Well, talent sure seems to run in the Cronenberg family, what with Brandon “Son of David” Cronenberg making waves with diseased horror Antiviral. Equally disturbing is the film’s score by E.C. Woodley, which paints a nightmarish aural image that I imagine is quite effective in the film. Blurring the lines between score and sound design, Woodley’s soundscape is a dissonant and eerie experience that might just keep you up at night.
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An aughties soundtrack so popular among music fanatics that multiple record companies thought it was a fine idea to drop it on vinyl? That’s that Gosling magic. Drive’s car film noir was scored into a dreamlike state by ex-Beefheart drummer Cliff Martinez, with a lot of help from Chromatics/Desire/Glass Candy impresario Johnny Jewel, who worked closely with director Nicholas Winding Refn to find the right aural patina. Jewel’s taste for the tactile, lush sounds of the ’70s and ’80s resides in the high end, simple and buzzy with wispy model-girl vocals. Drive and Jewel kickstarted the Italo disco/vintage synth hankerings of the woozy, post-witch house underground — a logical place to visit once everyone tired of dubstep’s irrepressible sub-bass, and one that only grows a bigger fanbase by the month. Watch this space. J.E.S.
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