As an invigorating wave of “modern classical” scores like INDIGNATION, MOONLIGHT and ARRIVAL now take film music in uniquely interesting directions, the utterly bizarre and hypnotic originality of 2013’s UNDER THE SKIN was the equivalent of an alien landing in arthouse land to broadcast its musical language. Weirdly pitched strings, sound masses and unearthly metallic samples created the equivalent of a seductive hive mind, its heartbeat eerily slithering with just enough melody to keep the listener from Kafka-esque madness. UNDER THE SKIN‘s sonic shock of the new was created by the kind of avant-garde composer who could only come from nowhere. However, […]Read On »COMMENTS (0)
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