Lovett and Bruckner are old college buddies from the University of Georgia, and as soon as they finished work on “The Ritual” in 2017, Bruckner sent over a script that immediately inspired the composer.
“So you start thinking about inversions of melody, and negative space, and the idea of focusing on the sound between the notes instead of just the notes themselves,” says Lovett. “There was so much there in the script, it was just an interesting thing to explore, musically.” He translated that into an eerie soundscape that was partly acoustic musicians, partly synthesized sound. “The music modulated with her varying states of manic anxiety,” Lovett says, “and that led to synthesizers, but also taking acoustic instruments and just mangling the hell out of them and running them through things that could twist them into unrecognizable sounds.”
Lovett took its three chords and converted them through a music-theory concept called “negative harmony” into “a shadow version” of the original. “That music defined her marriage, and the loss turned it inside out and inverted into a darker context,” he says.
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