Check out my new interview with MICHAEL ABELS, a longtime composer for concert and performance halls who now goes to a very dark place to make a breakout debut as a film composer with GET OUT! it's an extensive interview on capturing the sinister, satirical mindset of Jordan Peele's hit, socially twisted thriller that makes for one of the year's most auspicious and creative scores at
This is one of the best debut (major) film scores I've heard in a long, long time. There were times I thought 'this must have been how people felt when they were hearing Goldsmith for the first time with TWILIGHT ZONE (TV series) or FREUD'. It's been ages since I heard such a warmly acoustic score (other times, not so warm, but still instrumental). It helps that the film is really great and the director gave the composer some creativity space. While the film could be labelled The Stepford Brothers or The Blackford Wives it's still a blast of fresh air compared to sooooo many recent films and happily trips the lines between thriller, horror, comedy and social drama. So, NO CD!!! (that's sh!t, innit).
Here's what I posted in the first thread for this score:
I'd like to chime in with praise for this one as well. I enjoyed the film immensely, and the surprising score was a good part of that! It's not so amazing a debut film score as Patrick Doyle's Henry V (what is?), but still a very impressive first effort from Michael Abels. I hope it is the first of many.
I read that this film ate up a huge chunk of cinema box-office on a really modest budget, but it looks like a lot of FSM darlings gave it a miss? If so, that's a real shame. It's a good little film with a surprisingly inventive music score.
it's still a blast of fresh air compared to sooooo many recent films and happily trips the lines between thriller, horror, comedy and social drama.