{"id":3523,"date":"2018-01-25T17:38:37","date_gmt":"2018-01-25T17:38:37","guid":{"rendered":"https:\/\/scadradio.org\/?p=3523"},"modified":"2018-04-19T18:42:16","modified_gmt":"2018-04-19T18:42:16","slug":"most-underappreciated-film-scores-of-2017","status":"publish","type":"post","link":"https:\/\/scadradio.org\/2018\/01\/25\/most-underappreciated-film-scores-of-2017\/","title":{"rendered":"Most Underappreciated Film Scores of 2017"},"content":{"rendered":"

Another year, another round of Oscar nominations. As usual, there are surprises and snubs aplenty – but few categories deserved a re-do quite like Best Original Score. Admittedly, it\u2019s a dark time for film scores. Most composers are told to either copy temp music (temporary music that is placed on a scene during editing) or write music that is unobtrusive and doesn\u2019t \u201cpull this audience out of the movie.\u201d Yet there is still hope. Here are some films released in 2017 that definitively bucked this trend. <\/span><\/p>\n

Please note: I won\u2019t be discussing Michael Giacchino\u2019s score for <\/span>War for the Planet of the Apes<\/span><\/i>, Mark Mothersbaugh\u2019s score for <\/span>Thor: Ragnarok<\/span><\/i>, or Hans Zimmer and Benjamin Wallfisch\u2019s work on <\/span>Blade Runner 2049<\/span><\/i>, as all three are high-profile films that have received a lot of attention. That being said, all three scores are excellent and are well worth a listen. Another final note: this article will strictly discuss scores (originally composed music) and not soundtracks. Sorry, <\/span>Baby Driver<\/span><\/i>.<\/span><\/p>\n

Good Time – Oneohtrix Point Never<\/span><\/p>\n

The conversation for the best film scores of 2017 starts and ends with Oneohtrix Point Never\u2019s work on the Safdie Brothers\u2019 grimy urban thriller <\/span>Good Time<\/span><\/i>. Daniel Lopatin (who uses OPN as his stage name) has been producing some of the most compelling electronic music of the last few years. The duo was smart to attempt to add a new chapter to film\u2019s long catalog of excellent, electronic musician-composed scores, and they picked a perfect collaborator in Lopatin. His score is feverish, pulsating and wild. In other words, it\u2019s exactly like <\/span>Good Time<\/span><\/i>. The Safdie Brothers (along with editor Ronald Bronstein) boldly place the score right at the forefront and let it dictate the pace of several key sequences. In a wonderful touch, it even echoes its lead character, Connie Nikas (Robert Pattinson). Upon recruiting OPN, the\u00a0<\/span>Safdie\u2019s reportedly wanted him to make a \u201csloppy prog\u201d album. This relentless drive combined with frenetic, wailing synths and guitars perfectly encapsulates Connie\u2019s recklessness and determination. I\u2019ve been playing it non-stop. As a nice bonus, Iggy Pop provides vocals on the mournful ballad \u201cThe Pure and the Damned,\u201d which, despite being musically at odds with the entire rest of the score, fits totally at home here. There should be a law against listening to this score while driving. It\u2019s that exhilarating.<\/span><\/p>\n

Standout Track:<\/strong> “Leaving the Park”<\/span><\/p>\n

Columbus – Hammock<\/span><\/p>\n

My favorite film of 2017 was <\/span>Columbus<\/span><\/i> – a beautifully understated and emotionally resonant film by first-time director Kogonada. Hammock\u2019s wonderful score manages the tricky balance of not overwhelming the hushed tone of the film, while also accentuating the emotions present in many of the key scenes. Kogonada has openly cited Japanese maestro Yasujiro Ozu as an influence on the film\u2019s pace, tone, and visual style, and Hammock\u2019s score fulfills the same role as the music in Ozu\u2019s films do. It evokes a time and place, and at once sounds instantly nostalgic and wholly unfamiliar.<\/span><\/p>\n

Standout Track:<\/strong>\u00a0“Eliel”<\/span><\/p>\n

Raw – Jim Williams<\/span><\/p>\n

Another one of my favorite films of last year was Julia Ducournau\u2019s <\/span>Raw, <\/span><\/i>a massively disturbing and wholly unforgettable mashup of cannibal film and coming-of-age drama. In keeping with the film, the score shifts wildly between playfulness and outright terror, while never letting go of the underlying tension. The main theme is one for the ages, and more than lives up to the themes it\u2019s undeniably going to be compared to (<\/span>A Clockwork Orange, Suspiria<\/span><\/i>). The first time it\u2019s played is one of the most genius marriages of picture and sound I\u2019ve seen in quite some time. <\/span><\/p>\n

Standout Track:<\/strong> Finger Scene<\/span><\/p>\n

Super Dark Times – Ben Frost<\/span><\/p>\n

Super Dark Times <\/span><\/i>– written, directed, photographed and produced by SCAD graduates – resists taking the easy road at every turn. There are no pop songs to telegraph its mid-90\u2019s setting and very few pop culture references. The score is emblematic of the film\u2019s bold approach. It almost appears to blend its sound design to its darkly disturbing score, which creates the sensation that this mid-winter New York town is perched on the edge of the world. It evokes both the adolescent innocence of pre-Columbine America and the catastrophic violence that factors heavily into the film\u2019s plot. Frost\u2019s work creates a mood so oppressive and unnerving that just writing about it makes me feel like I should sit by a fire.<\/span><\/p>\n

Standout Track:<\/strong> I Have No Maximum Velocity<\/span><\/p>\n

A Ghost Story – Daniel Hart<\/span><\/p>\n

A Ghost Story<\/span><\/i>\u2019s soundtrack sounds as immense as it\u2019s lofty thematic ambitions, building a deep wall of emotion behind the facade its deceptively simple plot. Hart\u2019s score allows the film to feel profound yet not ponderous. Its influences are tricky to pin down – it appears to brush up against post-rock, classical music and folk-rock that sounds ripped straight from the American heartland. Hart manages an awe-inspiring blend of vastness and intimacy that is all too rare. There\u2019s also another factor to consider – much of the film is dialogue-free. Luckily, Hart\u2019s music doesn\u2019t just cover for the lack of dialogue. It finds meaning in the silence. <\/span><\/p>\n

Standout Track:<\/strong> Thesaurus Tuus<\/span><\/p>\n

Mudbound – Tamar-kali<\/span><\/p>\n

Most good film scores are inseparable from the mood of the film – they either support the images on screen or they contrast them to great effect. Sometimes these connections are tangential, and other times they\u2019re literal. Tamar-kali\u2019s <\/span>Mudbound <\/span><\/i>score is certainly an example of the latter. I had the great privilege to interview Tamar-kali at the Savannah Film Festival, and she told me that director Dee Rees wanted the score to evoke the feeling of being \u201cdragged through mud.\u201d The visual metaphor of African-Americans historically being trampled underfoot echoes throughout the entire film and is omnipresent in Tamar-kali\u2019s churning, uncompromising score. By refusing to sanitize any of the horrifying images on screen, the score sounds as if it\u2019s been unearthed from the Mississippi Delta itself. It\u2019s both period-accurate and wholly modern – which suggests that the societal issues the Jackson family faces in <\/span>Mudbound <\/span><\/i>are more than relevant today. Spoiler alert: they are.<\/span><\/p>\n

Standout Track:<\/strong> Intro \/ Mudbound Theme<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Another year, another round of Oscar nominations. As usual, there are surprises and snubs aplenty – but few categories deserved a re-do quite like Best Original Score. Admittedly, it\u2019s a dark time for film scores. Most composers are told to either copy temp music (temporary music that is placed on a scene during editing) or […]<\/p>\n","protected":false},"author":12,"featured_media":3525,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[530,32],"tags":[446,450,454,43,451],"yoast_head":"\nMost Underappreciated Film Scores of 2017 - SCAD Radio<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/scadradio.org\/2018\/01\/25\/most-underappreciated-film-scores-of-2017\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Most Underappreciated Film Scores of 2017 - SCAD Radio\" \/>\n<meta property=\"og:description\" content=\"Another year, another round of Oscar nominations. As usual, there are surprises and snubs aplenty – but few categories deserved a re-do quite like Best Original Score. Admittedly, it\u2019s a dark time for film scores. Most composers are told to either copy temp music (temporary music that is placed on a scene during editing) or […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/scadradio.org\/2018\/01\/25\/most-underappreciated-film-scores-of-2017\/\" \/>\n<meta property=\"og:site_name\" content=\"SCAD Radio\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/facebook.com\/scadradio\" \/>\n<meta property=\"article:published_time\" content=\"2018-01-25T17:38:37+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-04-19T18:42:16+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/scadradio.org\/wp-content\/uploads\/2018\/01\/music.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2000\" \/>\n\t<meta property=\"og:image:height\" content=\"1333\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Liam Higgins\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@scadradio\" \/>\n<meta name=\"twitter:site\" content=\"@scadradio\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Liam Higgins\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/scadradio.org\/2018\/01\/25\/most-underappreciated-film-scores-of-2017\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/scadradio.org\/2018\/01\/25\/most-underappreciated-film-scores-of-2017\/\"},\"author\":{\"name\":\"Liam Higgins\",\"@id\":\"https:\/\/scadradio.org\/#\/schema\/person\/f0c9a0cc2d41e9caac2904503fec3ece\"},\"headline\":\"Most Underappreciated Film Scores of 2017\",\"datePublished\":\"2018-01-25T17:38:37+00:00\",\"dateModified\":\"2018-04-19T18:42:16+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/scadradio.org\/2018\/01\/25\/most-underappreciated-film-scores-of-2017\/\"},\"wordCount\":1050,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/scadradio.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/scadradio.org\/2018\/01\/25\/most-underappreciated-film-scores-of-2017\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/scadradio.org\/wp-content\/uploads\/2018\/01\/music.jpg\",\"keywords\":[\"2018\",\"90th academy awards\",\"music scores\",\"Oscar Nominations\",\"oscars\"],\"articleSection\":[\"Content\",\"Reviews\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/scadradio.org\/2018\/01\/25\/most-underappreciated-film-scores-of-2017\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/scadradio.org\/2018\/01\/25\/most-underappreciated-film-scores-of-2017\/\",\"url\":\"https:\/\/scadradio.org\/2018\/01\/25\/most-underappreciated-film-scores-of-2017\/\",\"name\":\"Most Underappreciated Film Scores of 2017 - 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