It's funny how pointless all this seems right now. Like discussing one's favorite book of short stories while the library is on fire, trying to raise my voice to be heard over the ceiling collapsing so that I can validate my thesis about the writer's intentions behind capitalizing all the pronouns or their lack of adjectives. My thinking is that this country has endured over two hundred years and that four bad years can't do that much irreparable damage, can it? But this seems like real evil. I'm shocked and infuriated and numb while at the same time feeling completely impotent. All these petitions and witty remarks and marches and cries to release this document or investigate this claim seem kind of useless until something actually happens.
Ugh.
Fuck.
Anyway.
The new Gorillaz ('Hallelujah Money') is dark and creepy and scary and Trump and everything is horrible. Why did I think they were going to be a fun little escape from everything to come? Idiot... One thing is for sure: Benjamin Clementine looks like a combination of Tony Todd and Mads Mikkelsen.
The full Patriots Day score was (almost apologetically) released on the 13th. I was shocked to find it's only about an hour. The whole thing is a bit of a music sandwich with the soft and beautiful bread, and tense, fearful meat. The deep, pulsing alarm of 'Escape' will make you want to stop listening it's so huge and threatening. The epic, dread-soaked sprawl of 'The Night Drive' is twelve minutes of nerves. And 'The Place You Are Right Now' (and its mirror, 'Long Shadows on the Street'), which travels from delicate and warm to a jagged electronic chase and back again might be the best work Reznor and Ross have done for a film since they started eight years ago on The Social Network.
This is the most traditional score the two have ever composed, as far as that term can be applied to them.
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