2023 February 27 • Monday
The 767th Soundtrack of the Week is Oneohtrix Point Never's
music for the movie Good Time.
The title track starts with some cloudy electronic textures, brings in some
pulses and builds intensity, culminating in a strong synth part that has elements
of keyboard and guitar to it.
The next track, "Bail Bonds", starts with some dialogue from the movie
before dropping the hammer on an intense track, a rhythmic slab of
electronic layers and lines.
"6th Floor" explores the possibilties of echoing percussion and also has
a bit of dialogue from the movie. The music would be better of without it.
There are more intense rhythms and layers in the beginning of "Hospital
Escape/Access-A-Ride". We had trouble trying to figure out what time signature
it might be in. About halfway through it gets much more ethereal and atmospheric
and then has some wailing and warbling synth lines in 4/4 time.
More dialogue from the movie starts out "Ray Wakes Up" but the cue itself
is large and spacious and rich, all electronic clouds.
The rhythmic pulse for "Entry to White Castle" is surprisingly chirpy.
There are some long low tones and other electronic elements of a groove
that create a pillowy palette for melodic electronic statements.
The synth sounds that open "Flashback" are kind of classic 1980s
dread and danger sounds. A cool groove kicks in and the melody
has an almost exotica sound to it. About halfway through it shifts
to a different rhythmic setting and more of a low-res loopy sound.
"Adventurers" is hard to define. It's more amorphous, more sonic, more
textural. More electronic clouds, I guess.
There's an urgent pulse and melodic line that immediately grabs
you in "Romance Apocalypse". This one would also fit nicely into a 1980s
action movie or video game.
It's always promising when there's a cue called "The Acid Hits". It's more
techno/house than groovy/trippy, with swirling electronic layers and
at time pulsating rhythm tracks.
Things go up in intensity for "Leaving the Park", which continues in
the same vein of many of the cues, which share a common ground of harmonic
shape and rhythm, but lets loose a bit with the solo electronic instrument
voice, whatever it is.
There's a very different feel and power to "Connie", a relentless and dense
pounder of a track that still has considerable feeling and suggestions of
romance and mystery.
The record concludes with "The Pure and the Damned", something totally different, a moody and tenebrous piano-driven number enhanced by electronic support and lyrics sung by none
other than Iggy Pop.