![]() ![]() Mandy bears some resemblance to Dunn and O’Malley’s work with Oren Ambarchi on 2014’s Shade Themes From Kairos, except that the album’s side-long immersions are split into smaller, but no less intense, chunks. The heaviness native to their work is palpable from the tectonic bass rumble and low chords of “Seeker of the Serpent’s Eye” to the dread-inducing brass smears of “Starling.” Even the film’s love theme is forlorn, all solemn guitar swells. Mandy revels in black metal, menacing ambient, doom drone, and piercing orchestrations in the mode of Italian experimental composer Giacinto Scelsi.ĭarkness and despair infuse nearly every moment of Jóhannsson’s score, its atmosphere conjured in part by co-producer Randall Dunn, with Sunn O)))’s Stephen O’Malley on guitar. It’s a visceral thrill to hear Jóhannsson leave the demands of Hollywood orchestral scores behind and move wholly into his element, pushing toward harrowing new sounds. “Jóhann went above and beyond, and I suspect to the limits of his sanity, to make the music for this movie,” Cosmatos says in the soundtrack’s liner notes. And in Jóhannsson, he had a composer willing to forge ahead to the most extreme sounds possible. But Mandy isn’t just any Nicolas Cage horror movie it’s the second film from Panos Cosmatos, the director responsible for 2010’s hallucinatory Beyond the Black Rainbow. To learn that Jóhannsson’s final completed score was for a Nicolas Cage horror movie could give one pause (or make one scream: “ Not the bees!”). Fans who followed Jóhannsson’s career from his exquisite debut album, Englabörn, to his Oscar-nominated scores for The Theory of Everything and Sicario-and who agonized over what his aborted score for Blade Runner 2049 might have sounded like-can only wonder what might have come next. The tragic passing, earlier this year, of the 48-year-old Icelandic composer Jóhann Jóhannsson, who seemed sure to have a long and distinguished career ahead of him, was a blow to both cinematic and experimental music. While Bernard Herrmann finished the mournful saxophone score for Taxi Driver just hours before his death, the last entry in Henry Mancini’s mighty filmography is the best-forgotten Son of Pink Panther. ![]() ![]() Film composers don’t always get to decide what their final score will be, whether it will constitute a career-capping classic or just another paycheck. ![]()
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January 2023
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