 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
My first two choices among scores for lulling, hypnotic qualities are Philip Glass's POWAQAATSI and Goldsmith's BASIC INSTINCT.
|
|
|
|
|
|
The first score that comes to mind is Howard Shore's EXISTENZ. From the opening track to the end it quickly establishes a mesmerising and hypnotic feel. Even during the more animated action sequences the music doesn't really veer far away from the hypnotic feel.
|
|
|
|
|
|
|
|
|
|
I agree with Basic Instinct and Spellbound.
I would add Herrman's Vertigo, Rachel Portman's Never Let Me Go, and Alexandre Desplat's Birth.
|
|
|
|
|
|
|
|
|
|
Badalamenti: Mulholland Dr.
Some droning, but largely a unique, varied soundscape for Lynch's mesmerizing mind-trip.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I think Cliff Martinez's score for Soderbergh's version of Solaris fits the description of hypnotic very well.
Also his DRIVE.
Goldenthal's HEAT, even separate from the rest of that brilliantly curated soundtrack, does the transportive trick for me every time.
|
|
|
|
|
|
|
|
|
|
I think Cliff Martinez's score for Soderbergh's version of Solaris fits the description of hypnotic very well.
Also his DRIVE.
Goldenthal's HEAT, even separate from the rest of that brilliantly curated soundtrack, does the transportive trick for me every time.
This. And ennio's Dreams may come
|
|
|
|
|
|
|
|
|
|
BIRTH by Alexandre Desplat.
|
|
|
|
|
|
Many scores by Martinez fit that criteria for me as well, though I haven't played those as much these past couple years. In the case of Drive and Neon Demon I also don't mind the "pop" songs included on the soundtracks and find them to fit the mood. Spring Breakers is the exception, though Martinez's instrumental tracks are as hypnotic there as anything he's ever done.
Zbigniew Preisner's - Aglaja and especially Lost And Love- also do this for me.
A couple of Zimmer's (Thin Red Line and Last Samurai) lull me into a state where I'm more emotionally invested by the end, than I ever thought I would be at the beginning.
Small's Marathon Man is another score that snuck up on me and had me more affected by the end than I expected.
I needed to acclimate to it after a couple listens. The first time I heard it I thought it was too repetitive, too slight, and generally underwhelming. Eventually I came to love it and it spurred me to seek out more of his work.
Doyle's Great Expectations
Herrmann's TZ ep Walking Distance
Laurent Perez Del Mars' La Tortue Rogue (The Red Turtle)
Morricone's Butterfly
Yared' L'Amant (The Lover)
Barry's The Besty, Walkabout, and Somewhere In Time
Desplat's La Fille Du Puistier (The Well Digger's Daughter)
are all cases where I remember being compelled to stop what I was doing (usually reading something) and surrender to just listening and musing.
They all continue to weave spells for me.
I just remembered my reaction to Shore's Silence Of The Lambs was much more intense than I expected too. Hypnotic isn't the word I would have immediately thought of- but I keep going back to it and getting lost in it each time so I guess that is exactly what it's effect on me is.
|
|
|
|
|
|
|
You ... WILL ... obey.
There's hypnotism for ya'.
Insteada watchin' Star Wars in 1977, the 12-year-old Kevin McGann shoulda been watchin' repeats of Jon Pertwee's DOCTOR WHO.
|
|
|
|
|
|
|
|
|
|
|
