First Listen: Trent Reznor & Atticus Ross, ‘Gone Girl (Motion Picture Soundtrack)’

September 25, 2014 - Picnic Time

When British musician, film composer and audio operative Atticus Ross found his rope 12 Rounds sealed to Trent Reznor’s now-defunct Nothing Records, it valid to be a asset for both artists. While a 12 Rounds manuscript Reznor helped furnish was left unfinished, Ross shortly found himself operative within Nine Inch Nails as a organisation gifted an early-21st-century renaissance, starting with 2005’s With Teeth and stretching to a present. Around that time, executive David Fincher found himself slicing an early chronicle of his 2010 film The Social Network to NIN’s disturbing ambient manuscript Ghosts I-IV, afterwards assured Reznor and Ross to record his film’s music. Awards and accolades have followed.

Gone Girl outlines a third soundtrack partnership between Reznor and Ross with Fincher, a singularity of cinema and sound that’s starting to infer as cultivatable as those of Alfred Hitchcock and Bernard Herrmann, Sergio Leone and Ennio Morricone, or Akira Kurosawa and Toru Takemitsu. While The Social Network‘s Oscar-winning measure teems and throbs like overstimulated suspicion and The Girl With The Dragon Tattoo (which won a Grammy) pulses with icy drones fitting a heroine, Gone Girl again fits a story’s mood to perfection. Only this time, a tract focuses on married integrate Nick and Amy Elliott-Dunne and their clearly peaceful life in a suburbs of Missouri.

As Fincher recently told The Wall Street Journal, he found himself removing his behind practiced during a sauna and had a revelation: “I was listening to that calming, placating song and thought, ‘We need to daub into this.’ The film is about a masquerade of a good neighbor, a good Christian, a good wife.” So a Reznor/Ross measure skates opposite that peaceful aspect with a pleasing opening theme. For a early partial of a soundtrack, gentle, New Age-esque themes like “Sugar Storm” seem to deposit past unperturbed. But no matter how relaxing these motifs competence sound, there’s always a shade only underneath a splendid surface. What can start off sounding like a cruise in a park fast reveals a black sky. With a delicately crafted tones of Reznor and Ross, meagre and still themes shortly deteriorate, branch empty and barren in “Background Noise.”

Ambient beauties like “Appearances” manifest along a way, while a piano-led “Just Like You” competence be Reznor’s many pleasing and frail tune to date. But when a piano becomes submerged in electronic sound — as in “Secrets,” “Still Gone” and a howling “Consummation” — a duo’s motives turn some-more evident. Reznor and Ross penchant being during their many beauteous, meaningful that it’ll make a heartless moments of Gone Girl all a some-more harrowing.

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