Soundtracks are no longer scored strictly for movies.
With the video game becoming a big industry, the attention that goes into their soundtracks has grown too. The Richter track is not included in the soundtrack album, which -deservedly- focuses on Jóhannsson‘s score.īut in the end it doesn’t really matter: even without the Oscar nomination, this is simple one of the best soundtracks of 2016 (and a large part of 2017) you’ll find!
Not because it’s not a beautiful piece, but it feels a bit secondhand after originally appearing on The Blue Notebooks (2004) and having been used in at least four other movies (such as Shutter Island, 2010).ĭefinitely a very, very bad decision, because the inclusion of the Max Richter track in the score resulted in the soundtrack’s disqualification for an Oscar nomination, according to the Academy Awards’ guidelines.
#SAMOROST 3 SOUND MOVIE#
Mysterious, Eerie, Ominous… After hearing the soundtrack, you’ll probably want to go to see the movie too.īut even without having seen the movie, this is a soundtrack that is pushing the boundaries of movie score traditions.Ĭonsidering the strength of this soundtrack, it seems a weird choice to feature a Max Richter composition ( In the Nature of Daylight) as the movie’s signature piece. I haven’t seen the movie (yet), and based on the description the story will probably be incomparable to that of 2013’s Under The Skin, but there are many moments in the soundtrack that I find the music is equally intense and has the same chilling effect Mica Levi’s score had. The tension can be felt in every detail of every track.įor his score, Jóhannsson was able to work with some well-respected artists like the Theatre of Voices (conducted by Paul Hillier), Hildur Gudnadóttir and Robert Aiki Audrey Lowe (aka Lichens). The difficulty of translating alien communication is reflected in the music by the singers using no text, only vowels. For his score for Arrival Jóhann Jóhannssontakes a surprising step away from the neo-classical composition such as recently displayed on his Orphéealbum, venturing into more ominous abstract territory matching the movie’s subject.
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