The final track on the soundtrack is an original song, “The Plan,” written by Göransson with Jacques Webster and Ebony Oshunrinde, and performed by Webster’s on-stage persona Travis Scott. ( Log Out /  From the wider film music world, you can probably also compare Tenet to scores like Jóhann Jóhannsson’s pair Arrival and Sicario, Hildur Guðnadóttir’s Joker, and others of that ilk. The thing that makes Tenet interesting, for me, is how Göransson has bought into the film’s overall concept of time, and the manipulation thereof. Jedoch war sein Stammkomponist Hans Zimmer, der fast alle Nolan-Filme seit „Batman Begins“ (2005) vertonte, diesmal nicht zugange. Einfach nur überwältigend was man da hört.......Teibende Beats, hämmernde Bässe......die Musik zum gleichnamigen Film nimmt imens an Geschwindigkeit auf ,einfach nur reisserrisch. And, had I only experienced Tenet in the context of the film, that would likely be my reaction too. 2 Personen fanden diese Informationen hilfreich. He’s just an avatar; he could be anyone. Ihr Amazon Music-Konto ist derzeit nicht mit diesem Land verknüpft. Yeah, I know. I really like it – and anyone who knows my musical taste will know what a surprise this is. This technology has fallen into the hands of a Russian arms dealer and oligarch named Andrei Sator (Kenneth Branagh), and Tenet believes that Sator has a secret plan for it that threatens life as we know it. “Foils”, which underscores a quite exhilarating water scene on a double-hulled catamaran, removes much of the percussion, relying mainly on guitars and synths with manipulated strings, giving it an open, almost refreshing sound, as well as giving a rare outing to what could be classed as the score’s simple main theme. Zugelassene Drittanbieter verwenden diese Tools auch in Verbindung mit der Anzeige von Werbung durch uns. Change ). It’s a fascinating, excellent, intelligent application of thought process to his score, but the problem is that in film context none of this comes across, again due to the sound mix. Then, just to heighten the confusion even more, Göransson sometimes plays these two types of manipulated notes against each other contrapuntally, forwards against backwards and backwards against forwards. “Trucks in Place,” which underscores the epic vehicle chase through the streets of Estonia, is all about brutal, masculine rhythm, and grating and rasping synth ideas. Martin Donovan stands on a boat in what looks like a force 10 gale. Perhaps the most unsettling idea in the score is the one associated with Kenneth Branagh’s Sator character. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. The 13-minute “Posterity” uses more clear orchestral textures – harp and piano – underneath the bubbling electronic devices and thrumming manipulated guitars, and becomes quite mesmerizing and entrancing as it develops, like a piece of ambient dance music. Album produced by Ludwig Göransson. Clémence Poésy sits in a sad lab wearing a white coat. The rest of those cues are mostly made up of low-key suspense and tension, interspersed with throaty, screaming electronic sounds. Every clever thing that Göransson does with the music gets completely overwhelmed by the crushing volume of Nolan’s foley, and the ambient background noise, so that all you’re left with is pounding drums and whining electronic pulses, a relentless auditory hammering that doesn’t so much draw you in as it does split your skull open with a pneumatic drill.