Friday, December 23, 2011

Musically Inclined

I've been actively following the American awards season, as I am want to do, but haven't been discussing it here at all (Twitter is another thing altogether!) I figure there are so many other websites, written by people far more plugged in to the whole affair (they live in America, generally) writing about it at a far quicker pace than I could ever muster. Take not of how quiet it has been around here the last two week!

I plan on doing some end of year pieces in the vein of the "design of a decade" countdown I did last year to celebrate the '00s and everything I loved about them. They should start up after Christmas, but until then I wanted to direct your attention to this fabulous piece at Indiewire that gives a very comprehensive rundown of the year's best musical scores. Just today the Academy announced the 97 films eligible for Best Original Score so there was synchronicity there. Sadly missing from the list of scores to compete is Cliff Martinez for Drive, but I can understand the omission since so much of the film's revolve around the musical themes. To be honest, I think Drive is the best film of the year and even I don't think Martinez would make my personal ballot, but it's a shame one of the most acclaimed scores of the year cannot compete. Martinez still has his fantastic work on Contagion to battle for so there's still hope for the former Red Hot Chili Pepper!

The Indiewire piece though is a definite must read. Or, should that be must listen. Both, really. Highlighting over 20 of the year's best musical achievements, including personal favourites Jane Eyre (Dario Marianelli), The Girl with the Dragon Tattoo (Trent Reznor and Atticus Ross), The Skin I Live In (Alberto Iglesias), Rango (Hans Zimmer), Hugo (Howard Shore), Attack the Block (Basement Jaxx) and Rubber (Mr Oizo). I had an Academy member's ballot I would be feverishly scribbling down Contagion, Hanna (The Chemical Brothers), Insidious (Joseph Bishara), The Skin I Live In and either Hugo, Jane Eyre or Attack the Block. My vote would go to Insidious because, I guess, that's how I roll. I look forward to Jed Kurzel being on the list of eligible contenders next year for his claustrophobic sonic landmine score of Snowtown when it finally/hopefully snags an American release in the new year. I know I keep harping on about that Aussie's film's score, but it bears repeating time and time again just how incredible it is. I didn't even like the movie and the score gives me the shivers. Every time I mention it I search on YouTube for a video of it, but to no avail. Now, however, there is at least this video of the music being performed at the APRA Screen Music Awards at which Kurzel won. Listen to it below alongside some of my other favourite compositions of the year.

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