Tuesday, January 17, 2017

Awards-Nazi Award Nominations: Original Score

As always, the evolving state of movie music continues to yield distinctive, unique work every single year. Which five Original Scores from 2016 did I decide on? Have a listen after the cut...

ARRIVAL (Jóhann Jóhannsson)

Jóhannsson continues to rewrite the language of movie music, making inspired use of vocals and non-instrumental sound design. Like Sicario before it, singular and unnerving.

JACKIE (Mica Levi)

A tingly tone poem in the form of a suite of funereal dirges. Concerns itself with mood over melody, adding volumes to the hazy headspace quality of its traumatized central figure.

LA LA LAND (Justin Hurwitz, Benj Pasek, Justin Paul)

You can't really separate songwriting from scoring in cases such as this. Taken as a whole, there's little denying that La La Land is among the most memorable feats of composition this year.

LION (Dustin O'Halloran, Hauschka)

Rich, emotive experience from start to finish. The feeling of each moment is embedded in chord progression and instrumentation. Gorgeous main theme and variations thereof.

NOCTURNAL ANIMALS (Abel Korzeniowski)

Stealthy and minacious, with layers of strings writhing against each other in sinister tandem. Were the whole movie as full-bodied as its orchestral motifs, we'd be holding it in higher regard.

Just missed:
Kubo and the Two Strings (Dario Marianelli)
Rogue One: A Star Wars Story (Michael Giacchino)

Other considerations:
Moana (Mark Mancina, Opetaia Foa'i, Lin-Manuel Miranda)
Moonlight (Nicholas Britell)
The Witch (Mark Korven)

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