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Black Panther (Ludwig Goransson)

I can’t remember* the last time I heard a score like Black Panther by Ludwig Goransson. It’s pure fun, inventiveness, stark raving bonkers at times, a bit odd but very clever and it has a killer main theme. It’s the kind of score that at first listen you don’t quite get; it almost feels as if something’s wrong, yet after a few listens all those oddities make perfect sense and the score is all the more memorable for it.


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Love, Simon (Rob Simonsen)

If you’ve read my review of Nerve, you’ll know that I liked it very, very much. Over the years I’ve become a fan of this composer’s work. His use of electronics is second to none; and I believe I’ve called him ‘king of cool’ before. So imagine my delight whilst listening to Rob Simonsen’s latest score for the coming-of-age dramady Love, Simon.

The overall sound is very similar to Nerve, so expect plenty of smooth synth sounds combined with a small string orchestra, piano and guitar. It’s every bit as cool as Nerve, but it is generally more upbeat.

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Annihilation (Ben Salisbury & Geoff Barrow)

I’ve been listening to Annihilation by Ben Salisbury and Geoff Barrow today. It’s a peculiar piece of music, mostly because I personally struggle to describe it as ‘music’. There are a few moments of strumming acoustic guitar. The other 80-or so minutes consist of droning, whirring, moaning, buzzing, hissing, scraping, clunking, tinkling, slamming, banging and…. some vocal exercises. I think that pretty much sums it up.

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2017 Round Up – Part 5

2018 Round Up – Part 1

Synchrotones presents its first round-ups for this year: a brief overview of soundtrack releases that didn’t get their own dedicated review. Just a short one today, featuring three excellent releases from last year. In this edition: Blue Planet II (Zimmer, Shea and Fleming); The Essential Thomas Newman; All the Money in the World (Daniel Pemberton);

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2017 Synchrotones’ Soundtrack Awards

2017 Synchrotones’ Soundtrack Awards

Synchrotones’ Soundtrack Reviews celebrates what it believes are the best scores and composers of 2016. This year, we’re doing things a little bit differently. No ‘awards’ as such; more a celebration of great music. Let us know what you think. Any surprises? Notable omissions? Share your thoughts in the comments section.

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