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Editorial Reviews
Review
Voices, electric guitars, moody beats and liquid melodies creating an environment of hallucinatory beauty. There's a real intelligence to the rock-alt material here that goes beyond many indie star-composer collaborations... what impresses about Cosmopolis is how ethereal Shore's work is, poetically waving its fingers through the fog of the character's mind-blown ennui without solidly settling on anything you could discern as a traditional theme. As such, Cosmopolis' analog rhythms easily rank as Shore's most accessible experimental score for Cronenberg, as well as his own boundary-stretching musical career. --Film Music Magazine
Product Description
The soundtrack for Cosmopolis reunites composer Howard Shore and the band Metric for another cinematic collaboration. While writing the score for David Cronenberg's film adaptation of the Don DeLillo novel Cosmopolis, Shore conceived of a particular live sound to achieve his vision and invited Metric to perform the score and co-write three songs. The music was recorded in November 2011 at the band's own Giant Studios in Toronto, produced by Howard Shore and Metric guitarist Jimmy Shaw, and mixed by John O'Mahony at Liberty Studios in Toronto and Electric Lady Studios in NYC. The result is an atmospheric, urban soundscape of analog synths and layered guitars featuring the hypnotic vocals of Metric lead singer Emily Haines. The Cosmopolis soundtrack also features ''Mecca'' by Somali Singer/Rapper K'naan with lyrics by the artist and Don DeLillo.
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7 of 8 people found the following review helpful
4.0 out of 5 stars
Interesting Meshing Of Styles Results In A Terrific Atmospheric Experience
July 25, 2012
Format:Audio CD
Cosmopolis is the new film from David Cronenberg and of course you know that means a score by Howard Shore. Cronenberg and Shore have been in a collaborative relationship since 1979. That is almost as long as Steven Spielberg and John Williams have been working together. To say that the two understand one another creatively is an understatement. Shore's music flows seamlessly within a Cronenberg universe and Cosmpolis is no exception. This time around though we have an interesting meshing of styles. Metric is a Canadian indie rock band with heavy electronic influences. For the film Shore wrote a score that was then performed by the group. They of course contributed to some of the tracks themselves. The result is a very unique meshing of styles that produces an ambient urban sounding score with an industrial edge.
The music is very metallic. The sounds are metallic and the tingeing echoes all feel metallic. The music feels meticulously calculated and supremely crafted. The tone stays rather consistent throughout and you can feel Shore's brooding sensibilities seep through. The score builds atmospheres more than it structures a distinct narrative. The music feels as if it is one distinct layer of sound laid on thick while other sounds come in and out of it. When different elements are added and subtracted it does give it some rising tension, but not much. If you're looking for this score to function in a traditional fashion then you may be disappointed. I can't deny that there is no emotional connection though. This is purely a mood score that can easily be labeled but not felt. The short 40-minute running time also hinders its ability to build something full.
In the end the score is a great sounding blending of styles with a result worth experiencing. It's as if Shore's music is coming out of a different sound source. Like hearing your best friend's voice coming out of the mouth of a stranger, it feels familiar and strangely new. That alone makes up for the lack of an overall structure. It may not hook you emotionally, but the atmospheres it builds musically are more than appealing to ears wanting to experience it.
The music is very metallic. The sounds are metallic and the tingeing echoes all feel metallic. The music feels meticulously calculated and supremely crafted. The tone stays rather consistent throughout and you can feel Shore's brooding sensibilities seep through. The score builds atmospheres more than it structures a distinct narrative. The music feels as if it is one distinct layer of sound laid on thick while other sounds come in and out of it. When different elements are added and subtracted it does give it some rising tension, but not much. If you're looking for this score to function in a traditional fashion then you may be disappointed. I can't deny that there is no emotional connection though. This is purely a mood score that can easily be labeled but not felt. The short 40-minute running time also hinders its ability to build something full.
In the end the score is a great sounding blending of styles with a result worth experiencing. It's as if Shore's music is coming out of a different sound source. Like hearing your best friend's voice coming out of the mouth of a stranger, it feels familiar and strangely new. That alone makes up for the lack of an overall structure. It may not hook you emotionally, but the atmospheres it builds musically are more than appealing to ears wanting to experience it.
By JMV
Format:MP3 Music|Amazon Verified Purchase
Howard Shore is a gifted composer and musician, and his contribution to this soundtrack is some of his best work. Metric just enhances the soundtrack with their unique talent. Together Howard Shore and Metric's contributions to this soundtrack, encapsulate the profound nature of the film, the rawness of emotion and the downward spiral of the main character, and his epiphany.
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