Ludwig Göransson - TENET: Original Motion Picture Soundtrack ALBUM REVIEW
I’m writing this in the future, and I’m sending it back in time to myself to publish on Thursday. My past self hasn’t even heard the album yet. Wish him luck while he’s listening to it.
This is a bit of a first for me. For the ones that don’t know, I’m currently majoring in film in college, and that covers all of the bases. So, I figured, while I’m at it, I might as well review my first film score. You’d think that I’d go for more of a classic soundtrack, maybe a more well-known composer, but Ludwig Göransson has made a very unconventional score for the film TENET. Christopher Nolan’s go-to composer, Hans Zimmer, was busy with scoring the new Dune film, so now, we have a pretty unorthodox film score here. Here are my thoughts!
It’s worth noting that Ludwig Göransson has been on an insane run. After working with Childish Gambino on nearly every one of his albums, he’s been making film scores for quite a bit. He first gained recognition for his work on Ryan Coogler’s Rocky sequel, Creed. He then re-teamed with Coogler for the Marvel film, Black Panther, and it garnered much praise, giving Göransson his first Oscar. Since then, he’s scored Creed II, Bruce Willis’ Death Wish, Venom, and most notably, The Mandalorian. He’s been a composer and producer I’ve been enjoying for a long time but still had to come into his own. Then, after months of delays, we finally have TENET. Filling in for Hans Zimmer is a pretty daunting task, and quite frankly, it was pretty awesome to hear that Göransson was scoring it, even if it meant no new Hans Zimmer. And boy, this is something else.
I knew that Göransson’s score would be something special, but this is just crazy. I’m going to be totally honest, I’m having a very hard time writing this review. So, I’m just going to sum it up in a few sentences. It’s very strange for a film score. Many unorthodox techniques are used that I’ve never heard in a score before. The track that stood out to me the most was “TRUCKS IN PLACE,” which shares similarities with another track, “THE PLAN.” What makes “THE PLAN” so special is that it’s actually a Travis Scott song that samples a section of “TRUCKS IN PLACE” incredibly well. “TRUCKS IN PLACE” actually samples Scott himself, his autotuned wails placed in some sections.
Yes, that may be a scant review, but this is something to be heard instead of reading about. It also really helps when you see the film itself, which is confusing as it is, even after two watches on my end. The only thing I can say is that the music is good, it’s incorporated into the film well, and the Travis Scott song is actually really phenomenal. Just take some time to watch the film (if you’re able to) and listen to the music and how it influences the film.
8/10
Listen here
YouTube Music
This is a bit of a first for me. For the ones that don’t know, I’m currently majoring in film in college, and that covers all of the bases. So, I figured, while I’m at it, I might as well review my first film score. You’d think that I’d go for more of a classic soundtrack, maybe a more well-known composer, but Ludwig Göransson has made a very unconventional score for the film TENET. Christopher Nolan’s go-to composer, Hans Zimmer, was busy with scoring the new Dune film, so now, we have a pretty unorthodox film score here. Here are my thoughts!
It’s worth noting that Ludwig Göransson has been on an insane run. After working with Childish Gambino on nearly every one of his albums, he’s been making film scores for quite a bit. He first gained recognition for his work on Ryan Coogler’s Rocky sequel, Creed. He then re-teamed with Coogler for the Marvel film, Black Panther, and it garnered much praise, giving Göransson his first Oscar. Since then, he’s scored Creed II, Bruce Willis’ Death Wish, Venom, and most notably, The Mandalorian. He’s been a composer and producer I’ve been enjoying for a long time but still had to come into his own. Then, after months of delays, we finally have TENET. Filling in for Hans Zimmer is a pretty daunting task, and quite frankly, it was pretty awesome to hear that Göransson was scoring it, even if it meant no new Hans Zimmer. And boy, this is something else.
I knew that Göransson’s score would be something special, but this is just crazy. I’m going to be totally honest, I’m having a very hard time writing this review. So, I’m just going to sum it up in a few sentences. It’s very strange for a film score. Many unorthodox techniques are used that I’ve never heard in a score before. The track that stood out to me the most was “TRUCKS IN PLACE,” which shares similarities with another track, “THE PLAN.” What makes “THE PLAN” so special is that it’s actually a Travis Scott song that samples a section of “TRUCKS IN PLACE” incredibly well. “TRUCKS IN PLACE” actually samples Scott himself, his autotuned wails placed in some sections.
Yes, that may be a scant review, but this is something to be heard instead of reading about. It also really helps when you see the film itself, which is confusing as it is, even after two watches on my end. The only thing I can say is that the music is good, it’s incorporated into the film well, and the Travis Scott song is actually really phenomenal. Just take some time to watch the film (if you’re able to) and listen to the music and how it influences the film.
8/10
Listen here
YouTube Music
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