Curated by Nicole
2014 has been an interesting year for film music. All the usual suspects — Hans Zimmer (Interstellar and The Amazing Spider-Man 2), Thomas Newman (The Judge), Howard Shore (The Hobbit: The Battle Of The Five Armies and Maps To The Stars), Alexandre Desplat (The Imitation Game and Godzilla, among others), etc. — put out impressive scores that have been met with praise. Then, some filmmakers chose to pepper their films with instantly recognizable pop songs: everybody’s new favorite superhero extravaganza Guardians Of The Galaxy went heavy on the oldies, and (arguably) the year’s most promising Oscar-contender Boyhood made use of over 40 pop songs, which is rather insane. Score-wise, things were also interesting as we got to enjoy the talents of the aforementioned big-namers, along with a good amount of equally fantastic material from lesser-knowns — at least in terms of film music composition. We’ve made a list of our favorites, in no particular order, so let’s take a sonic journey through the year’s most ear-pleasing films.
Gone Girl — Trent Reznor & Atticus Ross
Gone Girl marks the third collaboration between David Fincher and his new go-to composers, Trent Reznor and Atticus Ross. Keeping in the tradition of predecessors The Social Network and The Girl With The Dragon Tattoo, the score for Gone Girl is dark and rife with despair and creepy synths. Reznor explained that the music was meant to combine soothing sounds with discomforting electronic noise (this was apparently inspired by a terrible trip to the chiropractor), and it’s absolutely perfect for a film that’s driven by twisted, dueling layers.
The Grand Budapest Hotel — Alexandre Desplat
Alexandre Desplat scored multiple films this year, but what he created for The Grand Budapest Hotel is delightful and flawless. It uses flamenco guitars, creepy church organs and an array of other eclectic sounds and instruments to make for a score that’s quirky and oftentimes contemplative. It’s certainly enjoyable, but the real reason for its success is how well it corresponds to the film’s visual content and themes. It’s so incredibly reflective of every moment that transpires on screen that it’s virtually impossible to imagine any other music playing in this film.
Cold In July — Jeff Grace
Cold In July was a fantastic film, and it was undoubtedly the dark, synth-laced score that helped it achieve greatness. Inspired by brooding electronic sounds from the ’70s and ’80s — namely, those of the one and only John Carpenter — Jeff Grace’s compositions spark a deep sense of nervous energy while giving life to the rather dismal, suburban-Texas-in-the-late-’80s atmosphere.
Only Lovers Left Alive — Sqürl & Jozef Van Wissem
Considering the score was done in part by Jarmusch’s own band, it’s completely understandable that it’s brilliant. The tracks are untraditional (at least in terms of film score material) and moody, and contain that effortlessly badass vibe that’s difficult to articulate to someone who isn’t familiar with Jarmusch’s style. They take on grunge and acid-rock with gritty guitar work that creates a haunting sense of restlessness and longing, which is essentially perfect for a film about vampires.
Under The Skin — Mica Levi
Under The Skin’s score is many things: it’s weird and creepy and disconcerting, and it feels like it’s from another universe. So basically, its alignment with the film’s premise and atmosphere are spot-on. English musician Mica Levi explained that she would find the ‘human’ elements in the sounds of instruments, and then alter the pitch and/or speed until it took an unsettling turn. It could be the most experimental score this year, and it’s undoubtedly one of the most interesting. Also, bonus points to Levi for being one of the only female film composers receiving recognition this year, or ever.
Palo Alto — Dev Hynes
Blood Orange’s Dev Hynes created the score for Gia Coppola’s solid film debut Palo Alto, and the results were beautiful. The film makes a successful attempt at conveying the pain, anxiety and restlessness of being a teen, and Hynes’s delicate combination of strings and synths is a fantastic musical accompaniment to the hazy, sun-drenched visuals. It’s introspective, dreamy and nostalgic, and works as good “thinking” music even outside the film’s context.
