As an Explosions in the Sky album, the lack of indulgent edge is one of the few things you can say about Big Bend (An Original Soundtrack for Public Television.
Joe Wong, the composer behind Netflix's Russian Doll and Master of None, articulates personal grief and grappling with artistic fulfillment into a sweeping debut album.
Having composed for blockbuster films and ballet, Ilan Eshkeri discusses how powerful emotional narratives and the opportunity for creative freedom drew him to triple-A video game Ghost of Tsushima.
Nate "Rocket" Wonder and Roman GianArthur composed a thrilling neo-classical score for Janelle Monáe's new film, Antebellum. Hear the dramatic "Opening" of the soundtrack.
Stereolab spin-off project, Cavern of Anti-Matter thrive in alchemizing varied and abstruse influences to elicit transfixing moments of frazzled disquiet and dread on In Fabric.
Apparat's (aka Sascha Ring) re-imagined score from Mario Martone's 2018 Capri-Revolution works as a fine accompaniment to a meditational flight of fancy.
Colin Stetson discusses his process for scoring film and artistic satisfaction it gives him. "I get to invent a new array of solutions with novelty and identity. I hope the music has not existed in the particular guise and aesthetic before that."
The new LP from the Faith No More/Gigante Sound side project, Talking Book, is an interesting collection of ambient soundscapes, but could use more narrative heft.
Film music composer Ryan Rumery kicks off a new Bandcamp-only Friday release series with At, Apart, which is devastating in emotional scope and careful sense of arrangement and place.