Bail Out The Incarcerated
‘Good Time. Original Motion Picture Soundtrack’ is out through Warp Records, as the movie arrives in the USA theaters.
Preceded by Soundtrack Award at this year’s Cannes Film Festival, Oneohtrix Point Never (Daniel Lopatin) releases the thirteen tracks of his original score for the film directed by brothers Ben and Joshua Safdie. ‘Good Time’ is a crime thriller starring actor Robert Pattison (as Constantine ‘Connie’ Nikas) who tries to bail his brother (Benny Safdie as Nick Nikas) out of prison following a bank robbery. Casting completes with Taliah Webster, Barkhad Abi, and acclaimed actress Jennifer Jason Leigh.
The first advanced track was ‘The Pure And The Damned,’ a singular take on the score that gave an impressive baritone emotive core by Iggy Pop’s featured vocals. But the real tone of the OST came weeks later with ‘Never Leaving The Park.’ A synth loop connected with an ambiance nuance plugged on Krautrock keyboards effects like Edgar Froese would do. As we go further in the listening, it gets more involved in way back sounds with arpeggiated lines of synths and an apparent predisposition to make way for flavoring progressive rock mode Steve Hillage. By the way, there’s music descriptional glow related to some well-remembered sci-fi titles like ‘Blade Runner’ and ‘Terminator,’ which is to say, Vangelis and Brad Fiedel. Few industrial thumps, finely chopped over melodies, hints of the peculiar way synth-pop electro that ruled some 80’s TV series bring up ‘Miami Vice Theme’ resound, snatches of film dialogue and recognizable field sound from NYC enriches for the rest the whole thing. But all this going backward material is intentional and has a purpose.
There are two ways of scoring a film: music narrative mirrors the action or creates one that works divergently, in a contrasted way. The latter is the most difficult; it implies known references to be efficient and some implication from the audience to get the right plugs to be connected. If it accomplished, it’s rightful. ONT did it this way.
First of all, ‘Good Time’s goes back to the Massachusetts producer early work, the time of the trilogy he released on cassette and CD-R. He worked on synthesizers music and commonly 80s new age themes and devices to make albums like ‘Betrayed In The Octagon’ (2007, Deception Island), ‘Zones without people’ (2009, Arbor) and ‘Russian Mind’ (2009, No Fun). He got the ideas, but tech tools weren’t as advanced as now. He’s feeling liberated from that imprisoned frustration to come back to that works with the appropriate tech level and upgraded skills.
‘Good Time’s cinematography tends to capture a parallel site for the psychological thriller. The action goes in a rush of street runnings, art-designed close-ups like television trash sequences, everything immersed in jail fights and drug culture. This factual tension has a witness that speaks for itself aside, out of focus, in any given shot. It’s a luminescent presence along weird sounds that make NYC streets a sci-fi environment suggested by music.
But most of all, Safdie brothers new movie pays homage to those anti-hero films of the 70s, from ‘Mean Streets’ to ‘Dog Day Afternoon’ to name a few. Characters defining a spiral down to hell with every of their decisions taken. At this point, it matters to remember where the long guitar solos did go as well as prog rock and where the stubborn German electronic pioneers had to stop, except Kraftwerk. Everything is up and for good in Oneohtrix Point Never score.
After seven albums of shape-shifting electronics, ‘Good Time’ is the fourth score composed by Oneohtrix Point Never, the first for Sadfie brother’s filmography. He debuted in film-score in 2007 with a short film by Justin Lerner, followed by ‘The Bling Ring,’ film directed by Sofia Coppola in 2013 (scored with Brian Keitzell) and ‘The Partisan,’ by Ariel Kleiman in 2015.