Hildur Guðnadóttir & Sam Slater
Battlefield 2042 (Official Soundtrack)
Outstanding, darkside computer game score from Guðnadóttir and Slater, building on a fruitful relationship developed across their soundtracks for Sicario, Chernobyl, and Joker in recent years.
Perhaps the closest we’ve got to cellist Guðnadóttir’s work on Pan Sonic’s mighty ’Katodivaihe’ (2007), the expansive 14-track suite of ‘Battlefield 2042’ catches the Icelandic dynamo really baring her teeth in collaboration with Slater. To be honest we haven’t played computer games in decades, but we’re sorely tempted to have a go on this one just to see how the music fits in. Wrought with seething industrial levels of noise and gnashing rhythms, it’s a frighteningly strong session which Guðnadóttir & Slater clearly relished in making, as they state; "It was such a deeply creative experience to dive into this world and create a truly unique and disruptive musical environment for the game.”
Guðnadóttir’s remarkable biting-point tone and Slater’s electro-acoustic backdrops bristle with a white-knuckle garrotting tension and incendiary quality here, edging on Pan Sonic terrain as much as the crushing experiments of Emptyset or the whole Subtext cabal, Slater’s label mate Ben Frost, or even Burial’s current soundtrack-y phase. They’re really setting the bar for this stuff as far as we’re aware, holding to a sense of threat and doom from the monstrous trample of ‘Orbital’ until the bitter end of epic ballistics on its title piece.
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Double LP on "Hazard Zone" (Green w/Blue markings) coloured vinyl. Gatefold sleeve with printed inners.
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Outstanding, darkside computer game score from Guðnadóttir and Slater, building on a fruitful relationship developed across their soundtracks for Sicario, Chernobyl, and Joker in recent years.
Perhaps the closest we’ve got to cellist Guðnadóttir’s work on Pan Sonic’s mighty ’Katodivaihe’ (2007), the expansive 14-track suite of ‘Battlefield 2042’ catches the Icelandic dynamo really baring her teeth in collaboration with Slater. To be honest we haven’t played computer games in decades, but we’re sorely tempted to have a go on this one just to see how the music fits in. Wrought with seething industrial levels of noise and gnashing rhythms, it’s a frighteningly strong session which Guðnadóttir & Slater clearly relished in making, as they state; "It was such a deeply creative experience to dive into this world and create a truly unique and disruptive musical environment for the game.”
Guðnadóttir’s remarkable biting-point tone and Slater’s electro-acoustic backdrops bristle with a white-knuckle garrotting tension and incendiary quality here, edging on Pan Sonic terrain as much as the crushing experiments of Emptyset or the whole Subtext cabal, Slater’s label mate Ben Frost, or even Burial’s current soundtrack-y phase. They’re really setting the bar for this stuff as far as we’re aware, holding to a sense of threat and doom from the monstrous trample of ‘Orbital’ until the bitter end of epic ballistics on its title piece.