“Leave the World Behind” by Mac Quayle

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For quite some time now, it has almost been a kind of weird tradition for Netflix to release a post-apocalyptic end-of-the-world movie around Christmas time. Somehow the executives there have this strange opinion that this particular film genre would be the perfect match for the cozy and cheerful winter holidays. You’d only have to look back over the last few years. In 2018 there was the woefully underwhelming, but very successful horror thriller Bird Box, directed by highly acclaimed Danish filmmaker Susanne Bier. Or the almost single-handedly made – and unfortunately botched – George Clooney flick The Midnight Sky from…

“Waves” by Trent Reznor, Atticus Ross

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A rather small entry for one of Trent Reznor’s and Atticus Ross’ most abstract and deconstructed works as of late, their score for the 2019 film Waves, directed by Trey Edward Shults, known for his previous work on It Comes at Night. I decided to tackle this score when I found out that on the digital release each track was embedded with unique artwork – a feat that has been pulled off on several of Trent Reznor’s releases, such as the Nine Inch Nails instrumental album Ghosts I-IV, or the debut album Welcome Oblivion of his side project How To Destroy Angels….

“The Fall” by Krishna Levy

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Alovely little collection for Krishna Levy’s 2006 score for Tarsem Singh’s epic The Fall. Sadly, the score was never released, only a handful of tracks can be found on a composer’s compilation from 2013, which doesn’t do the score, and more importantly the movie, any justice. I had collected some high-resolution source images and wanted to design a correspondingly high-quality cover artwork that I could use for my own digital music collection, particularly for the Ludwig van Beethoven composition Symphony No.7 in A major op.92 – II, Allegretto. A timeless masterpiece in its own right, which has been given appropriate…

“Star Wars: Andor” by Nicholas Britell

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The music score to Tony Gilroy’s Star Wars anthology series Andor is a difficult beast. The series itself, a gripping political thriller and perhaps the best that Star Wars had to offer for years, isn’t exactly easy to follow. But Nicholas Britell’s music demands your full attention too to keep you from bouncing off it. Once you’ve come to terms with the fact that you’re in a completely different musical universe to John Williams’ film scores, Andor will provide you with some new and fresh aspects that you have never heard under the Star Wars banner before. On first listen,…

“Star Wars – The Japan Editions” by John Williams

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  When I stumbled upon the Japan Edition of The Rise of Skywalker at some point in 2019, I wondered why the Japanese get these wonderful designs while we, the rest of the world, have to deal with mundane stock artwork? Clearly there’s gotta be someone who had to deal with that injustice, so why not me? I spent about half an hour to remake The Rise of Skywalker in square format. And then I decided I’d do the same for The Last Jedi, yet with a few subtle differences compared to the official cover art. And because I was…