Eiko Ishibashi’s entrancing score for the Oscar-winning film Drive My Car started a strange and unique journey for the composer, full of doubts and successes.
Boy Harsher chose to fill dark times by creating a film and soundtrack. The Runner, a sharp 30-minute horror, unfurls tantalizingly ambiguous events at a stately place.
In a career defined by musical makeovers, Evita represented Madonna’s most extreme and conservative musical guise in the Andrew Lloyd Webber kitschfest.
The soundtrack for Todd Haynes’ new documentary on Velvet Underground contains unimpeachable music but fails to offer a cohesive argument about the iconic band.
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.