The film industry has increasingly warmed up to sonic experimentation, and this means new opportunities for musicians looking to branch out. The digitization of the film industry and Netflix-ization of viewing habits has led to tougher competition between production companies and content providers, leading to a total increase in production—or the so-called “content wars”. From 2000 to 2019, the number of movies released in North America has more than doubled, and more content on the market means a greater need for work that really stands out. </p>'
-
type: text
text: '<div class="ar-16-9"><p><a href="https://www.youtube.com/embed/xzlXrVqMtNY?feature=oembed" target="_blank" rel="noopener noreferrer">YouTube Content</a></p></div><p> In times of ever-present and diversely curated Spotify-playlists, licensing a bunch of well-known tunes, putting the movie’s artwork on that compilation, and selling it as an original soundtrack is an outdated model. And the orchestral arrangements we all know too well as the affect-boosting modus operandi in movie scores don’t set a work apart anymore. Conversely, the use of the score as the movie’s custom-made sound-signature is more significant than ever. </p><p>All of these factors lead to more than favorable conditions for experimentation, and not only when it comes to indie productions. A major player like Netflix can offset the commercial risk that comes with unorthodox approaches with its massive portfolio of blockbuster content, and branching out into arthouse content extends the realm of the streaming giant’s potential subscribers even more.</p><p>For both budding and accomplished producers, however, composing for film—for a narrative usually written by someone else—comes with its own challenges. Alec Empire, frontman of <a href="https://www.facebook.com/Atari.Teenage.Riot.ACTIVATE/" target="_blank" rel="noreferrer noopener" aria-label="Atari Teenage Riot (opens in a new tab)">Atari Teenage Riot</a> and longtime maverick of the German noise, industrial, ambient and digital hardcore scenes, has been involved in several A/V and film-scoring projects in his multifaceted career. His most recent was the soundtrack to <em>Volt</em>, directed by Tarek Ehlail—a dystopian take on our current, migration-related social conflicts. For the score, Empire provided a multilayered cycle covering a wide sonic spectrum, from subtle ambient moods over anthemic synthetic arrangements to heavy industrial eruptions, maintaining Empire’s signature concern for radical sound design even in its quietest moments. </p>'
-
type: text
text: '<div class="ar-16-9"><p><a href="https://www.youtube.com/embed/AxZI1k9mbF0?feature=oembed" target="_blank" rel="noopener noreferrer">YouTube Content</a></p></div><p>To Alec, it’s all about connecting to the visual material: “Composing film music is interesting, because it’s not my thoughts that matter, it’s the story. I have to fully immerse in it. I have to understand it completely,” he explains. “Given that, the music has one function, it has to intensify that story for the viewer. Within that momentum lies the fascination of writing scores. All the time you have to find solutions, fine-tune your tonal language, accelerate or slow down the tempo of the plot, carve out emotion and character of the cast. This way of composing is a craft in itself and can be very rewarding.” </p><p>For Alec and other musicians crossing over, stepping outside of oneself can reignite creativity, the artist new challenges and, ultimately, new rewards.</p><p>While in the short run, digitization and everyday streaming habits have taken their toll on most musicians’ economic survival, these recent changes have also positively impacted artists’ visibility. Underground subgenres that would channel their output through limited, vinyl- or tape-only releases are now accessible through every smartphone carrying a streaming app, which means it’s much more likely that lesser-known sounds and far-out soundscapes make it into production meetings. </p><p>But still, the loss of physical sound carrier sales is hard to balance with streaming revenues—especially in niche markets. The go-to solution for most artists has been to exploit material through extensive touring and performing. But Alec is quick to point out the limitations of this change: “Lots of musicians turn to film music because they just can’t tour anymore,” he says.</p><p>The strain of tour life can thwart your creative workflow, as it sucks up time you might spend making music otherwise. Film scoring pushes an artist’s career in the opposite direction, adding a new revenue stream to time spent in the studio.</p><p>Not to mention the most obvious impact of lending your creative potential to the film industry: the pay. The economic prospects of a small film production can hold a much higher potential than a regular artist release if it becomes a box office giant. Take <em>Midsommar</em> as an example. With a budget of less than $10 million, its box office earnings (as of October 2019) more than quadrupled its budget. Proper negotiation assumed, Bobby Krlic’s score should make a better cut than a new Haxan Cloak album. </p><p>Film scoring also opens musicians up to new streams of promotion. The industry’s well-endowed PR machine, award shows, and buzz generated around movie releases can introduce the artist to entirely new audiences. And as more underground musicians get involved with film productions, a new market for releasing movie scores as standalone projects has been surfacing. Several record labels are specializing in the release of scores and soundtracks, including <a rel="noreferrer noopener" aria-label="Death Waltz (opens in a new tab)" href="https://www.discogs.com/de/label/406649-Death-Waltz-Recording-Company" target="_blank">Death Waltz</a>—which focuses on re-issues of film music luminaries like John Carpenter, Ennio Morricone or Alan Howarth—<a rel="noreferrer noopener" aria-label="Milan Records (opens in a new tab)" href="https://www.discogs.com/de/label/81208-Milan" target="_blank">Milan Records</a> and Geoff Barrow’s <a rel="noreferrer noopener" aria-label="Invada Records (opens in a new tab)" href="https://www.discogs.com/de/label/15480-Invada-Records" target="_blank">Invada Records</a>. All of these factors combine to diversify the ways that artists are seen and heard. </p>'
-
type: text
text: '<p><a href="https://open.spotify.com/embed/album/7ua9yjYsmUO77joP5fknf7" target="_blank" rel="noopener noreferrer">External Content Content</a></p><p>So, is the film industry the starving musician’s saviour, its new creative lotusland? For any artist looking to move into the burgeoning industry, Alec Empire weighs in a reasonable evaluation: “You need to take risks in that profession. You need to prepare yourself for your best music to get cut out. You need to be aware of all the drawbacks in that industry. Otherwise, you’re going crazy. The fees might look good, but compared to the music industry, the film music industry is no Las Vegas. It’s more like Russian roulette,” ultimately concluding: “And that’s why it’s so much fun!” </p>'
---
Chunk #1 (Position: 0)
# Why Experimental Artists Are Crossing Over to Mainstream Film In one of *Joker*'s pivotal scenes, Arthur flees into a shabby bathroom, churned up from committing his first homicides. He realizes what just happened and channels his agitation into a spontaneous, graceful dance---it's the Joker's...
Chunk #2 (Position: 1)
And just recently, she added an Academy Award to her list of accolades. While the historic win hopefully signifies a change in female composers' visibility and representation in film scoring, it also indicates that the field isn't under control of a composer establishment anymore. Instead, over t...
Chunk #3 (Position: 2)
Instead, over the last few years, experimental musicians untied to any movie industry cronyism have been stepping up as the industry's innovators. Some, like Hildur Guðnadóttir herself, the omnipresent Max Richter and the sadly deceased [Jóhann Jóhannsson][3]{: rel="noreferrer noopener" aria-labe...
Chunk #4 (Position: 3)
But film scoring has also become an increasingly fertile industry for artists rising from the more experimental branches of electronic music and club culture. Last year, Bobby Krlic---who many may know for the dismal instrumental sounds somewhere between field recordings, hefty drones and meticul...
Chunk #5 (Position: 4)
[Oneohtrix Point Never][13]{: rel="noreferrer noopener" aria-label="Oneohtrix Point Never (opens in a new tab)" target="_blank"}) is quite similar. After building up his portfolio of idiosyncratic, synth-laden productions---like the deeply-narrative LP, *[Age Of][14]{: rel="noreferrer noopener" t...
Chunk #6 (Position: 5)
After building up his portfolio of idiosyncratic, synth-laden productions---like the deeply-narrative LP, *[Age Of][14]{: rel="noreferrer noopener" target="_blank"}* , and EP, *[Love In The Time Of Lexapro][15]{: rel="noreferrer noopener" target="_blank"}*---on labels like [Editions Mego][16]{: t...
Chunk #7 (Position: 6)
The digitization of the film industry and Netflix-ization of viewing habits has led to tougher competition between production companies and content providers, leading to a total increase in production---or the so-called "content wars". From 2000 to 2019, the number of movies released in North Ame...
Chunk #8 (Position: 7)
From 2000 to 2019, the number of movies released in North America has more than doubled, and more content on the market means a greater need for work that really stands out. [1]: https://www.youtube.com/embed/BBY4zUFxUjA?feature=oembed [2]: https://www.latimes.com/entertainment-arts/movies/story/...
Chunk #9 (Position: 8)
[1]: https://www.youtube.com/embed/BBY4zUFxUjA?feature=oembed [2]: https://www.latimes.com/entertainment-arts/movies/story/2020-01-05/hildur-gu%C3%B0nadottir-is-the-first-female-solo-winner-of-original-score-globe [3]: https://www.discogs.com/de/artist/52220-J%C3%B3hann-J%C3%B3hannsson [4]: https...
Chunk #10 (Position: 9)
And the orchestral arrangements we all know too well as the affect-boosting modus operandi in movie scores don't set a work apart anymore. Conversely, the use of the score as the movie's custom-made sound-signature is more significant than ever. All of these factors lead to more than favorable co...
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