———- Post added at 02:01 AM ———- Previous post was at 02:00 AM ———-
Track list https://store.nin.com/products/bird-box-soundtrack-digital-lp
Our score for the film Bird Box is now available for purchase in high-resolution here. This same version will appear on streaming services by Jan 25th (or sooner). Like all soundtrack records we release, we aim for these to play like albums that take you on a journey and can exist as companion pieces to the films AND as their own separate works.
We created a significant amount of music and conceptual sound for Bird Box, a lot of which never made it to your ears in the final version of the film. We’ve decided to present you with this version of the soundtrack record that represents what Bird Box is to us. We hope you enjoy.
For those interested, we will be releasing a more expansive (read: more self-indulgent) physical-only offering this spring that will contain an additional hour of music and artwork that colors further outside the lines… enter at your own risk!
Lots coming in 2019, Trent
This doesn’t even work with the movie.
Oh well, that’s the world of film music today I’m afraid.
———- Post added at 08:32 PM ———- Previous post was at 08:31 PM ———-
Can this even be considered music? Sounds just like a lot of noises merged togheter with the ocasional piano tinkle…
This doesn’t even work with the movie.
Oh well, that’s the world of film music today I’m afraid.
I think this very well sum up my own opinion…:)
This doesn’t even work with the movie.
Oh well, that’s the world of film music today I’m afraid.
I mean that’s basically what The Social Network is and it won the Academy Award for Best Original Score.
Hanz Zimmer won Oscar too. So shit scores and composers won Oscars too? What a surprise… 🙂
The Lion King vs The Social Network? You seriously went there?
You better not indeed.
This doesn’t even work with the movie.
Oh well, that’s the world of film music today I’m afraid.
I get where you’re coming from, its certainly not a pleasurable listening experience outside of the movie, but I dont agree that it doesnt work within the movie, Id say it does work with the movie quite well.
We’ve always had "difficult music" that its not agreeable to hear outside the film as a separate experience, but as long as it does work with the theme and mood of the movie and makes it progress dramatically, that music has a place. I’m thinking of some of my favourite composers like Rosenman, Goldsmith, Morricone, Herrmann, all of them have very experimental scores that some could be classed as atonal, certainly morricone.
I dont think we’re living a golden age as film music goes but I say theres a little of everything in this era, symphonic, synth-based, more avantgarde, other mroe traditional. We dont have Rozsas or Korngolds or Herrmanns, not even goldsmiths or Barry, but theres plenty of good film music, from every style. I dont share this idea that modern music is bad or lacks certain things traditional film music had.
I mean that’s basically what The Social Network is and it won the Academy Award for Best Original Score.
I also dont share the idea that winning an award makes your music better or worst, particularly the oscars. I mean Morricone won an oscar for the hateful eight, one of his least memorable scores of all time. A guy who made easily 50 better scores gets a prize for one of his most average works.
So if we’re going to assess a composer Id never go as the main route to the awards as evidence of their good or bad work, and particularly Id never go to the oscars