Definitely not for everyone. It's a movie like Baraka, narrated around visually striking images.
2 Billion years in the future, an evolved race of humans on the brink of extinction has a message for the people of today. Directed by the composer who had a good collaboration with Denis Villeneuve in the past. Narrated by Tilda Swinton
I may not be great at many things, but one thing I take pride in is knowing when something feels real - Authentic. You don't seem to find that as much today, in a world filled with endless content and composers who care more about how many products they can put their name on over the quality of their art. In this day, more than ever, we need someone like Jóhann Jóhannsson.
You can feel the genuine emotion, and, to be blunt, the pain in his music. It feels relatable because you know he was going through it as much as you are. Frankly, I hadn't heard anyone as in touch with their emotions since Thomas Newman.
Jóhann passed away in 2018 at the age of 48, likely due to a drug overdose. I can't help but agonize over the fact that he had so much more to say. He really didn't hit the mainstream until his work on The Theory of Everything, which got him an Oscar nomination. His sharp use of electronics alongside his unique yet approachable orchestration led to some truly beautiful work, and I, like many others, was looking forward to his future flourishing.
In his final year, Jóhann's music for Mother! and Bladerunner 2049 were scrapped. Here are a few tracks from Jóhann that hit me the hardest. I hope some of you can take the time to listen and maybe discover a similar love.
I was listening to some of Jóhannsson's music this evening and went to his Spotify page and saw a new EP, Gold Dust, was available. I've searched Google but there is very little information about it.
I don't know if it was only partially worked on by him and finished by another artist, or if this has been in the works for some time.
True to form, it is a very haunting and melancholic few songs.
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I really like the music from the composer Jóhann Jóhannsson. The threatening, suspenseful cello music in the movie Sicario is mind blowing.
Can you help me find some similar artists or artwork?
This compilation is a musical interpretation of Orpheus by Eurydice, as indicated by the name of the album in French. My favorite track is the first song, Flight From The City. The music is haunting and feels like a perfect tribute to Orpheus, given that his music was said to enchant Hades himself when he journeyed to the Underworld to retrieve his wife.
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Trent Reznor and Atticus Ross were no match for Jerry Goldsmith, losing by a sizeable margin in their 91-23 loss. Goldsmith heads to the Elite 8, where he will face off against legendary composer Ennio Morricone.
The Sweet Sixteen round will now finish in the Strings Conference, where Hans Zimmer goes up against Jóhann Jóhannsson. Jóhannsson may be the strongest 5-seed in the tournament and could very well give Zimmer a run for his money. Will we see a major upset, or is Zimmer undoubtedly destined for the championship? You've got two days to decide.
Get your votes in and sound off in the comments below!
Updated bracket:
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I love this entire soundtrack. I’m looking for something moody like this with a lot of low-end sound design and a combination of electronics with traditional instruments.
John Williams - Munich is also similar but I want more.
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JOHANNSSON vs. MENKEN!
In the previous matchup, Thomas Newman topped relative Randy by a score of 52 - 15, sending him to the Sweet Sixteen.
We continue Round Two with a face-off between a Disney legend and an incredibly talented composer taken from us too soon. Who do you think deserves to move ahead into the next round? Argue your case in the comments below and don't forget to cast your vote.
You can check out the updated tourney bracket below.
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Mostly known for scoring some of Dennis Villeneuve’s great movies (Prisoners, Sicario, Arrival), Jóhannsson made his feature debut with this masterpiece. I’m not exaggerating when I say that we’ve lost an artist that would have influenced film tremendously if he had been able to continue making movies.
This is a strange, paused, narrated, very special flick with intense scifi themes and worries. It’s clear from the very start that you’re in the hands of people who know movies and their craft, even if Jóhann was just starting out as a director. The story is quite an incredible trip and it struck me with awe.. left me speechless at times.. It‘s got cosmic considerations on our way forward and in existence as a species that had never even occurred to me, even though these are topics I’m fond of and love reading about.
I loved it and I can’t recommend it enough for science fiction fans!
Jóhann Jóhannsson passed away one year ago in February. A famed Icelandic composer, Jóhannsson was best known for his multiple collaborations with Denis Villeneuve on Prisoners, Sicario, and Arrival. His musical signature consisted of mixing traditional elements with new and innovative sounds. He was like a chameleon that completely adapted his style to his projects unlike some composers whose work you can generally recognize across the board. His compositions managed to be experimental without being off-putting or irregular, and I think his greatest strength was identifying exactly what a film needed and fulfilling that need without ever becoming generic.
His first collaboration with Villeneuve on Prisoners resulted in a sweeping melancholic soundtrack dominated by slow atmospheric tracks that were instantly transportive. The music itself felt cold and threatening in tracks like The Keeper, yet rose into personal and somber dirges in tracks like The Candlelight Vigil. The music of Prisoners provides the backbone of tone for the film and serves as a constant mood anchor, never getting ahead of itself with flashy or quick compositions. Jóhannsson cements us firmly in this cold and threatening headspace yet never loses the humanity that remains at the core of everything. The music takes on the personality of the characters in the overwhelming feelings of being lost, angry, and heartbroken right up until the climax when the dirge slowly takes on new life and we feel something new for the first time in the film – hope. Scene in question.
Proving his versatility as a composer, Jóhannsson worked on The Theory of Everything after Prisoners which serve almost as foils for how opposite they are. The compositions on The Theory of Everything are dominated by lighter instruments like violins, flutes, harps, and tinkering pianos. They are quicker and more fanciful, taking on a period attitude and are noticeably English in nature. Tracks like Cambridge, 1963 sound almost weightless and effortless as if they were dancing spontaneously into existence. The soundtrack carries this light exuberance that contains the feelings of discovery, first love, and determination that the film is occupied with. Even the more downtrodden tracks dealing w
... keep reading on reddit ➡I know this piece was made for Sicario (2015) but I think it'd fit Dune (2020) more as it is melancholic and emotional. I also read that Jóhann Jóhannsson was preparing to score Dune as Denis' long-time collaborator but couldn't due to his passing. That powerful cello performance was from none other than Hildur Guðnadóttir. By no means do I expect something similar from Hanz Zimmer as he's a totally different kind of genius. https://youtu.be/TxDOQSrsy68
I really enjoy the music of these three composers, and together they seem to form a sort of 'school' of early 21st century, highly emotive, more melodic and less rhythmic, post- Glass/Nyman 'minimalism'. Cursory research shows that they are all European and appear to use same record label (Deutsche Grammophon). Richter and Jóhannsson were both born in the late 1960's while Gregson is younger (late '80's). The three artists have one collaboration. My question is whether there are any other historical links, e.g. did they each study under the same person or live in the same city during a certain period? Or is their style simply the hallmark of the ~2002-present period of (European?) classical music. Thank you.
