HIGH-RISE composer Clint Mansell builds beautiful insanity – Interview

HIGH-RISE soundtrack | ©2016 Silva Screen

  If being a composer can drive one crazy, then few have stared so consistently into the mouth of madness with such interesting, and creatively invigorating results as Clint Mansell. The braintrust of the U.K. group Pop Will Eat Itself made his scoring debut drilling a distinctively electronic hole into the head of PI’s crazed mathemetician in 1998. His musical mind-warping partnership with director Darren Aronofsky would mine new headtrips of creativity, from the string needles of the Kronos Quartet that filled the veins of REQUIEM FOR A DREAM‘s drug addicts to the cosmically symphonic transcendence of a truth-seeker in THE FOUNTAIN, the […]Read On »

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CD Review: FILTH soundtrack

FILTH soundtrack | ©2014 Milan Records

Clint Mansell has a rocking way of descending into madness, whether it’s a math savant drilling a hole in his head to solve an impossible equation, having the savior of the great flood become convinced he’s got to sacrifice a first born, or manically playing a bunch of junkies hallucinating their way to hell. Fuel his style of using rhythmically intensifying waves of electric guitar and symphonic psychosis with the drug-addled imagination of TRAINSPOTTING author Irving Welsh, and you’ve got a powerfully unhinged recipe for one very bad Scottish lieutenant in FILTH. The twisted cop’s nationality cleverly accounts for the bagpipes […]Read On »

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CD Review: The Ten Best Scores of 2013

Anthony Gonzalez, Joseph Trapanese / OBLIVION soundtrack | ©2013 +180 Records

THE BOOK THIEF (John Williams / Sony Classical) The kind of unabashedly thematic, and mostly melodic music that’s made John Williams into the most popular film composer of all time is often the sound of innocence itself, an unabated musical youthfulness that he’s also played to ironic effect when dealing with children confronting the unimaginable. Here it’s a genocide that’s heard, but rarely witnessed within a young German girl’s sheltered life during World War 2. Such is the devastating, gentle power that speaks volumes for THE BOOK THIEF‘s score as it encapsulates the innocence, first loves and ultimate shock of […]Read On »

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CD Review: STOKER soundtrack

STOKER soundtrack | ©2013 Milan Records

With his creepily rhythmic fusion of orchestra, rock and electronics, Clint Mansell had been a go-to guy when it comes to capturing a building sense of psychosis, whether it’s cutting-edge synth mad science in PI and MOON, Middle Eastern music possessing a serial killer artist in SUSPECT ZERO, or the cool strings for the teen thrill killers in MURDER BY NUMBERS. But it was Mansell’s ever-more insane twisting of Tchaikovsky for a BLACK SWAN ballerina that really made him a go-to guy for women on the verge of a nervous breakdown. For STOKER, Mansell applies a slightly more groovy classical […]Read On »

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CD Review: BLACK SWAN / FASTER soundtracks

© 2010 Sony Classical | Black Swan Soundtrack

Clint Mansell has always felt the need for speed, let alone the seeming urge to accompany more mental disintegrations than a national tour of ONE FLEW OVER THE CUCKOO’S NEST. Taking the next evolution from playing with Pop Will Eat Itself to make a stunning alt. scoring debut with 1998’s PI (a film that also marked the debut of his frequent auteur collaborator Darren Aronofsky), Mansell’s prolific, and usually innovative output has combined the shredding rhythms of industrial rock, the lush melodic reaches of a symphony orchestra and enough minimal chord progressions to rate a celebrity death match with Philip […]Read On »

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